• The twin of this dress was a part of the Spring 2002 final Haute Couture collection by Yves Saint Laurent.
• "I have chosen today to say goodbye to the craft that I have loved so much. The next show to which I invite you, on Tuesday, 22nd January at 6 PM, at the centre of George's Pompano, will predominantly be a retrospective of my work… Some designs from the currencies will also be shown." This was how Yves the announced his intention to retire and leave the world of Haute Couture. That final show was over an hour long and was presented to a room of 1500 hand picked guests.
• A total of 371 garments were shown that day with pieces from the beginning of his career to the final collection.
• Recreations of some of his most famous dresses were made available and each has the special label that you see in this dress with both the original date of the labels inception and the 2002 date.
• This is one is a recreation of the famous Fall 1984 dress. We have included references of both the original and the twin of this one in the show.
• It is an extremely rare and wonderful piece of YSL history.
• It would have been entirely made by hand in the Paris atelier.
• The neckline sits wide across and the shoulders are soft. The sleeves narrow to their ends and all of the upper bodice is done in a fine black light in weight wool that has a slight texture.
• The waist is defined by two wide panels. They attached and are gathered in along each side and this gives the shape you see. The top panel is a purple and the bottom a deep pink.
• The dress skims over the hips and then falls to the floor flaring outward as it reaches the hem. The back is cut slightly longer than the front and you can see the extra fabric built in there to create a sweeping feel behind you.
• Every line is meticulously thought out and the technique to create the lines of this dress showcase his decades as one of the premier modern Couturiers in the world.
• The dress is fully lined in a hand set black silk and closes with a side set zipper. An inner waist hooks to close and the dress buttons above a small keyhole at the back. Each end of the sleeve closes with zipper. All of the inner seams are done by hand and the entire dress is made to modern Couture standards. Its proper numbered Couture tag is present.
• There is no size tag present so please go buy the measurements listed below.
• Excellent condition and appears to have been worn very little if at all.

Sleeves: 21" and are 16" around the upper arm
Shoulders: 15"
Bust: to 19.5" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 12" from top of shoulder to top of the 10" band at the waist 
Total length: 56" from top of shoulder to front hem and the back extends another 5.5" past that with just under 2" turned under the hem.

Modern Sizing Equivalent: MED-LRG

Item# DD5140

Reference Photos/Video: (1-3) Spring 2002 YSL Couture, Look 229.  /  (4) Fall 1984 Yves Saint Laurent Haute Couture.  /  (5) Vogue, November 1984.

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 gorgeous Demi-Couture dress from 1970s Lanvin.
• Made under the creative direction of Jules-Francois Crahay 
• Jules-Francois headed the Lanvin ateliers from 1964-1984. He has been noted as one of fashion’s 'great colorists with his colorful patterns making his 1970s Lanvin designs hugely desirable and influential.' His time at the Lanvin label is one of my personal favourites for the house.
• The Lanvin label is numbered and the dress has been made to demi-couture standards.
• This dress is made from a fine blue silk tulle that has a floral pattern embroidered over its surface in the same blue. The lining is done with a deep purple silk and this gives it this very unusual colour that lies somewhere between a deep blue and a deep purple.
• Onto the top silk net there is an exquisite floral design done with a metallic gold thread. That same gold thread also circles around the lower skirt in two horizontal panels done in a open chain link design. More of the floral netting separates those panels.
• The result is even better on person as the gold feel more prominent. I love how the gold catches the light from every angle.
• The bodice skims over you and the sleeves are long. Each sleeve has a bit of puff above the elastic cuff.
• The waist is cut more generously and you could add a ribbon or a belt to cinch it in.
• The skirt skims over the hips to the floor and widens out as it nears the hem. The added panels of gold on the skirt help to give the skirt support and help hold its shape.
• Fully lined in a purple silk chiffon through the top and a purple silk through the skirt. It closes with a back hand set zipper and there is elastic in each cuff. Hand finishes and hand finished inner seams.
• The label is numbered.
• There is no size tag present and the bias cut of the lining and the net give it a little give so I have put the comfortable range of measurements where it will give a bit. 
  
• Excellent condition 
  

Sleeves: 26"
Shoulders: 14.5"
Bust: 17-19" flat across from side seam to side seam
Waist: 14-15" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 15" from shoulder to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD3925

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 rare two piece jacket and skirt set from the Fall 1999 collection.
• It was made under the creative direction of John Galliano.
• We have included several runway shots that we found that show various pieces made of the same fabrication and with similar silhouettes.
• Both pieces are ultra soft to touch. The angora/mohair and wool mix that both pieces are made of would have been specially created for the collection in order to get the pattern to lay so precisely. The fabric would have had to have been pre-planned out prior to making the final design.
• The jacket is phenomenal. It has soft shoulders and is meant to feel at touch more oversized through the upper bodice. The waist is cinched in with a single oversized hand carved button that sits at the front. From there  then it curves over the hips under that. This cut is what gives you that fantastic exaggerated hourglass feel that the suit has.
• The shawl collar is very wide and covers almost the upper bodice. It is finished with a bolder print and feels like a statement piece in itself. The body of the jacket has an angled black-and-white chevron print and I love how he has placed this to emphasize the shape even more.
• The sleeves are extra long and they are meant to bunch up slightly on the arm. They are finished with a wide band of the same design that details the collar.
• The skirt has a simple black piping at the waist and then it is cut in a long slim pencil shape. The upper portion of the skirt is done in that chevron pattern and then the lower part of the skirt picks up that amazing design that was used on the collar and ends of each sleeve.
• The jacket is lined in a black silk and buttons at the front to close as described above. The skirt is unlined and closes at the back with a zipper and hooks at the waist.
  
• Both pieces are tagged an early Galliano large.
• It appears to have never been worn.
• Excellent condition and so so very rare.

Jacket
Sleeves: 26.5" and are 14" around the upper arm
Dropped shoulders: 17.5"
Bust: to 22" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Total length: 22" from neck to hem

Skirt
Waist: 13-17" flat across from side seam to side seam
Hips: 19-23" flat across from side seam to side seam
Total length: 35" from the waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD5130

Reference Photos: Fall 1999 John Galliano, Looks 1, 4 & 9.

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 the second time that I have had this dress in the shop and I still love it as much now as I did then.
• The twin of this dress walked the runway for Look 41 for the Spring 2013 collection.
• Vogue said of the Collection; "When Peter Dundas inherited this historic Florentine house—famous since the 1960s for its kaleidoscopic prints—he made reworked archival patterns a major part of his story line. Last season and this one, though, he's started inching away from them. These days, the label is just as well known for Dundas' confident, louche brand of glamour as it once was for its founder's graphic swirls and geometries." 
• It was one of three white dresses that close the show before the final red look. 
• The dress is made out of a light silk that is light in weight but just heavy enough to keep the structure. It is very close to a true white.
• The front neckline is done in a halter style with the upper part above the bust line finished an a white netting that has a secondary abstract print work through it. This allows you to see the skin underneath. The front is gathered over the breasts almost like a bandeau and seamed in the centre.
• Under that is an open cut out for a bit more skin to show.
• The dress curves in to follow the waist under that and and skims over the hips.
• The skirt falls to the floor and widens out quite a bit as it nears the hem. This gives the dress incredible movement when you walk and you get a sense of that in the runway video.
• I love the loose slightly draped pockets that sit on each hip.
• The back is mostly open with a criss cross of straps and an open cut out between the waist and the back strap.
• Decorative frog knots sit at the low waist for added detail.
• The dress is fully lined through the bodice and the skirt is unlined. It closes at the side with a hidden set zipper. Light boning and padding through the bodice.
• Because the upper body is lined and padded when it is off the body it feels like the fabric is a touch darker as it is completely opaque. Once on its fine and the lining is needed
• Tagged a modern Pucci IT42, FR38, US8, UK10.
• Excellent condition with some faint marks here and there around the hem.

Bust: to 17" flat across from side seam to side seam
Waist: to 13.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 64" from top of neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD5127

Reference Photos/Video: Spring 2013 Emilio Pucci Runway Look 41. Model Kasia Struss.

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

• The twin of this dress walk the runway for the Spring 1988 show.
• Made under the creative direction of Marc Bohan for Christian Dior.
• The evening portion of the collection focused on short dresses that had a corseted waist and bust with wrapping techniques that gave the feel of a sarong. The dress is a wonderful example of that feel he was after and it is fantastic.
• We found a teeny slice of it or a very similar piece on the runway and even though the photo shows the model on an angle, it does give you an idea of how wonderful this will be on the body.
• This would have been made completely by hand in the Paris atelier.
• The fabric of this dress is fantastic. It is made out of a black silk organza that has been gathered so it has a slight 3D puffed effect. This creates an incredible texture over the dress.
• The fabric is light in weight and despite the elaborate construction of the dress is not at all heavy once it is on.
• Inside the dress has a full proper corset with boning through the bodice to give you some support and built in cups. A wide grosgrain ribbon hooks in place around the inner waist to hold everything perfectly in place.
• All of the seams are finished by hand and it is really is a nod back to the early couture days in terms of it's construction.
• The bodice is cut with a curving sweetheart neckline and it is meant to hug the body. It is elaborately gathered and fitted around the bust with all of the gathered folds coming in to the seams that run over the bodice. This is all done to emphasize your curves and it make the dress very flattering once on.
• It nips in at the waist and there is a large and elaborate bow that sets at the base of an angle seem coming from the bust. I love how this is set to curve around the hip to the back. It instantly adds to the hourglass field the dress has.
• From under the bow, the skirt curves down and over with to wrap around you and then come back in and under that panel to give it that wrapped sarong feel.
• Fully lined in a black silk and closes with a side set zipper. The interior of the bodice is boned and cupped for support. The inner corset closes with its own zipper and a wide band on the interior waist hooks to close. There is a tiny bit of lightening to some of the edges on the fabric. This is a natural aging of this type of fabric and I don't consider it to be a flaw, but it is mentioned for accuracy. It otherwise appears to have never been worn, or worn very little.
• Excellent condition

Bust: 17" flat across from side seam to side seam
Interior waist: 13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: qpprox 10" from top of bodice to waist
Total length: 29.5" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD5110

Reference Photos: Spring 1988 Christian Dior Haute Couture.

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 signature bias cut dress from the Spring 2002 collection by John Galliano
• Made under the creative direction of John Galliano
• There are no closures on the dress. It is completely cut bias and you just slip it over the head to wear and it just falls into place skimming over the body from head to toe.
• The cut of the dress has a strong nod to Couture pieces of the 1930s and 1940s decades that he continuously referenced in his collections.
• The fabric has a silk like finish and is a deep black. Various Galliano logos have been woven directly into the fabric in a different finish thread so as you move these catch the light. The effect is fantastic once it is on the body.
• The fabric obviously would have been custom designed by Galliano and made specifically for this dress
• It scoops down into a V at the front and the back with a band highlighting the entire neckline. It skims over the waist and hips from there and flares out at the lower hem. 
  
• The back is cut longer than the front so you get this fantastic sweeping feel behind you. It is in its original uncut length.
• A high slit runs up one side for a flash of leg when you walk.
• Unlined and slips on to wear with no closures.
  
• The measurements have a lot of range because of the bias cut and no closure so I have given the comfortable range for all below when laying out flat. There is probably a little extra room beyond my measurements, but I do not like to over pull when measuring.
• Tagged a FR42, GB14, US8
• Excellent condition and it appears to have been worn very little if at all.

Bust: 16–19" flat across from side seam to side seam
Waist: 14–17" flat across from side seam to side seam
Hips: 18–21 " flat across from side seam to side seam
Total length: 60" from top of shoulder to front hem and then it extends another 8" past that at the back

Modern Sizing Equivalent: SML-MED

Item# DD5080

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.

• From the Act 1 Fall/Winter 2019 Chanel collection. This is the collection done for shops between the pre-collection and the runway shows. These are often specialized items that are made on an extremely limited basis.
• Made under the creative direction of Karl Lagerfeld
• The buttons on this one are so special. They are little snowflakes on a carved backdrop mixed with rhinestones. They are meant to evoke winter and when combined with the knit, the feel of being warm and cozy, nestled inside from the ice and snow on a winter's day.
• There are five larger buttons down the front and then a slightly smaller version sits on each pocket and at each cuff.
• Even though the sweater at first glance looks like it is made out of Angora, Chanel actually does not use Angora. Instead it is made out of a blend of cashmere and alpaca. This is a very expensive to produce, time consuming process and a amazing technical achievement in fabric.
• The colour is a pale baby blue and even though we have tried to capture it as closely as possible here it is even better in person. It is the kind of piece that makes you gasp out loud when you see it.
  
• It has a slightly cropped feel to it and I love the two little pockets on the front.
• It buttons to close down the front and the pockets are functional but each is still lightly tacked shut as it came from Chanel.
• It has its original Chanel packet with extra yarn inside and its original Chanel tag. It appears to be unworn.
• This is a very rare and special Chanel piece especially in this pristine a condition.
• The knit has some stretch and I have put the un-stretched, laying flat measurements below.
• Tagged a Chanel 38
• Excellent condition

Sleeves: 20" and are 12" around the upper arm
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Bottom ripping: 16" flat across from side seam to side seam
Total length: 17.5" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD5077

Reference Photo: Stella Maxwell attends the Noir et Blanc de Chanel Fall/Winter 2019 Makeup Collection in Paris, July 2019.

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 exceptional dress is by Marc Bohan for Christian Dior and it is a wonderful example of his work during this time period.
• This best matches the work that he was doing from about 1969 to 1972 when he was doing these wonderful dresses. We found a similar one to this with variations on the print that this dress has and I have included it so that you can see how perfectly this will drape and fall on the body.
• It is a very easy and comfortable dress to wear
• The dress is made from a cotton that has a pretty floral print that covers the entire dress.
• The neckline is set high and detailed with a black cotton collar that extends down the front and buttons to about the waist area.
• Under that the bodice is meant to skim over you to fall loose and easy over the natural waist and then the skirt billows out from under that to the floor.
• The sleeves are set into the shoulder with slight gathers and they have a more full cut that balloons out over the wrists. At their ends they are edged with that same black fabric that sits around the collar and this extends out and tie into pretty bows around the wrist. 
• The dress comes with its matching tie belt in the same fabric so you can wear it loose and easy or cinch in the waist for shape.
• Once on the body the entire dress has this stunning movement and yet feels minimalist and elegant.
  
• Unlined and slips over the head to wear. The front buttons up to about the waist and each sleeve ties with attached ties. The belt is original to the dress.
• Tagged a vintage Dior 12 and the easy cut should allow it to fit a range of sizes.
• Excellent condition

Sleeves: 25" and are 13" around the upper arm
Slightly inset shoulders: 14.5"
Bust: to 20" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam and then you use the tie belt to cinch it in as much as you need
Hips: to 23" flat across from side seam to side seam
Total length: 61" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD5057

Reference Photos: (1) Model in Dior for British Vogue, March 1969.  /  (2) Model Kellie Wilson in gypsy-style Dior, wearing a long chiffon dress in lilac with white batik print, a ribbon belt and massive gold pendant Vogue October 01, 1969. Photo by Bert Stern.

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.

• Note that due to new regulations this coat can only ship to a Canadian address 
• Resort 2018 Prada runway Look 23
• Under the creative direction of Miuccia Prada
  
• The runway version did not have the gray underneath the chain metal so it was worn more as a tunic. When they added the grey silk band for the shops it allowed it to be worn as a mini dress
• Made from a pale pink crepe with a soft grey design printed over it that incorporates the word Prada on both the front and back
• The lower portion of the skirt is a pale grey stretch silk like fabric. A metal chain mail detailing goes around the top part of that lower skirt
• It has a high collar and the sleeves are long. Each sleeve is finished in a pale pink feather cuff.
• Pin-tuck detailing creates a very pretty and detailed finish at the front of the dress
• The fit through the body is more full and open much like a 1920s flapper dress
  
• It closes with a hidden set back zipper
• Tagged a modern Prada 40
• I see some teeny little marks on the grey silk and one tiny faint spot on the top of one shoulder. It has the slightest perfumey smell, otherwise in excellent condition.

Sleeves: 25" including the feathers and are 11" around the upper arm
Shoulders: 15.5"
Bust: 19" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Total length: 34" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD5046

Reference Photos/Video: Resort 2018 Prada, Look 23.

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.

• Made under the creative direction of Oscar de la Renta
• This can be worn as a coat or a dress
• It is made out of a stunning iridescent blue silk taffeta. The fabric choice keeps it light in weight but also holds the lines and shape.
• Big balloon sleeves with cuffs detailed with pleat work
• The body of the piece is cut loose and easy.
• It closes down the front with incredible oversized frog knots that are completely beaded. Another knot sits on the back.
• There are pockets on each side and the bottom portion of the piece is incredibly full and open.
• Fully lined in the same blue silk taffeta as the exterior
• It has a wide inner elastic waist corset that wraps around the inner waist and hooks into place
• It closes down the front with the frog knots and a series of hidden hooks and hidden silk covered snaps. 
  
• Shallow pockets along each hip and light padding in each shoulder
• Excellent condition with some teeny marks and teeny breaks along the very edge of the hem and the front. These make no impact but are mentioned for accuracy.

Sleeves: 28" and the upper arm is full and open
Shoulders: 15.5
Bust: to 21" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: open
Total length: 60" from neck to front hem, 62" to the back

Modern Sizing Equivalent: MED-LRG

Item# DD5041

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.

• Made under the creative direction of Bill Blass
• A beautiful deep blue silk taffeta gown with a deep plunging back to leave a bare expanse of skin
• A dramatic collar made of the same blue silk and forming a dense applique of flowers wraps around the neckline and follows the plunge of the back. The same detailing goes around each cuff.
• The sleeves are incredibly full 
  
• The waist nips in and the skirt opens up to be very full as it falls to the hem.
• Fully lined in the same silk through the bodice and a black silk organza through the skirt
• Tagged a vintage Blass 12
• Closes with a hidden set back zipper. Hand finishes
• Excellent condition

Sleeves: 22.5" and are full and open through the upper arm
Shoulders: approx 15"
Bust: to 19" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips:  open
Bodice: 15" from top of shoulder to waist
Total length: 60" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD5039

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.

• Circa late 1990s
• Under the creative direction of Gianni Versace
• A muted pastel salmon colour that is more pastel feeling in real life than how it photoed here
• The dress has a wide gathered band around the waist and a piece that is attached and loops in and behind one of the panels that form the top
• The panels are one piece of fabric that loops around the neck and the down to attach into the waist. You cross it over itself so that it goes behind the neck. You can then wear them high up on the shoulder or have it cape and fall over the upper arm.
• This leaves your entire back open and exposed
• The skirt has an inner piece that acts a partial lining. The outer skirt drapes over that and forms those interesting pocket like pieces on each hip. It then drapes inwards and down to the hem with a centre slit up both the front and back of the skirt
• It is a very interesting and an avant garde design
• The bodice is made of two layers of the same fabric and the skirt has a partial lining through the hips and the rest of the skirt is unlined.
• Tag a vintage Versace 42
• Excellent condition

Bust: each panel is 11" flat across from side to side
Waist: to 15.5" flat across from side seam to side seam
Inner hips: to 21.5" flat across from side seam to side seam
Bodice: adjust depending on how you twist to wear it
Total length: approx 62" from neck to hem
Slits: approx 25" from the longest point of the hem to the top of the slit

Modern Sizing Equivalent: MED-LRG

Item# DD5037

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 gorgeous suit walked the Fall 2008 runway as Look 37
• It was made under the creative direction of John Galliano.
• The show celebrated the 1960s with the opening music Simon & Garfunkel's 'Mrs. Robinson'. The models were styled with a nod to the 60s but in a highly exaggerated way.
• Galliano said of the show "I am always looking for heroines who make me dream"
• The suit is a brilliant green silk /cotton mix which keeps it light in weight but has enough structure to allow it to hold its intended shape perfectly.
• The collar is wide and exaggerated and the suit closes with matching silk covered buttons and hidden set snaps down the front.
• A little bow sits at the centre of the front and little flap pockets still have their tacking in place on each hip. The hips are shaped to curve outwards.
• The end of the sleeves and the around the entire hem is heavily embellished with big round silver discs, glass or stone polished pieces, mixed with little gold sequins.
• The skirt is cut in a little bit of a flare and will sit just above the knee depending on your height.
• Both pieces are lined in a green silk
• The jacket snaps and buttons to close down the front and the skirt closes with a hidden set side zipper. I see a teeny darkened mark on the skirt near a seam and a teeny faint spot on the back that is very minor but mention for accuracy. There are some missing embellishments here and there but again very minor and mentioned for accuracy. 
• The jacket is tagged at FR42, GB14, IT46, US10. The skirt is tagged FR36, GB8, IT40, US4.
• Excellent overall condition with the minor note above.

Jacket
Sleeves: approx 20" and are 12" around the upper arm
Shoulders: no true seam
Bust: 17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Bottom of jacket: 20" flat across from side seam to side seam
Total length: 21.5" from neck to hem

Skirt
Waist: 13.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Total length: 19.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD5027

Reference Photos/Video: Fall 2008 Christian Dior, Look 37. Model Heidi Mount.

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.

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks by using ornate beading, sequins, daring cut-outs and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. This is a stunning example of his work during the early seventies. We have had several examples of dresses from in and around 1973 that combined the same jagged 'flame' cuts with sequins. I have included some of those for you to see here. 

This is an amazing Azzaro. The skirt is made out of a black silk jersey that is cut on the bias and and falls to the floor. It widens out a touch as it near the hem. Topping this is the most amazing bodice. It is made from curving panels of sequins and the panels have been stitched and overlapped to create the shape that you see. When you realize that this all had to be pieced together in an exact way to create this, it seems that much more amazing. Panels covered in gold sequins extend up to wrap around the back of the neck. Those are covered by two panels of black sequins  at the front and then there is another black sequin panel on each side. The panels are stitched together to the waist so that they are one solid piece forming the bodice but where they hit the waist seam they fall freely beside each other. This is what gives the suggestion of the 'flame' feel. They extend past the waist seam by between eight and 9 inches adding some movement. The back scoops down so your entire upper back is left bare and exposed. Lots of hand finishes inside. It is a fantastic example of his work. Excellent condition. 

Fully lined in black silky rayon through the bodice and a second layer of jersey through the skirt. A slit up one side. Closes with a back zipper and hooks behind the neck. Hand finishes throughout. 

Bust: each side of the bust covers 7" flat across from side to side
Waist: to 14" flat across from side seam to side seam
Hips: 18-20" flat across from side seam to side seam
Bodice: 15" from neck to waist
Total length: approx 60" from neck to hem
Slit: 17" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD5014

Reference Photos: Reference Photos: (1-2) Marisa Berenson in a Loris Azzaro. October 1973. Photo: Michael Holtz.   /   (3) The cover of the book "Azzaro" for Assouline - Marisa Berenson and Loris Azzaro photographed in 1973, for issue 604 of L'Officiel de la Couture et de la Mode de Paris, by Roland Bianchini.  /  (4) Image from the book "Azzaro: Fifty Sparkling Years"  /  (5) Magazine spread featuring a model in Azzaro, 1973. / (6) Spring 1973 Loris Azzaro Couture.

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John Galliano began his own label in 1984 and he was instantly a bit of a 'boy wonder' in fashion. He was British Fashion Council Designer of the Year in 1987, 1994 and 1995. In 1991 he made his Paris catwalk debut. In 1995 he was asked to head Givenchy and then went to Dior in October of 1996. His work, especially the bias cut pieces that he did, have a feeling of the decadence and abandonment of the twenties and they are beautifully cut. They marry Old Hollywood with the minimalist spirit of the nineties and early 2000s and the results are stunning. This is an amazing example of his work from the Spring 2006 season and it is gorgeous. This dress was a piece made for production and is a more minimalist version of the dress that walked the runway for Look 40 that season. It has all the things we love about his work presented in a beautifully chic and minimalist package that still has that strong impact of colour that the runway version had.

The dress is made out of a feather light silk chiffon that moves beautifully over the body. It is all cut on the bias so is easy to wear. I love the cut of the bodice. Twisted silk chiffon straps extend out from a peak at the centre front. They curve up and around the neck and then they fall down each side of your back. The entire back is scooped low so you have this bare expanse of skin showing. It drapes over the bodice and skims over the waist with an easy more generous feel. A gathered band of the silk chiffon is wrapped around the top of the hips and a long tie extends down all the way to the hem from where that attached sash meets at the side. From there the dress drapes to the the floor and widens out a touch as it nears the hem. A slit runs up one side of the skirt and this allows the silk to catch the air and move easily around you as you walk. The seaming is a nod to the work you see from the twenties and thirties. The colour and the way that it changes as it moves down the dress is of course one of the most important elements of the piece. It starts out to be a soft taupe at the top and then gradually changes to a pale pink to a vivid pink around the lower skirt and ends in a deep dusty fuchsia. It is stunning to have this brilliant pop of colour. A signature row of tightly spaced silk covered buttons run up one side for the perfect finish. The dress is even better in person and on the body as the static photos cannot fully convey how the dress moves once on the body. Excellent condition.

Fully lined in a matching taupe silk and closes at the side with a series of silk covered buttons. The bias cut allows some movement in the fabric and I have put the comfortable range when laying flat below. Tagged a vintage Dior F40, GB12, IT44, US8

Bust: 16.5-18" flat across from side seam to side seam
Natural waist: 16-17.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Total length: approx 63" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4953

Reference Photos/Video: (1-7) Spring 2006 Christian Dior, Look 40. Model Michelle Buswell.  /  (8) Monica Bellucci wearing Dior at the 2006 Cannes Film Festival.

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 Spring 1982 collection marked the 20th anniversary of Yves' Couture house. In the book Yves Saint Laurent: Catwalk they note that the historical importance of his collection made him feel very anxious. He was quoted as saying "I am frightened of this collection. I am far more anxious than I was for my first collection. It is a reassessment of 20 years… It is the end of adolescence, the beginning of maturity. I really feel like a beginner." But of course, it was a masterpiece of a collection and raved about.

The collection was extravagant and was heavily influenced by India and the beautiful work done by Indian artisans. There was a play on proportions with wide shoulders and a narrowing at the hips. This tunic was one of the more simple pieces in the collection but it still has the touch of an oversized shoulder and the ease and elegance of a beautiful silk in its making.

I love that you can wear this as a tunic over something else. It was shown over a skirt and a modern girl could easily wear it on its own as a dress. It was shown belted with a silk sash in the advance photos for the collection and you could easily add a belt or ribbon if you wanted to have more shape. The shoulders are padded and set a little wide. The sleeves are cut wide through the upper arm and even as they narrow to the wrist, they are still wide set by the cuff. The cuffs and collar are done in a black silk and I love the contrast to the ivory of the body. It is meant to be worn fairly loose and easy to skim over your bust, waist and hips. It falls to about the knee or just above depending on your height. A slit runs up each side and you can see that he has lined the entire inside of the piece in that same black silk as the collar and cuffs. When you walk and move the slits let you to see that flash of black which ties the whole piece together perfectly. The silk is a rich and heavy weight that drapes beautifully over the body. This is a dress that really needs to come to life with a body in it and my dress form photos are nowhere near to doing it justice. It is completely made by hand and an absolutely beautiful, refined and easy piece of true Couture. Excellent condition with a small note below.

Fully lined in a handset black silk and closes at the back with a hand set zipper. Handmade padding in each shoulder. It is completely made by hand to Couture standards. Has it proper YSL numbered Couture label. There is one small mark near the elbow of one sleeve. Please see the photo after the label shot. The easy cut should allow it to fit a range of sizes. On a smaller frame, it will just feel more oversized.

Sleeves: 22.5" and each is 20" around the upper arm
Exaggerated shoulders: 16.5"
Bust: to 19" flat across from side seam to side seam
Waist: to 19" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Total length: 39" from top of shoulder to hem
Slits: 11.5" from hem up

Modern Sizing Equivalent: SML-LRG

Item# DD4913

Reference Photos: Spring 1982 Yves Saint Laurent  Couture Advance Preview. Model Kirat Young.

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 appears in the book on Thea Porter's work that accompanied the exhibit on her work. The photo appears on page 73. The caption in the book notes that "Claudia Bruce wearing a peasant style dress in a Persian paisley print combined with Damascus fabric and a leather and feather headdress. Greeks Street, London, 1969.". It is so rare to find runway photos of her shows and to have all this extra information is fantastic. 1969 is also an interesting year to note because it is the year that she started to sell her designs at Giorgio Beverly Hills. It was said that when word got out that Thea had new things in the Girorgio boutique, women ran to be able to get a piece for themselves, they sold out that fast. This is the only one I have ever seen like this outside of that book photo. Given her extremely limited run on certain pieces it may in fact be the only other one that was made and exists. It is truly a very special piece.

The dress is a fantastic combination of fabrics and this was something that Thea excelled at. She had the ability to source these fantastic antique fabrics and then mix and match them to put them together in a way that you had never seen done before. The front panel combines a floral and paisley print with beautiful detailing between. It runs down the front in a long rectangle shape and then she curved it over the shoulders and ran another panel of it down the back. The rest of the dress is made out of a clay coloured silk organza that has a beautiful pattern hand embroidered over its surface. A little chain of white embroidery runs through that pattern for a little bit of a pop. At the end of each sleeve there is an insert of the cotton fabric. This is set in a wide band all around the cuffs with these little points running up into the sleeve. The shape of the dress is easy and comfortable to wear. It skims over the body and flares out slightly as it reaches the hem. Slits run up each side so you get a flash of leg when you walk. Each sleeve is fantastic. Each is a full and voluminous balloon type sleeve that puffs up extravagantly around each wrist. The collar on the dress is perhaps the best part. A tie loops through the front part only and for most of the shots I have tied it enough so that it scoops like it does in the runway shot. However, you can loosen the front up and that allows you to push the dress down the shoulders to expose a full expanse of bare skin across the top of the shoulders. It is phenomenal. This is a very rare example of her work and most likely you will never see one again. Excellent condition.

Unlined and slips over the head to wear. The front collar can be adjusted with the tie as described above. Each cuff has a snap to close. It appears to have been worn very little if at all. There are little bits of blue dye on the front and back panel that looks like it has run a touch but I believe this is inherent to this fabric and this may have been like that since the day it was made. I do not think it is a flaw, but rather a result of the fact that the fabric was hand screened. Tagged a vintage Thea Porter UK 10. The easy cut should allow it to fit a range of sizes.

Sleeves: approx 15" and will come up a touch when the cuff is closed. Each upper arm is 13.75" around
Shoulders: no true defined scene
Bust: to 19" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Total length: 54.5" from top of shoulder to hem with 2" turned under the hem

Modern Sizing Equivalent: XS-SML

Item# DD4899

Reference Photos: Claudia Bruce for Thea Porter. Greek Street, London, 1969. (2) From the book Thea Porter: Bohemian Chic.

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This set is from Spring 2002 and it is fabulous. On the runway this print was shown throughout the first part of the show and the jacket and pant that make up the set were shown separately. I love that this gives you some styling ideas when you don't want to wear them together as the full set. The book Versace:Catwalk noted that Donatella's "graphic floral prints echoed Andy Warhol's multi huge floral paintings as did the backdrop". I love that.

This two piece set combines a beautifully cut jacket with pants that are beaded from the knee down. I always love a suit because of the ability this gives you to mix and match the pieces with things you already own. The incredible floral print give the suit this incredible rock 'n' roll feel. The jacket is tailored with a sleek cut that follows the curves of the body. It has no collar and the sleeves are long with a notch opening up each wrist. A series of tightly spaced, hidden set, hook and eye close the jacket at the front. It comes in at the waist a touch for shape and is meant to follow the curves of the body, but without being too tight. The floral print that covers the jacket is spectacular to see. The fabric of the jacket is an almost canvas feeling cotton mix with a slight texture that gives the perfect backdrop to the print. The pants are made of a super light in weight stretch fabric that lets the pants hug the body like a second skin. There is a small band at the waist that is meant to flip inwards and then nothing else to break the eye as they fall in a fairly straight boot cut to the floor. From about the knee down the floral print is covered in matching coloured beads and sequins. These catch the light terrifically as you move. It is fabulous and a great little piece of fashion history. Excellent condition

The jacket is lined in an ivory Versace logo embossed fabric and hooks to close at the front. The pants are unlined and close with a back zipper. Padding in each shoulder of the jacket. Both pieces appear to have been worn very little if at all. The pants are tagged a 42 and the jacket has no size tag present. The hips of the pants have some stretch and the comfortable range is given in the measurements below.

Jacket
Sleeves: 24" and each arm is 14" around the upper arm
Shoulders: 15.5"
Bust: to 18" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Bottom seam: 17.5 flat across from side seam to side seam
Length: 23" from neck to hem

Pants
Waist: to 15.5" flat across from side seam to side seam
Hips: 16-21" flat across from side seam to side seam
Length: 40" from waist to hem with 2" turned under the hem
Inseam: 31.25" and the gusset is 14" from back of waist to inner leg seam

Modern Sizing Equivalent: SML-MED

Item# DD4895

Reference Photos/Video: (1-9) Spring 2002 Versace (Look 9 (jacket) & Look 51 (pants)).  /  (10) From the book "Versace: Catwalk".  /  (11) Spring 2002 Versace Ad Campaign by Steven Meisel.

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.

When dating this extraordinary Yves Saint Laurent dress, we found a photo of a piece with almost an identical cut bodice from 1972 along with several runway photos that show other pieces with that same cut to the bodice. I have included those here for you and it is interesting to note that the pleating technique that is used around the upper hip of the skirt was also done in a more intricate fashion for the 1974 Couture show. Yves often use ideas from both collections. - Rive Gauche and Couture - to build and develop ideas and it is fascinating to see the progression of his work from garment to garment. This is an incredibly beautiful example of his work from this time period.

This dress combines a floral silk chiffon with a muted red silk on the skirt. This combination is absolutely gorgeous. Is combination of silks give the dress just enough weight and structure to be able to create the impressive lines and volume that you see but while still making it feel soft and romantic. The colours are spectacular. The top is a printed silk chiffon, and it has a stunning floral pattern in red purples and greens that float over the entire bodice and the sleeves. The bodice is cut to skim over you and the waist nips in. It plunges at the front and crosses over itself, and the neckline has been detailed with ruffles that begin at the back of the neck and circle around to follow the V at the front and then run down to the waist. piping in the same fabric detail. The waste and ties have been left off to the side to hang down and create a pretty little detail. The skirt falls to the floor from there and it has yards and yards of fabric in it that creates the fullness and volume that you see. The skirt falls in a gently widening line and is quite full by the time it reaches the hem. I love the volume that this type of fabric creates and how it billows around you as you move but at the same time it is as light as a feather. Around the entire upper hip area, and starting at the waist or a series of tiny cleats that gradually open out to create the volume underneath. This intricate detail is a beautiful addition to the dress. The sleeves are outstanding. Each is a single layer of the silk chiffon and are wide and very full. They are caught up at the wrist with a circle full circle ruffle underneath. This creates a beautiful and dramatic finish to the top. I love everything about this dress. Excellent condition.

Fully lined in a red silk and closes at the back with a hidden set painted met zipper. Attached ties at the waist and elastic in each cuff. The silk skirt and the exterior layer is a tool ruffle that helps keep the volume through the skirt. Tagged a vintage YSL 38. I see some light marks around the hem of the skirt.

Sleeves: 24" and 14" around the upper arm
Slightly inset shoulders: 14.5"
Bust: to 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 16" from neck to waist
Total length: 62" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4665

Reference Photos: Fall 1972 Yves Saint Laurent.

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 the dress was Look 34 in the Resort 2016 lineup. The show was designed by Peter Copping and if you count the bridal collection that he did for the label, this was his third show since being appointed Creative Director at that time. In the Vogue review they noted that Copping stated: "I wanted to embrace color, pattern, and the house's general joie de vivre." And as promised, the clothes were bright, generous with embroideries, and blooming with flowers and ruffles.' They went on to rave about the evening pieces saying that "they captured De la Renta's flair for drama but retained a youthful, playful spirit." This was the second last look of the show and for me, it was one of the strongest. It is an incredibly beautiful dress and a highlight from Copping's time at the label.

This is a dress that instantly captures your attention and I feel like the colours in person are far more striking than how they photoed. There is a richness and depth to them that wasn't quite captured on the camera. The top is strapless and made out of a deep pink silk. It is caught to hug the body and has one of his signature built-in boned and wire cupped corsets inside. I love how the cups at the front have an extra panel of the pink silk set over them. This gives the illusion of a slightly larger bust and also adds a bit of an old Hollywood feel to the top of the dress. At the back it curves beautifully around you. The waist is cinched for shape. On the runway, they showed it with a belt and as far as I am aware that was sold separately. I think the dress works perfectly well on its own without one, but it would be very easy to add a belt if you wanted more shape. The skirt skims over the hips below that and then falls to the floor in a fairly straight column of a spectacular emerald coloured silk. Running down the front on each side is a trailing floral and vine pattern. The vines are made from a thick raffia cord in a deep blue that has been embroidered onto the silk. The flowers are elaborately done and made from deep blue sequins and beads in various shapes and sizes. They are set so that they set up and off of the skirt for the gorgeous 3D effect. There is a high slit that runs up the back of the skirt to allow you to walk comfortably and show a flash of leg. The dress has its original hang tag in place, in its original uncut length and was never worn. It is phenomenal. Excellent condition.

The dress is lined through the bodice in a matching pink silk and has a built-in corset that is boned and cupped. The skirt is lined in a matching green silk. It closes with a hidden set zipper at the back and the inner corset closes with its own zipper.  An inner waist stay hooks to close. Ribbon edge finished inner hem. Tagged a modern ODLR 8.

Bust: 16.5-17.5" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Bodice: 9.5" from top of bodice to waist
Total length: 56.5" from top of bodice to hem with just over 1.5" turned under the hem
Back slit: 26" from the hem up

Modern Sizing Equivalent: SML-MED

Item# DD4894

Reference Photo: Resort 2016 Oscar de la Renta, Look 34.

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.

John Galliano began his own label in 1984 and he was instantly a bit of a 'boy wonder' in fashion. He was British Fashion Council Designer of the Year in 1987, 1994 and 1995. In 1991 he made his Paris catwalk debut. In 1995 he was asked to head Givenchy and then went to Dior in October of 1996. His work, especially the bias cut pieces that he did, have a feeling of the decadence and abandonment of the twenties and they are beautifully cut. They marry Old Hollywood with the minimalist spirit of the nineties and early 2000s and the results are stunning. This is an amazing example of his work from the Spring 2006 season and it is gorgeous. This dress was a piece made for production for retail but it has all the things we love about his work presented in a beautifully chic and minimalist package. We believe that some of the detailing is based on / loosely inspired by the opening look of the Couture 2006 collection. We have included a photo of that dress for you and you can see similar bead work through the skirt of that dress that has similarity to the pattern of the beads on this dress.

The dress is made out of the deepest possible blue silk crepe chiffon that has a slight bit of texture to it and more opaqueness than a standard chiffon would have. It is completely cut on the bias which is one of his signatures that we all love. The dress falls from the shoulders and then drapes down and over the body to the floor. It is very beautiful. The signature bias cut that he often did allows the dress to skim and drape over you so that is shows every curve but is not overly fitted. The seaming is highly reminiscent of the work you see from the twenties and thirties which became another of John's signatures. The fabric has been pieced together with both curved and angled seams through the bodice and lower skirt especially to create the fantastic lines of the dress that you see. Wide straps extend out from the bust to curve over your shoulders. The front is set in a V and the fabric is gathered across the front of the shoulders. I love the angled cut of the front bodice where he has piece the two side of it together. These are set into a high curving seam that highlights the waist but still stays easy in cut. That seam curves around the back curving upwards there as well. The back is scooped into a low curved open expanse. The straps become smaller and run down the back to join into each side of the lowest part of that curve. An attached panel of silk drapes beautifully down the back in reference to the best of Old Hollywood. The dress glides over the body from there and flares out as it reaches the hem. The widening and length of the back hem is created with angled silk chiffon panels inset into the back skirt. It is an incredible feat of patterning. This creates a longer bit of a train at the back for a bit of a sweeping feel behind you. There is an incredible amount of fabric through the lower skirt which gives you so much movement when you walk. It is stunning. The entire dress to just past the knee is beaded with silver beads mixed with the tiniest  silver sequins. These are laid out vertically over the dress in beautiful curving lines that cover the dress. They catch the light from every angle and take the dress to another level. His signature row of tightly spaced buttons run up one side. The dress is even better in person and on the body as the static photos cannot fully convey how a bias cut dress moves. They only truly come to life when worn. It is an incredible example of his work and looks to have been worn very little if at all. Excellent condition

It has a matching silk inner slip dress that loop through a stitch so that they are attached at the top of the inner shoulders. You could easily remove this to get more room if needed. The bias cut should allow it to fit a range of sizes and we have provided the comfortable range of measurements for both it and the outer dress below. It closes at the side with a series of silk covered buttons. Tagged a FR42, GB14, IT46, US10. 

Dress
Bust: to 22" flat across from side seam to side seam 
Waist: 15-16.5" flat across from side seam to side seam
Hips: 22.5" flat across from side seam to side seam
Total length: approx 59" from the top of the shoulder to the front hem and approx 74" to the back

Inner slip
Bust: to 18" flat across from side seam to side seam
Waist: 15-17" flat across from side seam to side seam
Inner lining at hips: 20" flat across from side seam to side seam

Modern Sizing Equivalent: SML-LRG

Item# DD4884

Reference Photo: Fall 2006 Dior Couture, Look 1.

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 Richilene label was launched around 1970 and lasted to about 1990 or so from what I understand. 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 which I only found out recently, and I thought was a cute little detail. 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 and pieces were very well made. I can't help but think that this is a more attainable version of the famous 1986 Chanel with its removable sleeves. It has that same kind of vibe.

I absolutely love the cut of this dress. It is made out of a beautiful deep blue netting that has little dots worked through the tulle. The choice of this particular fabric gives it the structure to hold the shape but still keeps it fairly light in weight once on the body. The bodice is strapless and the neckline is cut fairly straight across all around you. There's inner boning for support and the boning continues down the sides on either side to help hold the dress in place. The waist curves in a bit and then the skirt is set in just at the top of the hip. I love how this gives the illusion of extra length through the body. The entire bodice has been heavily detailed with iridescent, deep blue sequence that are sat in a curving swirling pattern. They are heavily set so that they overlap each other and this allows them to catch the light in different ways to create a really pretty effect. Onto this are embroidered and beaded flowers that have petals set up and off the dress for a slight 3-D effect. These go all the way around the upper bodice. The skirt is very long and full. It flows to the floor in a cascade of that beautiful daughter in and there are five layers making up the skirt. The top two layers are the blue netting and then there is a organza layer under that that has a shimmering finish to it. Under that is a black layer of stiffen netting and then there is a final blue layer inside and under that. The very top layer has an edging of stiffen netting all the way around it, and that helps hold the shape and give it a pretty finish all of the volume you see in these photos are from the skirt and all of these built in under skirts. The final touch is of course those incredible removable half sleeves that you just slip on and wear high on the upper arm. They have stiff and tool inside, which helps to give them that puff, and then there is elastic at each end for an easy fit. I have pushed them up so they're very full, but you could also wear them a little more stretched out if you wished. The dress has a bit of a fantasy princess feel that I love. Excellent condition.

The bodice is lined in a deep blue muslin feeling fabric and the skirt is lined as described above. It closes with a back set zipper. The sleeves have a stiffen tool interior and elastic on each end so they just slip onto the arm. 

Sleeves: each sleeve is up to 14 inches long and can be worn to be up to half that size in length. The elastic at each end stretches up to approximately 20"
Bust: 17" flat across from side seam to side seam
Natural waist:12.5" flat across from side seam to side seam
Seam at bottom of bodice: 16.5" flat across from side seam to side seam
Hips at inner lining: to 24"flat across from side seam to side seam
Bodice: 12.5" from top of the bodice to the seam at the bottom of the bodice
Total length: 53" from top of the bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD4879

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.

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks by his avant garde way of defining the body. His work was shockingly sexy for the times. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. The label had a certain French flare that women world-wide loved. By the seventies and eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a stunning example of his work during the mid-seventies. When researching we found several examples of dresses from 1973 that combined the same jagged flame cuts with sequins. I have included some of those so you can get an idea of how great this looks on the body. 

This is a gorgeous dress and it is a dress that will really come to life once on an actual body. The body of the dress is covered with densely applied black sequins. They make the dress shimmer beautifully as they catch the light. The sequins start at the shoulder run down the sleeves, over the bodice, waist and hips and then stop about mid-thigh depending on your height. The skirt is set into the sequins in pointed angled that reflects the points of the hem. The skirt part is made from 12 individual panels that are set side by side all the way around. Each panel is a single layer of black silk chiffon that is incredibly light in weight. When you move they move around you. Each panel has only been attached at the top so you also get glimpses of your legs between each panel as you move. It is incredibly sexy. The same silk chiffon is set into the upper bodice and then the back has a huge cut out that is filled with the silk chiffon that dips into a low scoop. It buttons down the back can you see a hint of skin between each button. I love the pointed finished all around the scoop at the back. It is fantastic once on. Excellent condition

Fully lined through the body in a black silk. It closes with buttons down the back and each sleeve has a zipper at the wrist. One of his signature strapless bras is attached inside the bodice which could be easily removed if you wish.

Sleeves: 23" and are 12" around the upper arm
Shoulders: no defined seam
Bust: 16-18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Length: 59" from top of shoulder to the longest point of hem

Modern Sizing Equivalent: SML-MED

Item# DD4347

Reference Photos: (1-3) Marisa Berenson in a Loris Azzaro. October 1973. Photo: Michael Holtz.   /   (4) The cover of the book "Azzaro" for Assouline - Marisa Berenson and Loris Azzaro photographed in 1973, for issue 604 of L'Officiel de la Couture et de la Mode de Paris, by Roland Bianchini.  /  (5) Image from the book "Azzaro: Fifty Sparkling Years"  /  (6) Magazine spread featuring a model in Azzaro, 1973.

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.

No matter how good you think that this dress looks like in photos it is even better in person and moving. The heavy copper / gold coloured metal wire and rhinestones that were used to create the pattern on the silk catch the light from every angle when you move. The dress is made out of the palest ballet pink silk. The dress is cut on the bias so it just glides over the body. It buttons down the back in a row of tightly spaced silk covered buttons and it is cut to just fall over you in a sweep of bias cut silk. The dress is suspended from the shoulders by two tiny silk straps and the front falls over the bust with a V neck plunge at the front and the back. The dress skims over the waist and hips with seams that are reminiscent of the couture dresses of the thirties. All are done so that the bias cut of the silk follows your curves and highlights the body underneath without it being too tight and fitted. Once past the hips the dress flares out as it nears the bottom and it is incredibly full. A wide panel circles all the way around the lower skirt and there is stiffened netting placed behind it so that it holds the fullness around you. When you walk or move the skirt kicks out to add beautiful movement and volume. The final perfect detail is that spectacular design made out of a combination of metal wire in a deep copper gold tone. This is set so that it curves up and off the silk for a 3D effect. Prong set rhinestones are scattered in and among the designs on the bust and around the hips. These catch the light beautifully as you move. It is just wonderful. Over all great condition with a note below

Fully lined with a pale pink silk chiffon and closes with the buttons down the back. The measurements given below are the comfortable range when the dress is laying flat. The bias cut of the dress should work on a range of sizes. On smaller frames it will drape more and be more fitted on larger frames. The very slightest yellowing to the silk here and there and around the waist area in particular. You can see it in the photos presented and I would say the photos make it look worse than it is in real life. I see a couple of loose threads and missing beads at the back. Very minor. Tagged a Cavalli XS

Bust: 14-17.5" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 64" from top of shoulder to front hem, 70" to the back hem

Modern Sizing Equivalent: XS-MED

Item# DD4825

Reference Photo: Jaime Tisch attends a preview gala dinner for the Metropolitan Museum's "Wild: Fashion Untamed" exhibition, hosted by fashion designer Robert Cavalli, on December 6, 2004.

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This is a spectacular and rare dress from the Fall 2004 McQueen show and its twin walked the runway that season. On the runway it was shown with a sash wrapped around the hips and you could easily replicate this if you wished. It is equally as good on its own. The runway pieces were not produced in significant numbers and were often only found at the flagship stores in very limited quantities. For this collection McQueen was quoted as saying that he wanted to 'strip away all theatrics and focus purely on design'. The colours in the show focused on a nude palette and these taupe pieces were a predominant element in the collection. He also kept the embellishments to the bare minimum throughout the collection and this dress showcases that nod towards simplicity. 

The dress is made from a very fine knit jersey that has a slight sheen to it. The seams are then either surged and top stitched, or have been covered and highlighted with a silk cording. This use of the seams as a way to create design details within the dress is a very McQueen feeling signature and it really highlights the cut of the piece. The neckline on the dress is a wide ribbed panel that has a lot of stretch available to it. You could wear it up and off the shoulders but it is best worn as shown on the runway, stretched and pulled down to leave the shoulders bare and exposed. The bodice is cut to skim over you and the sleeves are long. Each sleeve has some fullness above its 4" cuff. On the runway, they pulled the cuff up and inside so you just saw the part that blouses over and not the cuffs itself. A very clever styling trick. From there it continues past the hips to the floor. If you thought the way the seams have been detailed on the bodice is pretty, the skirt is magical. There are stacked side by side peaked panels whose tops sit at different heights around the entire skirt. Each has a touch of open cut work around their seams which gives the dress more depth and detail. This piecing of the side by side panels also allows the skirt to have more of a flare at its bottom. You can see how beautifully it moves in the runway video here. It is my understanding from my client that only a limited amount of these were produced. This is an iconic piece of McQueen's history. Excellent condition with a minor note below

Fully lined in an ivory stretch lingerie type fabric and slips over the head to wear. The knit jersey has stretch and the measurements below are the comfortable range when the dress is laying flat. I see a tiny area on the knit where it misses a stitch. Please see the photo after the label shot. Tagged a McQueen 38. Any change in colour you see is just the lighting. The stretch fabric should allow it to accommodate a variety of sizes.

Sleeves: 25"
Shoulders: variable
Bust: 17-21" flat across from side seam to side seam
Waist: 11.5-15" flat across from side seam to side seam
Hips: 17-22" flat across from side seam to side seam 
Total length: approx 60" from the top of the natural shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4816

Reference Photos/Video: Fall 2004 Alexander McQueen.

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This is a very rare piece of vintage and it is a delight to have it in the shop. It is from the 1988 Spring / Summer "Blanche Dubois" collection. The show had a total of 96 looks in it. My client purchased this right after the show and has had it since. The inspiration for this collection was Tennessee Williams 1947 heroin from the play "A Streetcar Named Desire" combined with the idea of the English country lady. An integral part of the collection were the way that he had the hems of the skirts and some sleeves done. He described then as "blown away" hems. Galliano had given his pattern cutters a book on origami and asked them to incorporate the feel of it into the clothing. He wanted the hems to look as though it had been blown up in the wind hence the name "blown away." Interior buttons and button holes along the hems were added to allow the skirts to achieve the draped bubbled effect that you see here and in the reference photos. The collection was critically acclaimed and it was his most commercially successful to date. US Vogue noted that he went from fashion cult to pacesetter with this collection. 

When we photoed the skirt we did it to show how you can change the look of the hem depending on if you choose to button the buttons up, or leave them undone. there are many configurations that you can do, including buttoning some of the button holes onto the same buttons inside or leaving them all undone and having a longer length skirt. Another key component of the show where these extremely high waists that you would then put a large belt around. My client told me that she often wore this as a strapless dress as well and if you are small enough through the bust to do so, you can have that added option. There is boning through the sides of the waist that help to hold it up and in place. The amount of fabric that the skirt has, and that unusual way the hem has been sewn combined with the buttons, really does give it the most fantastic and fascinating movement when you move. The fabric is at ultra soft white cotton or cotton mix. This piece was only ever owned by one person and it was loved and worn. It does have some faint marks on it but it doesn't take away from the importance or rarity of the piece.

This is an exceptionally rare piece to come up for sale from one of his very early collections. Excellent overall condition with a note below.

The skirt is unlined and closes with a hidden set side zipper. There are buttonholes hidden along the hem of the skirts and then button sit along the seams inside the skirt which is what allows you to change the look and length of the skirt. I see a repair along the back but because of the asymmetrical hem you would actually think that this was deliberate if you did not know better. I see another tiny area at the front where someone has put a stitch near the seam. There are some marks on the front and along one side of the hem. I did have this cleaned and they faded quite a bit but we were not overly aggressive in the cleaning. You might be able to fully get these out with more specialty cleaning. Please see the photos after the label. It is a remarkable piece of fashion history

Waist: 13.5" flat across from side seam to side seam
Hips: open
Total Length at its longest and unbuttoned it is 45" and then it can be adjusted with the buttons shorter

Modern Sizing Equivalent: SML-MED

Item# DD4785

Reference Photos: Spring 1988 John Galliano. (Third image from the book "Galliano: Spectacular Fashion" by Kerry Taylor for Bloomsbury.)

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Oscar was known for his beautiful and feminine designs and this dress really showcases that. With our modern day obsession with all things eighties and nineties this play on proportions and fabrics still feels extremely of this moment fashion wise. Oscar had an amazing sense of aesthetics and his genius was in making women look and feel beautiful. I love that we found an amazing backstage shot of it from the runway show that let us date it. It is very hard to date his earlier work and its also nice to be able to see it on. It is just an absolutely gorgeous example of his work from this time period. 

Three different fabrics were combined to make of this dress and each one becomes a an element of the design. The sleeves are a light weight silk taffeta and that is how they hold their fullness without being heavy. The bodice is done in a black lace for a pretty touch. The skirt is a black silk that has a very fine thin ribbing that runs through it for added texture. The neckline is scooped low and it is set wide across at the front so that it sits on the outer edge of your shoulders. At the back it is scooped so you get an expanse of bare skin. The sleeves are spectacular. They have built in panels of tulle to help hold their shape. They are cut to be every full so that they billow out to just above the elbow. They have elastic running through the edges nearest to the shoulders and this allows you to be able to wear them up and on the shoulder like I have shot them here or you could let them fall off the shoulder to get an even more bare feel. It skims over the bodice to the waist and I love the little lace peplum that sits just under the waist seam. The skirt falls from under that on a beautiful curve to the floor. There is a built-in underskirt made out of a black silk organza that has a wide ruffled bottom. This helps to hold the shape of the outer skirt. The fulness of the skirt moves beautifully when you move. Excellent condition

The bodice is lined in a black chiffon, The skirt in a black organza and the sleeves have tulle inside them to hold the shape. Built in underskirt. It closes with a back zipper. Tagged a vintage ODLR 6

Bust: to 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: approx 17" from natural shoulder to slightly dropped seam under natural waist
Skirt: 44" from slightly dropped seam under natural waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4444

Reference Photo: Resort 1978 Oscar de la Renta.

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.

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. I love finding his worn becasue its rare and exceptionally well made. It represents the more fantastical side of British fashion during this time period and I love that. 

The dress is made from a silk chiffon that has been dyed to a deep fuchsia that gradually darkens to a deep mauve as it loves across the dress. I love the depth this creates and how it highlights the parts of the dress. The sleeves are wide and come out from just above the gathered waist. They narrow down to their ends from there. The front and back both dip into a deep V and the neckline sits wide across the shoulders. There is a little silk flower finished with sequins nestled at the base of the V. From just under the bust to the top of the hips the silk is gathered and fitted for shape. The skirt falls to the floor from there in a sweep of silk chiffon. Pink glitter is fused onto the silk and it catches the light with your every move. Under the top layer of silk on the skirt is an inner lining in a pale silver blue . The two colours layered over each other adds an extra dimension to the skirt that is even better in person. It is gorgeous. Excellent condition.

The dress is fully lined in a pale silver blue silk and closes with a side metal and nylon zipper. There are hook and eye along part of the bottom seaming of the arm on that side as well. Big iridescent glass buttons on each cuff. Small areas here and there where the glitter has fallen off but it is minimal and I am being picky. 

Sleeves: approx 23"
Shoulders: no defines seam
Bust: no true side seams so open and variable
Natural waist: 14.5" flat across from side seam to side seam
Seam at bottom of gatherings 24" down from the shoulder: 18.5" flat across from side seam to side seam, skirt is open under that
Length: 57" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3068

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 exceptional dress is by Marc Bohan for Christian Dior and it is a wonderful example of his work during this time period. We have dated it to the Fall 1979 collection based on the reference and runway photos we found of pieces with similar fabric and cuts. I love that it feels like a throwback to the work of the original Mr. Dior and that it has such a beautiful feel of old world glamour to it. Bohan's work was integral to the labels development over the decades that he headed the atelier and this is a stunning example of his vision. Beyond that it is just an extraordinarily beautiful dress.

I love the nod to the 1950s in this dress. It has that classic little New Look shape to it that we all love and associate with the house of Dior. At the front the neckline is squared off by how the sleeves are set into the dress combined with the straight across cut of the neckline. Across the front of the neckline it is detailed with a wide black silk ribbon that has a pretty bow at the front. The sleeves are a single layer of the silk netting are are covered with those pretty white sequins. They curve softly over the shoulders and fall just below the elbow. The transparency of the netting lets you see a glimpse of the skin underneath. At the back the netting angles down towards the centre of the back where they meet another wide black ribbon finish there as well. The bodice is gathered across and into a vertical strip of the fabric that is detailed with three rhinestone and crusted buttons. It skims over you to the waist with a boned and shaped interior. The skirt is gathered in all around the waist and there is a great amount of fabric in the skirt. This allows it to fall in those soft folds that you see but when you move it has incredible movement. The bottom is anchored by another wide finish of black silk satin ribbon that ties the entire dress together. I love that the entire dress is covered with hand sewn white sequins and there two secondary patterns worked through the netting that gives it added texture. It is incredibly beautiful and the photos don't truly convey the sense of texture the dress has in person. It is a stunning example of Dior from this time period that somehow manages to feel perfectly timeless. Excellent condition.

Fully lined in a black silk chiffon. It closes with a hidden set backer and a hook and eye at the inner waist stay. The interior of the bodice is lightly boned and shaped.

Sleeves: approx 17" and 13" around the upper arm
Shoulders: no defined seams
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 18" from top of bodice to waist
Total length: 50.5" from top of the shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4686

Reference Photos: Fall 1979 Christian Dior.

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 dress is very special and an extremely well documented piece from Spring 1988. It has the special added provenance of being the twin of one of the four dresses portrayed in that instantly recognizable photo taken in his atelier that year. That photo is perhaps one of the most famous photos in the Lacroix history. The dress is from his Luxe label that was only produced the very first couple of seasons. It was very high end expensive ready-to-wear that was made to near couture standards and was available primarily to his couture clients and a select few beyond that. It was the predecessor to his later regular ready-to-wear collections. It is said that this label only lasted a couple of seasons because some of the couture clients complained at how close the garments were to their Haute Couture pieces. We found numerous reference photos of the dress as it appeared on the runway so you have an amazing idea of how this dress looks on the body.

The dress is gorgeous. It is made out of a textured silk organza that has a slight texture running through it. Onto that is a glorious floral pattern in pinks and yellow with pops of green. It feels so vibrant and beautiful with that gorgeous print. The sleeves are long and they are cut on a slight curve in the traditional couture manner. The shoulders are lightly shaped and the front falls into a shallow V. The dress has a little bit of gathering just at the bust area down the centre seam and then it falls smoothly  to the hem under that. It is cut to skim over you through the body with just a suggestion of shape through the waist. At the back the bottom 9 inches of the skirt has an inset bustle. The fabric there is gathered into a curving seam and there are three black organza half bows stacked one on top of the other to create a bustle feel. This is one of his most famous dresses and its amazing. It appears to have been worn very little if at all. Excellent condition

The body of the dress is fully lined in a black silk and the sleeves are lined in a white silk. The dress zips to close at the back and each cuff has a zipper to close it. Light padding in the shoulders. Tagged a vintage Lacroix 44

Sleeves: 22.5" and 13" around the upper arm
Slightly dropped shoulders: 17"
Bust: to 19.5" flat across from side seam to side seam
Waist: to 16.5" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Total length: 35" from top of shoulder to hem with 2" turned under the hem

Modern Sizing Equivalent: MED-LRG

Item# DD4401

Reference Photos: (1-5) Spring 1988 Christian Lacroix Collection.  /  (6-7) Models in Christian Lacroix Haute Couture Atelier, Paris, 1988. Photos by Arthur Elgort.

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.

Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have a way of flattering the wearer. He knew how to walk that line perfectly. This is a beautiful example of his work from this time period.

The dress is made from a light weight black silk organza and it is an easy-to-wear and very pretty dress. The dress is made to look as if it wraps around you but it actually is fully secured all the way around. The bodice has a cross over the front and is meant to skim over you to the waist. At the back it closes with a hook and eye at the top of the neck and then there is an open keyhole slit to where the zipper begins just above the waist. I love how the back and upper part of the shoulders are made from only one layer of the organza so that it has a touch of transparency. This transparency has been carried over to the sleeves as well. The sleeves are spectacular. Each one is extremely full and balloons out over the cuffs. They are also open with a keyhole from the top of the shoulder to the wrist. The wrist is highlighted with a bow made from the same organza and then you have a huge double ruffle of silk that falls over your hands. The waist is brought in and has an attached band of the same organza that you tied to one side. Under that the skirt falls to the floor and widen out beautifully. It is scooped up at the front to one side and there is another double layer of ruffles that begins at the top of the hip and then falls all the way to the floor. It follows the edge of the skirt all the way around the back and then scoops up the other side. This adds that incredible volume and drama to the skirt that you see. The skirt is lined underneath and the inner skirt has a smaller open slit so that your full leg is not exposed. If you wanted to, you could easily expand that inner slit so that opened all the way up and you did see all of your leg. It is gorgeous and even more beautiful in person. Excellent condition with a minor note below.

Fully lined in a black silk. It closes at the back of the neck with a hook at the top of the neck and a zipper starting just above the waist. Each cuff hooks to close, and the belt at the waist snaps into place. Perhaps the tiniest bit of fading to an edge here or there, but this is a natural occurrence with this type of fabric in this age of garment and I'm being pretty picky.

Sleeves: 29" including the 6 inch ruffle. 15" around the upper arm.
Shoulders: 16"
Bust: to 19" flat across from side seam to side seam
Waist: to 14" 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 shoulder to top of the band at the waist
Total length: 61" from top of the shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4656

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Sophia Loren wore a green version of this dress to Cannes in 1989. Hers had a different neckline that met at the front where this one comes out at the side ps of the bodice so you get a cleaner feel. Both are gorgeous and the photos of Sophia really give a sense of how gorgeous this is once on the body. Loris Azzaro launched his label in 1967 and quickly defined his trademark looks. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. By the seventies and eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a stunning example of his work during this time period. This is a label that I really love and am always happy to find pieces of.

I absolutely love the cut of this dress. It is made out of a beautiful iridescent silk taffeta in a deep peach with coral undertones. The choice of this silk gives it enough structure to hold the shape but still keeps it fairly light in weight. That fabric choice mixed with that full on glamorous  cut that it has gives it feeling of high drama. The bodice is cut to hug the torso and the neckline is cut so that it is scooped in a sweetheart neckline at the front and then another scoop sits at the back. The sleeves are amazing. They are cut to wrap around your shoulders. Each extends out from the back and then wraps around the top of the shoulder before sweeping back in to be secured at the sides of the bust line. They are so pretty. You can adjust them a bit once on to wear more up on the shoulder or leave them draped more around the upper arm to leave a bare expanse of skin to show across the top of the shoulders. The bodice is intricately gathered and it angles down a touch where it meets the skirt. The skirt is very full. It flows to the floor in a massive cascade of the silk. There are no additional underskirts added for these shots. All of that incredible volume is built into the skirt. I love the rosettes that gather and pick up the skirt all the way around. It makes it so incredibly romantic in feel. The front is scooped up and the back is cut longer for a bit of a sweep behind you. It is gorgeous. A cluster of flowers sits at one side of the waist for the final perfect romantic touch. Excellent condition.

Fully lined in a hand set matching silk and closes with a back zipper. Inside the bust there is one of his signature strapless bras tacked into place. Hand finises. It appears to have been worn very little if at all.

Bust: 16-19" flat across from side seam to side seam
Waist: to 14.5" flat across from side seam to side seam
Hips at inner lining: open
Bodice: approx 12" from top of the bodice to shortest part of the side seam at the waist 
Total length: 33" from top of the bodice to the shortest part where it curve up at the front hem, 58" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4644

Reference Photo: Sophia Loren in Loris Azzaro at Cannes, 1989.

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 1987 show and we have included reference photos of it from the runway for you so that you can see how fabulous it is on the body. We even found one where you can see the model walking back down the runway so you can see how gorgeous it is from the back as well. It is an easy to wear and very chic little YSL.

This is a really gorgeous dress. It is made from a lace fabric that has an unusual blue-purple colour running through it. Metallic thread runs through the lace and then over that are thousands of glossy black sequins that follow the pattern of the lace. The sequins catch the light from every angle but in a subtle way that I love. The lace has an open cut that is lined it with a deep blue silk chiffon. It has a touch of transparency to it but its wearable. This combination also keeps it light so that it feels amazing once on the body. The dress sits off the shoulder to leave a bare expanse of skin across the top. The neckline wraps around the shoulders and it is finished with a pretty black silk organza ruffle. The silk of the ruffles has just enough structure so that it holds its shape perfectly. The sleeves fall to just past the elbow and each is also finished with a ruffle. From there the dress skims over you, running over the bust and past the waist, with no seaming there to break the line. At the top of the hip there is a seam that has another ruffled detailing. The skirt falls under that and widens out as it nears the hem. A final ruffle goes all the way around the edge of the skirt. The back of the skirt is set to hang a touch longer than the front. This gives you a beautiful curve from the side  and adds a touch of pretty volume. It is a gorgeous dress and really showcases Yves' innovative eye and design genius. It appears to have been worn very little if at all. Excellent condition

Fully lined in a dark blue silk chiffon. It closes at the side with a zipper. Tagged a YSL 42.

Sleeves: approx 18" from the drop and 12" around the upper arm
Bust: to 18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Seam across the top of the hips: 19.5" flat across from side seam to side seam and open under that
Length: 30" from top of centre neckline to front hem and 36" to back hem including top and bottom ruffle

Modern Sizing Equivalent: SML-MED

Item# DD4271

Reference Photos: Fall 1987 Yves Saint Laurent Runway.

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 top is from the second last ready-to-wear collection that Thierry Mugler presented. It is from the Spring 2001 season and it is an absolutely outstanding piece. It's twin walked the runway that season and I am very happy to have photos and video for reference for you to be able to see how phenomenal this sits on the body. He experimented with materials that included leather and netting as you see in this piece and the appearance of these wide angel sleeves were of note. I've only ever seen one other piece of this available that was done in a different colour from the runway piece like this one is in it's a phenomenal collectors piece

The top is made out of a brown silk net that has those wonderful, leather pieces, hand sewn into place onto the netting. These are set to follow the design of the top. It wraps over itself at the front and ties at the waist, and you can tie it to the side, the back the front however you wish. The ties are extremely long and they are detailed with those little oblong pieces of leather in different sizes laid out to follow the cut of each tide. More leather curves down to follow the shape of the neckline at the front and go all the way across to the sides of the top. They curve up and over to the back where they come down in a little angled point there. The sleeves are as phenomenal as those long front ties. Each one ends in an extremely wide angel shape and is cut extra long. Again the little leather pieces have been applied to follow the shape of the sleeve and some go all the way up almost to the shoulder. I love how some are left to hang over the edge of the top on each sleeve. It just has that little extra bit of genius dimension. It is just outstanding. Excellent condition

Unlined and wraps to close. Tagged a vintage Mugler 38.

Sleeves: approx 27-28" and 13-16" around the upper arm
Shoulders: no defined seams
Bust: to 18" flat across from side seam to side seam but can b adjusted up and down a but when tying
Waist-bottom seam: adjustable
Length: 19" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4635

Reference Photos/Video: Spring 2001 Thierry Mugler.

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 rare dress that is the twin of the dress that walked the Yves Saint Laurent Spring 1992 Haute Couture runway. It is extremely well documented and I have included photos of the original sketch and swatches that I have here from the Saint Laurent couture archive book set that I own in addition to runway reference photos of it that we found. You can see just how fantastic it is on the body. This was Look 47 and part of the short evening segment of the collection.

This collection marked Yves' 30 year anniversary and it was presented on January 29 to coincide exactly with his first collection presented January 29, 1962. The book, Yves Saint Laurent Catwalk, notes that at the time people were expecting a retrospective but Yves actually surprised everyone by producing a full 91 piece collection. There was a definitive tribute aspect to his first 1962 collection. Flowers were a main motif and ran throughout the collection as did polka dots and stripes. Puff sleeve tops with balloons skirts were integral and dresses like this one were a key look. It is an exceptional to have such beautiful documentation on this stunning dress. Every piece of Saint Laurent Couture is a treasure but when it's as highly documented in from such an important collection as this, it is just that much more special.

The dress is exquisite. It is made from a combination of a white silk that has been hand embroidered with roses and leaves across the entire bodice. This is then combined with a silk faille skirt that has dots that appear to be hand painted onto the fabric. A silk organza bow is wrapped around the waist and I love the deeper mustard yellow tone of it. It perfectly offsets the black and white palette. The neckline is scooped across the front and the bodice is meant to skim over the body to the waist. The sleeves are fantastic and each insets into the bodice in a series of pleats across the top of the shoulders. This is what gives them the volume that you see. The edges of the neckline are finished with a black cord and this runs around the cuffs as well. Each cuff is brought into the arm with a button and loop and this bringing in at the arm also helps to exaggerate the puff above. The entire silk of the top is embroidered in this magical, dreamy, black rose embroidery that pops against the white of the silk. The embroidery is done onto the silk directly in some places and then in other places the leaves or roses have been cut out and hand stitched in place. The waist is seamed but it is more generously cut and the organza ribbon that circles it adds the perfect pop of color. Under that the skirt is fantastically full and the fulness is created by the pleats that are set into the waist and the way it has been wrapped in and under at the hem to attach to the skirt underneath. Between the those two layers of the skirt you can feel that there is tulle and some structure inside that helps hold that exaggerated shape. It is a fantastic magical piece of Haute Couture and an important piece from an important collection. Excellent condition with a note below.

The bodice is lined in an ivory silk and the sleeves are unlined. The belt at the waist is attached and wrapped and hooked into place. The skirt is lined in the same fabric as the outer skirt and there is stiffening between the layers as described above. It closes at the back with a button at the top of the neck and then there is a hidden set side zipper too close. The dress is unlabeled, but I have seen the original label that came with the dress. The dress had been let out at some point and my client had it brought back in and unfortunately when she had it altered back to its original size, the tailor lost the tag. I see some very minor evidence of that alteration on the bodice. There are some areas of stress near the embroidery and some minor reinforcements underneath the arms. I see slight dustiness on the fabric at the top the shoulders and there is a tiny chip on the button on one sleeve. Perhaps a slight grubbiness along the inner edge of the lining under the arm. The outside presents as clean and fresh and once on it looks immaculate. 

Slightly inset shoulders: 14.5"
Bust: 17.5" flat across from side seam to side seam
Natural waist: 16" flat across from side seam to side seam
Inner hips: 19.5" flat across from side seam to side seam
Bodice: 15" from top of shoulder to waist
Skirt: 18" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4509

Reference Photos: (1-4) Spring 1992 Yves Saint Laurent Haute Couture.  /  (5-6) From the book "Yves Saint Laurent Haute Couture: L'oeuvre Integral 1962-2002".

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 stunning and extremely rare example of the Haute Couture work being done by the house of Lanvin during the years that Antonio Castillo headed the atelier. Castillo started off his career at the houses of Paquin and Piquet. He also did a stint designing accessories for Chanel. He quickly became known as one of the most promising designers to emerge after WWII and that reputation was part of why he was chosen in 1950 to become the head designer at the House of Lanvin. The press at the time lauded him, along with Balmain, Dior and Balenciaga, as the new generation of the Paris Couture designers. During his time at Lanvin the house was known for the simple and elegant lines. This is a very rare and early Haute Couture coat and we found a reference photo of its near twin that was styled with a belt, dramatic gloves and matching hat added. It is very beautiful and the colour is exceptional.

This coat is beautifully tailored. The double row of buttons at the front and curving cut makes it feel as chic and wearable now as it was when first made. It is entirely finished by hand and has its numbered couture tape under the label. It is so chic and a very important and rare piece. This is truly a vintage gem. It has a deceptively simple cut that hides the precise seams and masterfully tailored cut. It is constructed with the absolute minimal seam work to create the curves of the coat that you see. It is more fitted through the upper bodice and then skims over the waist and flares out slightly as it nears the hem. The collar is neat with a notched front and each sleeve ends in a turned up cuff. A half belt is attached at the back and you could add a belt over it to emphasize the shape even more. The fabric is amazing with a soft finish to it. I believe it is an Alpaca or perhaps a type of cashmere and it is extremely luxurious. The fact that it is dyed that amazing blue makes it that much more brilliant. It is even better in person and the fabric has to be seen and felt to truly be appreciated. This fabric choice allowed Castillo to be able to sculpt the exact shape that he desired. The front has detailed seaming that becomes part of the actual design and inside that is a double row of blue buttons that run down the front to the waist. You can wear this one open or do it up right to the neck like the reference photo. I love the sculptural effect the coat has once on and that beautifully full lower skirting. No shortcut was taken in the construction of this lovely coat and it is an outstanding piece of fashion history in every possible way. Excellent condition.

Fully lined in a hand set black silk taffeta and closes with the button down the front. Finished to Haute Couture standards and entirely done by hand. The Haute Couture numbered tape label is present under the main label and is numbered 15.418. This is a medium to heavy weight coat 

Sleeves: 22" and 13" around the upper arm
Shoulders: 15.5"
Bust: 18.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: open
Length: 45" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4489

Reference Photo: Model in Lanvin, 1952.

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.

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks by using ornate fabrics and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. By the seventies and eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a stunning example of his work from the mid- to later part of the 1970s and is fantastically beautiful. No matter how good it looks on my dress form, in person and on the body it transforms into even more of a bombshell. It is spectacular. To give you an idea of the way the paper bodice fits I have included a photo of French singer Dalida and one if Raquel Welch both wear dresses similar to the bodice of this one. I think this one with its fantastical net tulle skirt is even more special 

This is a killer dress. It is one that will come to life even more once it is on an actual body because this is a dress that in person it is even better. The movement it has cannot truly be captured until it is on a body and moving. The first thing you see is that the entire body of the dress is covered in overlapping glossy black sequins that catch the light from every angle. This detailing alone takes your breath away when you see the dress in person. The dress is strapless and the bodice is cut with a rounded sweetheart neckline and has shaped cups with one of hi signature inner tacked in strapless bras.  It skims over the body from there gliding over the waist and hips. There is some shape at the waist but it is with a more easy feeling which keeps the dress feeling long and lean. Under that the skirt falls to the floor in an explosion of netted tulle that is set in ruffle layers that curve up and toward the centre front. The layers give the skirt so much volume and movement when you move and it is just incredible. When you move even the slightest, they move with you and it's gorgeous to see. It has a full underskirt in a black silk but the way the ruffle are set give the illusion of being more open at the front. I love how the dress curves around the hips and dips down slightly before turning into the tulle to give you maximum curves at the back as well. Above that the entire back is also left bare and open and it is as incredible from the back as it is from the front. The dress is wonderfully made. It is a stunning dress and you will definitely turn heads in it when you walk into the room. Excellent condition

Fully lined in a black silk and it closes with a zipper at the back. His signature copper strapless bra is tacked unsaid and you could remove or replace this is needed for a better fit. It is fuller through the waist and If you wanted a more hourglass feel you can alter the waist in. Elastic through the upper seam of the bodice. and the fabric has some give. Hand finished throughout.

Bust: 14-17" flat across from side seam to side seam with the current inner bra about a B to small C cup 
Waist: 14-15.5" flat across from side seam to side seam
Hips: 18-19.5" flat across from side seam to side seam
Length: 56" from top of the shoulder to hem

Modern Sizing Equivalent: SML-MED

Item#DD4486

Reference Photos: (1) Raquel Welch with Loris Azzaro, 1978.  /  (2-3) Dalida in Azzaro, 1976. - First two photos from the book 'Azzaro: 50 Sparkling Years'.

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 one of two identical coats landing in the shop today. The only difference its that one is a medium (this one) and the other is a small. This is from the time period that Youssef Rizkallah headed the company. Youssef 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, like these coats,  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 colour and vividness of his homeland. 

This is a wonderful piece that can be worn as either a coat or as a dress thanks to the zip front that completely opens. We were able to date it based on the very similar piece that was featured in the ad campaign for 1970. Which makes it a very early piece for his time at the label. The base of the coat is a red fabric that feels like a light wool that has a slight ribbed texture to it. The entire coat is detailed with a combination of a deep blue braiding and blue ric rac that follows the detailing and lines of the coat to emphasize the pattern and cut. Elaborate designs run around the hem and panels in the palest possible blue follow the lines of the coat. A floral patchwork is set around the hem and edged by the rib rack to create that fantastic design that you see. This anchors all the various parts of the design and gives a pop of contrast to the colour combination. The coat is collarless and it zips up the front. The shoulders are soft and the sleeves widen out to be full at their hem. The coat falls from the shoulders and widens out as it nears the hem. I took a shot of it laying flat so you can see the incredible shape that it has. It is quite full by the time it reaches the hem. Because it zips to close at the front and fully opens, you can wear this as a proper coat or you can wear it on its own as a dress, which lets it play double duty. It even has weights in the hem so that once on it falls perfectly in place and pockets that are hidden along those front seams. I just love that spectacular design through the body of the coat. It is so dramatic and like wearing art. I love it. Excellent overall condition with notes below

Fully lined in a hand set pale blue silk and closes down the front with an unpainted silver zipper. I see the teeniest bit yellowing, grubbiness to the bottom pale blue panel and maybe a touch of the same on the blue on the cuffs but I am being pretty picky there especially. Grubbiness to the inner lining around the hem and edge of the inner neck and makes on the inner lining under each arm. Please see the photo after the label shot. Tagged a vintage Small

Sleeves: 24"
Inner shoulders: 14"
Bust: 18" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: 24" flat across from side seam to side seam
Length: 57" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4483

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

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 one of two identical coats landing in the shop today. The only difference its that one is a medium (this one) and the other is a small. This is from the time period that Youssef Rizkallah headed the company. Youssef 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, like these coats,  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 colour and vividness of his homeland. 

This is a wonderful piece that can be worn as either a coat or as a dress thanks to the zip front that completely opens. We were able to date it based on the very similar piece that was featured in the ad campaign for 1970. Which makes it a very early piece for his time at the label. The base of the coat is a red fabric that feels like a light wool that has a slight ribbed texture to it. The entire coat is detailed with a combination of a deep blue braiding and blue ric rac that follows the detailing and lines of the coat to emphasize the pattern and cut. Elaborate designs run around the hem and panels in the palest possible blue follow the lines of the coat. A floral patchwork is set around the hem and edged by the rib rack to create that fantastic design that you see. This anchors all the various parts of the design and gives a pop of contrast to the colour combination. The coat is collarless and it zips up the front. The shoulders are soft and the sleeves widen out to be full at their hem. The coat falls from the shoulders and widens out as it nears the hem. I took a shot of it laying flat so you can see the incredible shape that it has. It is quite full by the time it reaches the hem. Because it zips to close at the front and fully opens, you can wear this as a proper coat or you can wear it on its own as a dress, which lets it play double duty. It even has weights in the hem so that once on it falls perfectly in place and pockets that are hidden along those front seams. I just love that spectacular design through the body of the coat. It is so dramatic and like wearing art. I love it. Excellent overall condition with notes below

Fully lined in a hand set pale blue silk and closes down the front with an unpainted silver zipper. I see some faint yellowing, grubbiness to the bottom pale blue panel and maybe a touch of the same on the blue on the cuffs but I am being pretty picky there especially. Grubbiness to the inner lining around the hem and neck. Tagged a vintage Medium. 

Sleeves: 24"
Inner shoulders: 14"
Bust: 19" flat across from side seam to side seam
Waist: 21" flat across from side seam to side seam
Hips: 26" flat across from side seam to side seam
Length: 58" from neck to hem

Modern Sizing Equivalent: XS-MED

 Item# DD4481

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

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 incredible set that is extra special because it is from the debut Haute Couture collection of Marc Bohan. It has the added province of being documented which is sometimes not easy to find with these very early pieces. The book Dior, Catwalk talks about the reaction to this first collection by Bohan; "Thundering applause, led by the Duchess of Windsor, rolled through the elegant grey and white salons of the House of Dior, the happy ending to the suspense story of the fashion year. At stake was the future dominance of Dior, and the career of designer Mark Bohan. The Chicago Tribune hailed him as being "Mister Dior, the third". The New York Times stated "the shouting, clapping, surging mob at the press show cause chaos in the elegant salon. Bohan was pushed up against the boiserie, kissed, mauled and congratulated. Chairs were toppled. Champagne glasses were broken. People were knocked down. It was a complete triumph for the designer". The book goes on to state that; Bohan called the collection the "Slim Line". It was a streamlined take on the original "New Look". He revisited the day suit with wide cut jackets and low waisted flared skirts fitted at the hips. The Times declared it "a success from the appearance of the first model and worthy in the tradition of the great maestro himself. And Women's Wear Daily wrote three months after the collection was shown that "the Bohan flare is everywhere. Bohan has done the impossible. He is a big commercial success and respected by the fashion intellect." 

The set is exceptional and is an excellent investment piece as well. Dior prices continue to skyrocket and finding couture examples like this from such an important collection and in this condition is getting harder and harder. 

This suit is fantastic. It is actually two pieces. A flared skirt and then a top / jacket that goes over that. The top is fascinating in the way that it is cut and we were very happy to find and see in the reference photo of it that its construction is deliberate. The front only buttons at the bottom and then there is a snap just above that button to hold it closed. It is meant to stay open above that and the button holes that you see continuing up along the edge of the jacket are actually faux. They do not open all the way through. You can see in the photo that the model is wearing it the way that it's meant to be worn. The very bottom is closed and then she has a light top on underneath. This lets the jacket play on its volume that it has. You could certainly open the fabric and finish the buttonholes if you wish to wear it fully closed, but it is meant to be like this. The jacket has a lot of volume and is meant to skim over you and then the skirt is cut in a sleek little flare that skims over the hips and flares out with a series of flat pleats all the way around the skirt. Around the waist the silk lies flat and neat. It is very flattering once on the body. When you stand still the skirt lays flat and smooth but when you move you get an incredible burst of movement and volume. Over that goes the jacket with its wonderful to the elbow wide cut sleeves and oversized MOP buttons down the front. The shoulders are soft and there is no collar. The fabric is a very high end silk twill dyed to that pale tan mixed with white. Both pieces are entirely finished by hand to Haute Couture standards and I've shown some of the detailing inside. It is chic and elegant yet still feels edgy. An amazing find. Excellent condition

The jacket is lined in a fine silk in the same colour as the exterior tan and the skirt is interlined in a white silk organza. The jacket closes with the bottom button only and a hidden snap above that as described above. The skirt closes with hook & eye at the waist and hidden snaps below that.  Completely done by hand to Haute Couture Standards. Proper numbered couture label in place on the jacket. There are some natural, variations and lines in the silk that is inherent to this type of fabric and should not be considered a flaw. It is in remarkable condition.

Jacket
Slightly dropped shoulders: 16-17"
Bust: to 21" flat across from side seam to side seam
Bottom hem: 19" flat across from side seam to side seam
Length: 24.5" from neck to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 27" from waist to hem with 2" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD4484

Reference Photo: Christian Dior Haute Couture Printemps-Ete 1961. Photo Emerick Bronson. Model Nicole de Lamargé.

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.

Every so often I am contacted by someone and entrusted with something very special and this wedding set by Romeo Gigli absolutely fits that bill. This incredible set is a one of a kind, Haute Couture made to measure piece that comes directly from its original owner and she has graciously given all of the original documentation on it to share with you along with a full write up on her experience with Romeo and a scan of the Elle article that was written a year after her wedding. 

Romeo Gigli launched his label first in 1981 which failed. In 1983 he partnered with Carla Sozzani and in 1985 he presented a 25 piece collection in Milan. By 1986 he was an international sensation and his collections made world wide headlines. In 1989 he had his Paris debut. His work was romantic but dramatic. Hallmarks included shawl coats, which this set so perfectly displays, along with soft sloping shoulders and silhouettes that narrow as they come down the body. Historical references run through his work and his de-structured lines felt fresh and new.

This set has all of the original pieces that Marion wore on her wedding day and even includes the original boxes and silk bags that the set was delivered in. Every piece was made in studio by hand and when I tell you that my photos do not do the full set justice I have never been more honest as everything is more beautiful in person. This is a once in a life time opportunity to own this incredible and important piece of fashion history. The link to Marion's story is below and a short description of the pieces follows. 

Click here to see the full photo set of Marion in the fittings with Romeo, on her wedding day, see the Elle editorial, and read Marion's story about the experience >

The wedding ensemble consists of a pale pink silk chiffon top, a gold lace hobble skirt and a deep gold silk jacket or top that was worn over those two pieces. An incredible silk chiffon coat that is filled with silk flowers and flows behind you in a knotted train was worn over that. The original pale taupe velvet shoes in their original box are present along with the hand made hair sticks and pins. The two original pink raw silk hand made bags that the skirt and tops were delivered in are included and the entire ensemble comes in its original raw silk covered box. The final piece included is the little hand held green silk bag that Marion carried that day.

The skirt and inner top are the base of the outfit. The top is slightly cropped and made from a pale dusty peach pink silk chiffon. The chiffon has been hand gathered into soft pleats and crosses itself over the front and back. It wraps around you and closes on one side, inside, with a series of silk covered buttons and then the other side wraps over that and closes at the back outside with buttons as well. The skirt is made out of fine gold lace and is banded around the waist for shape. It drapes softly over the body with volume through the hips created by the layers. It narrows down at the ankles for a touch of a hobble skirt in appearance with the ends curving up and under. It is an incredible design.

An oversized silk top goes over this that has a bit of volume through the body. It is made from a deep copper gold silk with a burnished finish. The sleeves are incredibly long and are meant to be gather along the arms and follow the cut and curve of them. The collar is very high and wired so that it stands and frames the face beautifully. One side is longer then the other and you can shape the wire to give it a quirky little curve in the direction and way that works best for you. I love the open cut out just under the collar. It hints at the silk chiffon top underneath and adds an unexpected flash of skin.

The coat is utterly remarkable. It is thoroughly Romeo Gigli in spirit and it is one of the most beautiful, magical things I have ever seen. It has those beautiful sloped  shoulders he was known for and the front flips over into a deep shawl collar. It slips on over everything else with no front closures. It just falls over you in this exceptional drape of chiffon and flowers and then trails out behind you. The end has been knotted and I love this detail as it is absolutely Gigli at his best. The coat is made from a silk chiffon outer and inner layer that has a touch of transparency to it while inside and between the layers are thousands of silk flowers. Each would have been placed by hand one by one to form a solid layer of flowers that shows through the silk. It has weight yet it feels weightless. It has presence yet it feels ethereal.  The top layer of the chiffon is a pale dusty pink and then the inner layer is a pale taupe. The flowers float between the two and it make this light rustling sound as it moves that it magical. It is one of the best things I have ever personally seen.

Finally are the accessories. Her original velvet shoes that slide on and then tie in place, the little green silk bag that is held by the tied straps and the various hand made hair and stick pins in their original box.

The entire set will be sent in it original box hand covered in a deep dusty pink raw silk as it came to Marion from the Gigli ateliers.

Everything is in superb condition. I see a teeny smudge of discoloration under the arms of the inner silk chiffon top and the wear to the soles of the shoes giving away the clue that it was worn that day. The silk on the large box it came in has more wear as seen in the photos

This is a once in a life time, absolutely remarkable piece of fashion history.

Inner top
Shoulders: no true seams
Bust: 18.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Length: 14" from top of shoulder to hem

Skirt
Waist: 14" flat across from side seam to side seam
Length: 47" from waist to hem and including the 4" waist band

Outer top
Sleeves: 39" from the dropped shoulder seam and are around 11" arond after the dropped shoulder
Shoulders: 27" across and meant to drop significantly
Bust: 30" flat across from side seam to side seam
Waist: 27" flat across from side seam to side seam and narrows to 19" flat across from side seam to side seam by the hem
Length: 41" from neck hem
Neck: 13" around

Coat
Is about 36" flat across the inner bust and it is about 120" long from the neck to end past the knot and not including the deep shawl collar. It is pretty much OSFA

Bag
Approx 9.5" tall and about 5-7" in diameter

Shoes
Approx a 40-41

Modern Sizing Equivalent: SML-MED for the inner outfit and the coat is OSFA

Item# DD4458

Reference Photos: Courtesy of Marion Hume. (1-2) Fitting with Romeo Gigli.  /  (3-7) On the wedding day.

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 dress was made by hand in the atelier of Ady Couture who was based in Lausanne Switzerland. Ady herself was a couture trained seamstress and headed a team who had full permission of the Haute Couture houses she worked with to make the designs they showed in Paris for clients based in Switzerland and the surrounding areas. She would purchase the couture fabrics from the couture houses along with the patterns and then make the actual dresses in her atelier. This arrangement with the couture houses was a way to work around customs during this time period and do fittings for clients unable to travel to Paris. So far we have verified that she had this arrangement with Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but those are the four labels we have documentation on from the runway. This dress is from the Fall 1987 Haute Couture collection. Several variations of this dress where produced and we have included reference photos where you can see the strapless version from the runway. And a shorter version of this dress was also shown on the runway and one was worn by Audrey Hepburn as well.

The dress is made from the most incredible iridescent metallic fabric. It is purple first and foremost but when the light hits here it gets a highlight of a hint of the green that is just amazing to see. The fabric has enough weight to it to hold the shape that you see. The neckline is scooped and the sleeves are set into the shoulders so that you get a bit of a peak where they are gathered into the bodice. They are cut wider near the top of your arm and then taper down to the wrist. The bodice skims over you to the slightly dropped waist seam. Around the hip area is a wide band of gathered fabric that creates that incredible volume. A black velvet bow sits the front. The skirt is cut on a sharp angle that widens out to be quite full as it nears the floor. The cut is meant to feel sculptural and contrast the volume around the hips. The back of the skirt is fuller and set a little longer then the front. One version on the runway was belted and you could easily add a belt to add shape. The interior of the dress is completely finished to couture standards with every single seam done by hand. It is beautifully made and appears to have been worn very little if at all. Excellent condition 

Fully lined in a black silk and closes with a hidden set zipper at the back and there are hidden set zippers at each wrist. Hand finished throughout. It appears to have been worn very little if at all. Made to Haute Couture standards

Sleeves: 26"
Shoulders: 16"
Bust: to 20" flat across from side seam to side seam
Waist: to 16.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 54.5" from top of shoulder to front hem, 58" to the longest part of the back hem 

Modern Sizing Equivalent: MED-LRG

Item# DD3808

Reference Photos: (1) A/W 1987 Givenchy Haute Couture Silver metallic lame brocade strapless gown dress with a black velvet chest and bow and 2-layer puffy skirt. L'Officiel No. 734, September 1987.  /  (2-4) Fall 1987 Givenchy Haute Couture Runway.  /  (5) Audrey Hepburn, in Givenchy, at the Sheraton Hotel in New York City for the 17th Annual International Emmy Awards in 1989.

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.

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Loris Azzaro launched his label in 1967 and quickly defined his trademark looks by using ornate fabrics and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. By the seventies and eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a stunning example of his work during the mid-seventies. When researching we found several examples of dresses from 1973 that utilized the same jagged flame pattern and sequins against silk chiffon. This one actually looks like a sleeveless version of the one shot on Marisa Berenson. This is a label that I really love and am always happy to find pieces from.

This is a gorgeous dress. It is really one that will come to life even more once on an actual body and I hope the photos convey enough of how fabulous it is because when worn this one will be even better. The entire body of the dress is covered with densely applied black sequins and these catch the light from every angle. This covers you from that jagged design on the bodice down and over the hips. The sequins extend right from the flame design at the front and then are set in long vertical rows to the hem. The top of the bodice is a single layer of black silk chiffon. This bit of transparency  adds an incredibly sexy feel. He used that same silk chiffon down the back where it dips into a low scoop. I love the way that the jagged flame pattern defines the bust and that low scoop at the back. A high slit up one side lets you have the perfect flash of skin when you walk or sit. It is fabulous once on an actual body. Excellent condition

Fully lined through the body in a black silk and it zips to close at the back.

Bust: to 21" flat across from side seam to side seam
Waist: to 19" flat across from side seam to side seam
Hips: to 22.5" flat across from side seam to side seam
Length: 57.5" from top of shoulder to hem with 2.5" turned under
Slit: 19.5" from hem up

Modern Sizing Equivalent: MED-XL

Item# DD4403

Reference Photos: (1-3) Marisa Berenson in a Loris Azzaro. October 1973. Photo: Michael Holtz.   /   (4) The cover of the book "Azzaro" for Assouline - Marisa Berenson and Loris Azzaro photographed in 1973, for issue 604 of L'Officiel de la Couture et de la Mode de Paris, by Roland Bianchini.  /  (5) Image from the book "Azzaro: Fifty Sparkling Years"  /  (6) Magazine spread featuring a model in Azzaro, 1973. / (7) Spring 1973 Loris Azzaro Couture.

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.

I love all of the pieces by Bill Tice that I bring into the shop. Most, including this one, were made in the 1980-1981 time period. His easy-to-wear and glamorous jersey pieces have been worn by countless celebrities for the red carpet and events. Every girl that has bought one of his pieces through me has absolutely loved it. This is the first time I have had one of these long open jackets in this peach the shop and I'm absolutely obsessed with it. And I just out a peach dress from the same label that would match this perfectly. You can see that here.

It is made of a soft peach jersey that is meant to mimic the feel of silk jersey. This is one of those things that is a fail-safe piece that you know is going to work every time you put it on. This fabric has the added bonus of traveling very well. It is the kind of piece you can throw into your suit case and slip on over just about anything upon arrival with either flats or heels and you are instantly ready to walk out the door. It is cut to feel long and slim with pleats running down its full length. It has gold cording that defines the collar, the bodice and back, around the arms and the cuffs. There's also a long stripe of the gold cording that follows the ties that close it at the neck. To wear it you just slip it on and tie it at the neck with those ties. The fabric is very light so when you move this has a ton of movement and will billow out around and behind you. It's fantastic. Excellent condition.

Unlined through the body and slips on to wear. The easy cut and open front should allow it to fit a range of sizes

Sleeves: 24"
Slightly inset shoulders: 14.5"
Bust: to 26" flat across from side seam to side seam
Waist-hips: 26"+ flat across from side seam to side seam
Length: 59" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4370

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.

Geoffrey Beene was one of the most awarded designers in the US. There is a currently an exhibit running of his work for the 2023 year titled MOVE: The Modern Cut of Geoffrey Beene. I wanted to share the exhibit notes because they sum his career so well saying 'At his core, Beene was a fashion rebel who ignored trends, instead preferring to design garments that began as geometric shapes and evolved into silhouettes that moved naturally with the human form. His intuitive understanding of the body informed fashions that were unparalleled in their combination of luxury, thoughtful design, and comfort. Beene’s colorful, imaginative creations have been recognized with many accolades, including eight Coty American Fashion Critics Awards and three Council of Fashion Designers of America Awards. His work has also been celebrated through various exhibitions at institutions across the nation.'

This was a favoured silhouette of Geoffrey Beene that he was doing primarily through the late 1980s and into the very early 1990s. When looking through some of the images from the exhibit on his work there were dresses with very similar cuts from the 1990 season. It is a very pretty dress and very striking once on. The bodice is strapless and then it is completely covered in overlapping glossy black sequins at the front. At the back it is the same silk taffeta as the rest of the dress and I love how part of that extends and wraps around to the front just under the bust. This is all attached and adds a beautiful detail that really reflects his work from this time period. The bodice is meant to be fitted and has light boning inside to hold it in place. The top of it dips in the center and peaks slightly on either side to emphasize the bust. The waist is nipped in and then from there the skirt is cut beautifully full to the hem. The silk is all gathered into the waist and this is what helps give it that shape that you see. I love the oversized floral print that covers the silk and how there are these little woven dots running over the very top of the silk. These catch the light differently and are also a subtle nod to his love if dots in his work. Inside there is a black silk lining and the edge of that lining is finished with a sequin detailed lace. This peaks out from below the curving hem of the skirt  and ties all the elements of the dress together. The dress can be worn on its own or with the matching shawl piece that is original to the dress. This extra wide shawl is caught up at each end in an elaborate twisted fabric flower that anchors it and allows it to open between for the volume you see. It can be worn numerous ways and I have photoed some of those here. You could also wear it over the head for a very glamorous look. It is so pretty. Excellent condition.

Fully lined in a fine black silk and closes with a back hidden set zipper. Ribbon finished hem. Light boning through the bodice. The shawl is unlined with no closures

Bust: 17-17.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: 10.5" from top to waist
Skirt: 36" from waist to longest points of hem
Shawl: 100" x 46.5"

Modern Sizing Equivalent: SML-MED

Item# DD4353

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 as Look 38 for the 2018 resort season. The show was held in the remote Upper Las Virgenes Canyon Open Space Preserve in Calabasas, California. The show was star packed with Rihanna, Charlize Theron and Solange Knowles there alongside the fashion pack. The inspiration for the show came from the archives and Chiuri said 'she went to the archives, where she came across the house founder’s Lascaux collection of 1951, inspired by the ancient cave paintings discovered in southwestern France a decade earlier.' This dress to me also harkened back to  the earlier Galliano era and the times that he did knits in a similar colurway. It was a favorite of the street style crowd and it is a gorgeous little creation. I believe that I read at the time these were all hand knit.

The dress is easy to wear and makes a huge visual impact that I love. It is made of a knit virgin wool that is light and feels fantastic once on the body. I love the horizontal stripes of colour that were meant to depict desert sunsets. The weave is loose and open so that you will see either your bare skin underneath or whatever you decide to wear underneath it. It is cut to skim over the body. The neckline is a wide boat neck and then it travels down over the bust, waist and hips, opening up to be quite flared as it reaches the hem. You can see in the reference video that this flare allows the dress to kick out around you when you move. The sleeves are cut to just above the elbow and they are finished with hand knotted yarn tassels in black. These circle the cuffs for pretty detail. These same hand-tied tassels are also set all the way around the hem for added movement there as well. It is just gorgeous. It appears to have been worn very little if at all. Excellent condition

Unlined and slips over the head to wear with no closures. It looks to have been worn very little if at all. Tagged a US4, GB8, FR36, IT40. The knit has considerable stretch. I have put the comfortable range of measurements lying flat and there may be a little bit of room beyond that once on the actual body

Sleeves: approx 15" and are 7-13" around the upper arm and is 12-14" around the cuff above the 2" fringes
Shoulders: no defined seam
Bust: 13-17.5" flat across from side seam to side seam
Waist: 14-18" flat across from side seam to side seam
Hips: 17-25" flat across from side seam to side seam
Length: 54" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4218

Reference Photos/Video: (1-3) Resort 2018 Christian Dior Look 38, Model Zuzu Tadeushuk.  /  (4-7) Sofie Valkiers in Dior at Paris Fashion Week 2017.  /  (8) credit unknown.

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 1982 show and I love that we found photos of it for you so you can see just how spectacular it is one and how the sleeves sit once on a body. This silhouette with its dramatic sleeves and full skirts was an important element for that season. It is just a stunning example of one of his most recognized looks.

The dress is made from a combination of two of his favorite fabrics, silk taffeta and silk velvet. These became signatures of his and ran through his collections from the start of his career to the finish. It is a stunning piece. The top is cut to skim over the bust with a scooped neckline at the front. It is seamed at the waist and then extends down over the top of the hips. There is an attached silk taffeta sash that wraps around the waist and cinches you in for added shape and detail at the waist. The sleeves are full with a beautiful sweeping cut that starts at the shoulders and remains full to just past the elbow. At that point the fabric changes to to a velvet. Four glossy dome buttons  detail the lower part of the sleeve. These are meant to be pushed up slightly to exaggerate that pouf of the upper sleeve even more. The skirt falls from under the velvet and it is beautifully full. The photos do not really do the amount of fabric in the skirt full justice. I love that under the top purple layer of silk there is a lining finished in a coral red silk taffeta. You don't see that inner layer when you are standing, but when you sit or move just right, you get that extra flash of color. It's a small detail that I am obsessed with. The fabric choices helps keep the intended shape and volume. Pieces by Yves from this time period have become an important piece of fashion history and having documentation like this one has makes it that much better. Excellent condition.

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

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

Modern Sizing Equivalent: SML-MED

Item# DD2856

Reference Photos: (1-2) Fall 1982 Yves Saint Laurent Runway.  /  (3) Alice Englert wearing this dress for Harper's Bazaar, 2023.

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.