This is from the same time period as the other two Tice pieces that just landed in the shop so am confident to date it that same period where he was using that top stitched gold fabric to accent his pieces. The dress is very easy to wear and forgiving on most figures with its loose and voluminous cut through the body. Keep in mind that it does not mean that it is not as sexy as some of the others - it is just sexy in a different way. It is made of a black liquid jersey that feels amazing on and has the added bonus of traveling very well. It is the kind of piece that you can throw into your suit case and slip on with either flats or heels when you reach some far off destination and be instantly ready to go. It is has one single shoulder and sleeve and the other is left bare. The dress itself is long and full through the body with a high slit on the side opposite to the sleeve for balance. This lets some bare leg show when you walk or sit. The entire neckline is accented by his signature top stitch gold lame and this then ties right on the top of that one shoulder. Excellent condition.

Unlined and slips on. Ties at the top of the shoulder. The easy fit allows it work on a variety of sizes. The gold is a true gold in person. The open cut will allow it to fit pretty much any size

Sleeve: Approx 23"
Bust: to 25" flat across from side seam to side seam
Waist-hips: to 24" flat across from side seam to side seam
Length: approx 54" from shoulder to hem and you can adjust at the shoulder
Slit: 20" from hem to top of slit at the side

Modern Sizing Equivalent: OSFA

Item# DD2999

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

This Thea Porter Abaya caftan dress was produced in 1975 and was one of the dresses that I lent from my archives to be displayed in the 2015 exhibit "Thea Porter 70s Bohemian Chic" at the Fashion and Textile Museum in London, curated by Laura McLaws Helms. The mix of textiles used in the construction of this caftan was specifically noted upon on the display card that accompanied this dress in the exhibit. The card stated: Abaya, c. 1975, Designed by Thea Porter. Additional notes from Louise Fennell on Thea’s ingenious mixing of fabrics stated: ‘She’d often just put different bits of material on the floor and looked at them, and moved them about a bit; tried different things with different things – sometimes you thought, “Ooo, really??” but it always worked brilliantly.’

Like all of Thea's pieces, only a very few were produced and her caftans have come to represent Thea's work like no other piece of her clothing that she designed. Elizabeth Taylor was just one celebrity that collected them relentlessly and had a large collection that was auctioned off through Christie's in 2011. Most of the caftans fetched well over the $20,000USD mark. Barbara Bach was photoed in a similar one for the cover of the Sunday Telegraph in 1977 and that photo has become an iconic representation of the era. Each was made by hand and no two are alike. They are addictive and finding each one is like finding a piece of lost art. This one was never worn and is virtually brand new other then having been made over 40 years ago. It is very beautiful with its stunning mix of greens, metallic shot velvet on chiffon and panels of brocades. Yards of fabric were used in its construction and as with every one of her pieces like this the mix of fabrics is what catches the eye. Thea was known to hunt antique stores and markets in far off places around the globe and then incorporate and use what she found in her designs and you can feel that influence with the array of fabrics used here. The wide metallic brocade ribbon that borders the main front panel feels like it could be a bit of older ribbon rescued and re-purposed. The caftan is deliberately left unlined and it is not until it is on that you realize that all the side panels of chiffon and velvet fused chiffon are semi-transparent. This makes is very subtly sexy despite the full coverage. The patchwork feel and fabric layout is a work of art. The front panel and back panel of brocade has a slightly 'stiff' feel to it but this is only because it has not been worn, it will soften as you wear it. This one is extra special as it has a chiffon tie that loops though the front so that you can add some shape if you wish to. A very special piece, very rare and it has the added bonus of being a documented Museum exhibited piece. Excellent condition

Unlined and slips on to wear. Has a matching chiffon fabric sash that you can slip through slits at the front to add shape. It appears to have never been worn. The hand written museum tag is still attached.

WIdth: 59" side to side
Length: 53.5" neck to hem

Modern Sizing Equivalent: OSFA

Item# DD2966

Reference Photos: (1-2) From the Thea Porter 70s Bohemian Chic Exhibition at the Fashion and Textile Museum.  /  (3-4) Cherie, Owner of Shrimpton Couture, by Erin Leydon.  /  (5) Barbara Bach, in Thea Porter, photographed by David James for The Telegraph Sunday Magazine, April 3, 1977.  /  (6) Elizabeth Taylor's collection of caftans,  Christie’s auction house, New York, 2011.

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

This hooded red and black cape is wonderful. It is by Yves Saint Laurent and is a beautiful and easy to wear piece that will fit virtually any size. It dates to the late 1970s, maybe to mid-1980s and is very representative of the work he was doing during this time period starting with his famous "Russian" collection of 76-77. The cut is very simple - the back is one large panel and then there are two panels that fall across the shoulder and down the front. It has one single hook at the neck and simply falls into place. I love the attached black velvet hood that really makes it feel dramatic. The fabric is a red wool that has an almost felted look to it. The hood is black velvet and the inside is also lined in black for a gorgeous contrast. It looks to have been worn very little if at all and is the type of item that you can throw over almost anything. Excellent condition

Lined in a black silky rayon satin just at the base of the neck with the rest of the cape unlined. Closes with a single hook and eye at the neck. Tagged a 38 but really could be worn by any size

Length: 49" neck to hem

Modern Sizing Equivalent: OSFA

Item# C468

Reference Photos: Cherie, Owner of Shrimpton Couture, by Erin Leydon.

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

Yves did a series of these oversized dresses that fell off the shoulder and into that great expanse of volume for the 1979 Haute Couture show and then that silhouette trickled down in the Rive Gauche collection. that season and the next. This one is an unusual example of the look in that it is made out of a light and airy cotton voile rather then his usual silk taffeta's and chiffon that you see more often. The dress is cut to be very oversized and has a built in elastic binding that hooks either over or under the bust depending on how it works on you. This is suspended from the inner shoulder of the dress and is what keeps it from literally falling off of you. The elastic in the shoulder does seem to be partially gone in some places so I think this one hangs perhaps a bit more off then shoulder then originally intended but I have chosen to leave it as all original and sell it for less then what I would normally price it for. The sleeves are long and full and each has an elastic gathered cuff that has the same floral print. The body is very full with the back trailing down longer then at the front. The hem is finished with a wide ruffle that has that beautiful floral print. So pretty and volume seems to be once again in fashion so it feels very relevant yet again. Excellent overall condition with notes to review below.

The body of the dress is lined in a white silk chiffon with the sleeves left unlined. It slips over the head to wear with an inner elastic that hooks in place to keep it on the body. Parts of the elastic through the neckline has given way. It can be worn as is. I see a slight yellowing to the inside edges of the elastic collar but this is only apparent inside - the outside part that you actually see show no discoloration

Sleeves: 24" approx.
Shoulders: no defined seam
Bust-hips: open
Inner elastic: measures 22" from hook end to hook end and will easily stretch to 34"
Front Length: 42.5" from neck to hem
Back Length: 56" from neck to hem

Modern Sizing Equivalent: OSFA

Item# DD2923

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

This cape is utterly amazing and a true work of art. It has a hand stenciled pattern of leaves running through the black silk velvet that gives it the feel of the work that masters like Fortuny and Gallenga were doing at the time. I have actually always wondered about the true origins of this cape - it does have a label but the label is that of a departments store - Dey Borthers and co that originally opened in 1894. I have seen very similar pieces by Gallenga in particular sold but I can find no hidden signatures so it remains a mystery. It is certainly a high quality piece and I would not be surprised to find out it was indeed someone special. 

Luxurious black silk velvet drapes to perfection over you when you slip this wonderful cape on. The base is an inky black and the is covered with a leaf print. This print winds around the lower portion of the cape, around each shoulder and across the back, and then trails down the back on both sides.  Each leaf is a combination of taupe and soft dove grey with a slight metallic feel to it. These almost seem to glow with their own inner light. As the velvet fabric catches the light the colors changes and the leafs take on really wonderful quality. Keeping with this natural feel is an elaborate feather collar that circles the neck. It has dangling ends all the way around that add even more drama to this beautiful piece. Inside the cape is lined in a fine black silk. It has a single, large metal hook to close it at the neck and little velvet loops at each inner edge to slip your hands through if you wish. This is a beautiful example of a 1920s evening cloak. Excellent antique condition with one small note to review below.

Fully lined in a black silk and closes at the neck with a metal hook and eye. In excellent antique condition. I see a small amount of shattering on the upper edge that is totally hidden under the collar - probably from improper hanging. Other then that it looks virtually unworn. The feathers are in excellent condition and show no signs of shedding at all. The small flaws do not show when on and for a piece of this age I would still rate it as excellent. I see no other flaws and it appears to have been worn very little if at all and is wearable with the care it would deserve to be worn with. It is remarkably sound and shockingly beautiful. It is almost 100 years old and is considered to be in museum quality condition.

Length: 48.5" top to bottom

Modern Sizing Equivalent: OSFA

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

Item# C460

Reference Photos: Cherie, Owner of Shrimpton Couture, by Erin Leydon.

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

This hooded poncho or cape is wonderful. It's by Yves Saint Laurent and is a beautiful and easy to wear piece that will fit virtually any size. It's a wonderful piece of the work he was doing using furs during this time period. The pelts are pieced together in a patchwork of squares and giving it an added dimension of texture. The cut is very simple - the back is one large panel and then there are two panels that fall across the shoulder and down the front. It has one single hook at the neck and simply falls into place. I love the attached hood that really makes it feel dramatic. The fur has been dyed to a deep forest green that appears almost black in some lights but in a bright light the green really comes through strong and true. I am not an expert in fur but believe it is sheared beaver - this technique almost makes it appear to be a faux fur but I did open a small teeny bit if the seam and did verify it to be a dyed fur. It looks to have been worn very little if at all and is the type of item that you can throw over almost anything. Excellent condition

Lined in a black silk satin lining embossed with the YSL logo. Closes with a single hook and eye at the neck and there is a hidden pocket along the edge of the front on each side

Width: 56" side to side
Length: 42.5" neck to hem

Modern Sizing Equivalent: OSFA

Item# C457

Reference Photo: Lauren Hutton photoed in a similar style cape for Vogue, November 1970.

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

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

This is a superb cape that is made from a grey wool and is cut to be full length and will tremendous volume through the cut. The lines are easy and the weight of the wool allows it to fall from the shoulders in a swoop of fabric that falls to the floor. It is constructed from a steel grey wool that is warm and does have a decent weight to it, but is not so heavy as to be cumbersome when on. It hooks at the neck with a large hook & eye and is open below that to allow for the maximum movement.  The detailing on it is incredible - it has a hand set braided cord in two shades of grey set in an intricate pattern that follows the collar and then runs down both sides of the front. Presents as excellent condition with one note below to review

Unlined with ribbon finished interior seams and closes with a hook & eye at the neck. There are a couple of teeny nips - I have photoed them. Otherwise no issues. It has been specialty cleaned and temperature treated to Museum standards.

Length: 58" from neck to hem

Modern Sizing Equivalent: OSFA

Item# C448

Reference Photos: Cherie, Owner of Shrimpton Couture, by Erin Leydon. (See more on Instagram)

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

Similar Fortuny gowns are held in museums and private collections world-wide and they are becoming increasingly hard to find. A version in green is a part of the permanent collection at The Costume Institute of The Metropolitan Museum of Art (pictured). The description of that gown is so wonderful I thought I would share it with you here verbatim:

"Mariano Fortuny created a number of variations of his pleated silk gowns. In this model, he combined elements of the classical chiton and the peplos. A "tunic" is attached along its neckline to a long sleeveless underdress, suggesting the apoptygma of the classical peplos. This effect is further emphasized by the handkerchief points at either hip, which would have been seen on the sides of an authentic apoptygma. In the ancient Grecian peplos, the arm openings were positioned along the neckline edge rather than the sideseam edges. This resulted in a dipping hemline at either side of the garment when worn. Fortuny took this structural attribute and achieved the similar, purely decorative effect by cutting away at the tunic's front and back hem. Further, he interpreted the buttoned or pinned closings characteristic of a chiton's shoulder seams by connecting the topline seam of the tunic's sleeves with Venetian glass beads interlaced with silk "rat tail" cording. Fortuny was noted for his antiquarian intentions and scholarly treatment of classical dress, yet in the end, he invented rather than replicated a Hellenic style."

This beautiful version is a labeled Mariano Fortuny gown, circa 1907-1920. It is not perfect but still wearable and a wonderful example of his work. It's imperfections mean a huge difference in price. In hunting for a  comparable I found the very few examples out there to range from $10,500 - $16.500 and none were anywhere near this glorious color.

The dress is hand dyed to an deep raspberry, the pleated silk has a corded silk drawstring at the neck, short kimono style sleeves and an attached tunic with pointed side panels all of which are weighted with deep red, Venetian glass striped beads. The gown is in good condition. The silk is strong and wearable with no splits in the pleats. The pleats have softened throughout and this is the primary reason for the reduction in price. From a wearability point of view it has no effect and gives the gown a softer, more romantic, billowing feel. The beads that should lie along the arm to close it like the one you see from the Met are missing. You could tack the arm shut where a bead would be but I actually loved the open feel that gives it a modern look so chose to leave it as found. I see one spot that is lost in the folds and if held to the light perhaps a tiny pinhole or two but nothing alarming. Even the one from the MET seems to have the same softening of the pleats and I believe this occurs partly from age and partly as a result of the pleats being moved more in this area when worn. All the beads are present along the sides and bottom edge of the tunic. The color, style of sleeve and type of beads used place this in the very early years of Fortuny's career. It is signed along the tape at the seam.

It is 69" long from the mid neck at the back to the hem and the width will accommodate pretty much any size. The upper inside bodice is lined in a nude silk that is fully intact. Part of the seam was loose and I had it lightly tacked down along the edge.

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

Modern Sizing Equivalent: OSFA

Item# DD2801

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

This black pleated full length cape is a wonderful example of Giorgio di Sant'Angelo's work and aesthetic. He first hit the fashion map when Diana Vreeland asked him to design clothing for a desert location shoot that starred Verushka in 1968. That shoot is now legendary - it created such a buzz that his clothing was instantly sought out by all the most fashionable women on the planet. In 1976 he dropped the "di" from his name giving us a post-1976 date for this. His pieces were sexy, bold and had a hippie flair to them that few other designers could match at the time. I love his work. This spectacular cape is constructed from an unusual perma-pleat fabric that is lightweight but gives it some structure and keeps the slim line  of the piece until you need to move around in it. It falls all the way to the floor in a full length swoop of fabric. The collar is gathered and it has ties running through it that allow you to loose or tighten that ruffle around the collar as you wish. This lets you have it so that it sits wide at the shoulder or tightly framing your neck. The lightness of the fabric gives it a billowing effect when you move and walk that is stupendous. A really lovely and romantic cape that will top just about anything. Excellent condition.

The cape is unlined and ties at the neck. It will fit any size

Length: 57-60" from neck to hem depending on how you tie the neck

Modern Sizing Equivalent: OSFA

Item# C441

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

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An absolutely beautiful 1970s piece of bohemian glamour that is in excellent condition. This is a darling little beaded capelet with a pretty fringe bead detail running all the way around the bottom edges. It has a simple hook closure to hold it in place and below that dangles elaborate beaded cords that end in a splay of chiffon and beads. The pattern is stunningly beautiful - glossy gold beads and sequins are hand sewn in a black chiffon and the edges finished with a row of gold ball beads and tube beads. Excellent condition

Width: 36" from tip to tip when paid out ad spread out. The ties add another 18" (9" each)
Length at longest point : 14.5" top to bottom

Modern Sizing Equivalent: OSFA

Item# S782

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

John Kloss for Circa were originally intended as lingerie pieces the vast majority are too thin or too sheer to wear as proper dresses now. This one walks the edge, perhaps not to be worn on its own out in public with its open sides, but as a layering piece. It def has a touch of sheerness in a strong light but you could use it as a cover up, be daring and wear nothing but a slip under it, or layer it over just about anything. I love his work. He deliberately chose good weight and quality nylons that held the color well and would drape exactly as he wished. This black tabard cut gown is simple in feel but big on style. It slips over the head with an elastic drawing in and adding shape under the bist and to the waist at both the back and front. It is left completely open on either side with just a simple tie. Quite amazing and daring. Excellent condition

Unlined and slips on. The design will allow it to fit just about any size.

Bust to hips: open
Bodice: 11" from shoulder to waist
Skirt: 39.5" from waist to hem

Modern Sizing Equivalent: OSFA

Item# DD2790

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