• This remarkable piece of Emilio Pucci dates to Spring 1968
• It was made under the creative direction of Emilio Pucci.
• It's near twin was famously shot on Marissa Berenson that year.
• By the 1960s and 1970s, Pucci was a world-wide phenomenon. Hollywood stars like Marilyn Monroe, Sophia Loren and even first lady Jackie Kennedy were huge fans. For all of the many attempts since to catapult the label back to the height of its glory, the days when Emilio himself oversaw the label and designed the prints will always be the most special to me.
• It is made out of one of his more rare and hard to find velour or velvet finished terrycloths. I love that pieces in this fabric could of course be worn as cover-ups over bathing suits, but you could also wear it on its own as well.
• Each of their dresses were made of a custom designed print. On this one a beautiful classic Pucci floral print runs over the entire dress. The print combines pinks, pale, tangerines, soft greys and pops of black. A smaller floral print sits inside the contrast in borders worked throughout the print.
• A zipper runs partway up the front. I love how this allows you to zip it as high or low as you wish. It ends just about the top of the thighs and is open from there to the hem allowing for a bare flash of leg to show.
• It will also open up completely, so you can wear it as an almost cape kind of peace as well.
• I love how the contrasting edging that is built into the print highlights the cut of the piece and adds very pretty lines on all sides of the cover-up.
  
• The shoulders are soft and the arm holes are slightly squared off. This allows for that contrasting band a print around the top of the bust to sit perfectly all the way around you.
• You can zip and hook the collar all the way up and around your neck and the piece comes with its original hood. The hood matches the rest of the cover-up and remarkably it is made so that it snaps into place along the inside of the collar so you can wear the piece with or without the hood.
• It is cut more loose and generous through the body as it skims over the bust, waist and hips. It flares out as it nears the hem and this is helped by a fold over pleat that attaches in near the armholes and expands out all the way to the hem. There is a ton of fabric in it so it has great movement when you move.
  
• These original Pucci coverups are getting harder to find and this one is an outstanding condition and is absolutely gorgeous. The fact that it is documented to its year is just added bonus.
• The piece is unlined with the more traditional terrycloth feeling side against the body. It closes with a front metal zipper. I do see some small discolouration here and there and there is some minor fading and grubbiness to the collar. I see some minor seam separation and a tiny repair where the arm hole fits into the bust at the front. I have taken several photos so please review the the ones after the label shot. This is not unusual for pieces from this period and in this fabric because they were worn and loved. I think it's still an outstanding condition. The printed part of the fabric is signed throughout. Hand finishes throughout. 
• Tagged a vintage Pucci 10
• Great condition
  

Bust: to 19" flat across from side seam to side seam
Waist-hips: open
Total length: 56" from the neck at the seam under the 2" collar to hem. The front slit is 27" from the hem to the base of the zipper.

Modern Sizing Equivalent: OSFA

Item# DD5721

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 was the finale dress shown as Look 34 for the 2016 Resort Stella McCartney collection.
• It was made under the creative direction of Stella McCartney.
• This was one of the most heavily documented dresses of both the collection and the season. It was worn for editorials, on the red carpet and for television appearances. 
• Vogue specifically noted the "citrus-hued, ankle grazing trapeze dresses." saying of that the models who wore these dresses at the end of the presentation "you couldn't have found a woman in the crowd who didn't want to be them or at least look like them for the night"
• This dress was sold out and wait-listed worldwide. Very few were produced.
  
• I love the bright colour that the dress has been done in. It is incredibly difficult to capture the actual colour in a photo and I think it is even better in person as it is a touch paler then how it photoed here.
• The dress is made out of a single layer of feather light silk that verges on a chiffon. This gives it just enough weight to hold its shape fantastically but the lightness of the silk creates masses of movement around you when you move.
• This combined with the brilliant seaming and cut is what gives the dress its exuberant volume and shape.
• Both the front and back neckline are gathered up into little pleats that sit at the base of the neck. To hold the pleats together there are little gold beads placed on matching tiny silk straps that wind their way through the pleats. This little unexpected touch of gold is striking.
• The ties that go through the neckline extend out on either side and you tie them on the top of the shoulder. This allows you to wear the dress as high up or low as you wish. You can see in the reference photos that sometimes the neckline is dropped quite substantially from where I have it in my photos and the ties are what allow you to do this.
• The sides of the dress dip down into sharp little angles leaving a bit of skin to show at the sides. 
• The waist has a generous cut and it is meant to feel more loose and easy. It is really a piece that is easy to fit and should work on a variety of body types. 
  
• The silk falls from underneath the neckline and skims over the body expanding outward to a generously cut seam that sits below the hip. The fabric under that seam then gets progressively wider as it near the hem.
• A wide ruffle of fabric circles all around the lower hem with a wide band of stiffened netting hidden inside to help hold the shape.
• The silk of each tier is gathered into the seam above and below it and this also helps to add to the volume and create that incredible trapeze shape.
• The amount of fabric through the body of the dress and skirt combined with the lightness of the fabric is what lets it billow and move around you in the most spectacular way. And it has pockets.
  
• This is an absolutely stunning example from that season and it is a very collectible piece.
• The dress is unlined and it slips on to wear. It ties on either side of the neck as described above. There is perhaps a tiny bit of grubbiness along the edge of the hem but it otherwise is pristine. The extremely open cut should allow this to fit most frames. It will just drape more on a smaller frame.
• Tagged a modern Stella McCartney 40
• Excellent condition

Bust-Hips: open
Total length: approx 63" from neck to hem as it is tied here. It could be made longer if you let the ties drop at the top of the dress.

Modern Sizing Equivalent: OSFA

Item# DD5719

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 
  
• This appears to be the actual Haute Couture sample coat that walked the runway for the Fall 1985 Jean Patou collection for Look 12
• Made under the creative direction of Christian Lacroix 
  
• This is an extremely rare and important piece of fashion history. Very few pieces of his work at Patou come up for sale and this is more then likely the only piece to exist.
• Made in the Paris atelier
• Made of a soft orange wool shaped in an enveloping cocoon shape highly reminiscent of a 1920s flapper coat.
• It is all cut on the bias so once it is on the body it wraps around you beautifully. It is extraordinary. 
  
• The sleeves are quite extremely wide and they have a long wide cuff that flips up and over the sleeve. The cuff is completely covered in hand dyed feathers.
• More of the same hand dyed feathers are used to create a huge shawl collar that drapes down and over the shoulders. It continues to run all the way to the hem and circles around to the back hem.
• The coat narrows in as it reaches its bottom. This is a classic cut for this style of cocoon coat
• It feels wonderfully decadent and opulent, both key design elements in Lacroix's work. It is literally like wearing a work of art.
• Partially lined in a silk through the upper body of the coat and through the sleeves. The rest is unlined.
• Has its hand written Haute Couture sample label in place and attached metal couture tag
• Excellent condition

It is very full and open and has no closures so should fit almost any size. It is approximately 52 inches from neck to hem but that will come up a bit once it is on the body.

Modern Sizing Equivalent: OSFA

Item# DD5048

Reference Photo: Fall 1985 Christian Lacroix 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.