The twin of this dress walked the Fall 1987 runway and I love that we found a reference photo so you can see just how fantastic this is once on. It is one of those dresses that looks amazing on the dress form but is even better on an actual person. 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 unexpected materials in way that was very flattering to the wearer. This dress is so unusual and I absolutely love it. It is truly one of the most spectacular of his dresses that I have had in the shop.

This dress is incredible. The fabric alone is a work of art. The base is a rich blue silk and then onto this is a fantastic design made of out a black velvet. The velvet is very soft to the touch with a chenille like finish that gives the design a beautiful texture and softness. The dress has the feel of an antique 18th century gown and I love this reference back to the past. The top is a fitted and strapless with a band of black silk wrapping around the breasts. The blue silk and black velvet fall from there to skim outward over the waist and hips and then narrow back down to the floor as it reaches the hem. This gives the front of the dress a more long and lean feel but with a hint that something special might happen as you turn. The back is the star of the show. Sitting over the top of the closure at the back is a large black velvet bow. This tops an added panel that has the feel of a bustle. I is made out of a tremendous sweep of the same fabric. It  expands outward and then loops back in to attach just under the hips. A second black velvet bow sits at the base of where it swoops in. The sheer volume of fabric used to create this nod to a bustle is fantastic. From every angle of the dress you get these wondrous sweeping views because of this unusual detail. There is a slit under that at the back to allow you to walk. The combination of the beautiful fabric and that extra detailing is just amazing. It is one of the most beautiful dresses I have seen from him. It appears to have been worn very little if at all.. Excellent condition

Fully lined in a black silk. It closes with a back painted metal zipper hidden under a seam and there is an inner hooked waist stay. Light boning through the bodice. Hand work throughout. 

Bust: to 17" flat across from side seam to side seam
Inner waist: 14" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Total length: 56" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD4995

Reference Photos: (1) Fall 1987 Bill Blass Runway.  /  (2-5) Mikey Madison wearing this dress to the Oscars Nominees DInner, February 2025.

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 Anthony's business was all done on a made-to-order basis. That means that each piece is the only one that exists or in the very occasional circumstance that there are similar pieces only a very limited amount of pieces were made. And to make things even a little more special.... the pieces I have in the shop come directly from John's archive. He is one of the great American couturiers and he was known for his sharp tailoring and striking evening wear. He launched his atelier in 1971 and he quickly rose to fame, winning a Coty award in 1972 and then again in 1976. This jacket is from his Fall 2004 collection and is the original sample from his archives. 

The first thing you notice about this jacket is the extensive embroidery. It is incredible. The base is a brown velvet and onto that is an extensive pattern made from hand applied black silk cording, little metal mesh pieces formed into leaves and thousands of different size gold beads and sequins that are hand applied over that. It has a beautiful tailored cut with light padding in the shoulders and long sleeves. The waist is brought in with meticulous shaping and seaming so it has a beautiful curve. There is a hidden hook and eye to keep it closed. The hips flare out from there for beautiful shape. It is meticulously tailored. John told me that creating jackets was one of his favourites things to do. They are infinitely challenging to have them sit perfectly on the body and his are tailored to a master level. The collar is a rich chocolate coloured silk and it is a neat rounded shape that plunges down the front in a sleek V. The beads, silk cording, sequins and other appliques are all applied by hand and are set into a dense pattern that covers the entire jacket. To think of the man hours put into this jacket is incredible. The personal attention to each piece is clearly seen in the workmanship of his designs. His work is very expensive and beaded jackets like this retailed for up to $10,000 and more during this time period which would be around $25k in modern dollars to recreate at this level. This is the original sample jacket. Excellent condition

Fully lined in a black silk with a hook and eye closure at the front. Padding in each shoulder. Made by hand. A one of a kind.

Sleeves: 25" long and 12" around the upper arm
Shoulders: 14.5"
Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Lower seam: 18.5" flat across from side seam to side seam
Length: 24" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4578

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 Anthony's business was all done on a made-to-order basis. That means that each piece is the only one that exists, or in the very occasional circumstance that there are similar pieces, only a very limited amount of pieces were made. And to make things even a little more special.... the pieces I have in the shop come directly from John's archive. He is one of the great American couturiers and he was known for his sharp tailoring and striking evening wear. He launched his atelier in 1971 and he quickly rose to fame, winning a Coty award in 1972 and then again in 1976. This jacket is from his Fall 1980 collection and is the original sample from his archives.

This jacket is stunning to see in real life. It has a beautiful sleek cut and it is meant to be more fitted through the body. I love that it completely closes as this allows you to wear it on its own or layer it over other pieces. The shoulders have light padding for shape and the sleeves are long. The waist is brought in just a touch. It is meticulously tailored and John told me that creating jackets were one of his favourites things to do. They are infinitely challenging to have them sit perfectly on the body and his are tailored to a master level. It has no collar and the neckline is a sleek V.  It closes down the front with a series of hidden silk covered snaps and then there are three glass rhinestone buckles that close over the front. They are spectacular. The entire jacket is covered in glossy black sequins. These have all been set by hand and completely cover the silk that the jacket is made from. Each sequin is laid out so that it slightly overlaps its neighbour. To think of the man hours out into this jacket is incredible. The final finishing touch on this one are the bold motifs beaded onto the sequins on each side at the front. These have a 3D effect and sit up and off of the sequins below. The personal attention to each piece is clearly seen in the workmanship of his designs. His work is very expensive and beaded jackets like this retailed for up to $6,500 in the 80s and 90s which would be around $25k in modern dollars to recreate at this level. It appears to have been worn very little if at all. Excellent condition

Filly lined in a black silk and closes at the front with hidden set silk covered snaps. The rhinestone clasps close over that. Padding in each shoulder. Made by hand. A one of a kind.. 

Sleeves: 22" long and 13" around the upper arm
Shoulders: 16.5"
Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 24" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4551

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 from John Galliano's own label and is an incredible example of his work from this time period. This is a production piece that was not shown on the runway but would have been made in limited quantities for the shops. For this season he had emphasized a glamorous hourglass shape mixed with nods to pinup girl lingerie style dressing. These bias cut dresses always harken back to his love of the 1930s and 1940s and you can see that influence in them. This dress with its cut out detailing and that fantastic draping of fabric across the shoulders is absolutely beautiful. This is classic Galliano and is extremely flattering once on the body.

The dress is made out of a deep purple silk that has a slight bit of texture to it. It is completely cut on the bias in that signature cut he does so well and that we all love. The dress falls from a delicate strap that curves up and behind the neck and then it drapes down and over the body to the floor. The bias cut of it allows the dress to skim and drape over you so that it shows every curve but is not overly fitted. The fabric has been pieced together with dropped and angled panels throughout to create the beautiful shape that you see. The dress is suspended from tiny straps that curve up and around the neck. At the back, the strap meet behind the neck and then drop down the centre of the back and panels of silk are suspended from it. These curving panels can be worn either down and under the arms or you can drape your arms through them to create a beautiful curving 'sleeve' effect over the arm. I think that on a real body you might even be able to get clever and do some other styling tricks with them as well. The dress glides over the body past the bust, waist and hips and then flares out as it reaches the hem. It buttons to close down the side with a row of his signature buttons covered in the same silk and then on the other side the fabric is gathered in and up into a wired circle. The circle is open in the centre and the panels that gather into the circle have been cut out and opened so that it forms the shape of a flower trailing over one hip. The dress is lined in a crepe silk but you could choose to remove that lining and have that side be completely bare so that your skin showed through if you wished. I have seen this dress in another colour where someone did that and it looked great. It is an incredible feat of patterning. The dress is even better in person and on the body as the photos cannot fully convey how a bias cut dress moves. It will only truly come to life when worn. Excellent condition with a minor note below.

Fully lined in a slightly deeper purple silk crepe and closes at the side with a series of silk covered buttons. I see perhaps a tiny pull in the fabric here and there which happens with this fabric and a bit of shininess here and there from pressing near seams. All minor and mentioned for accuracy. Tagged a FR42, GB14, US8. The bias cut should allow it to fit a range of sizes with it just draping more in a smaller frame

Bust: 16-19" flat across from side seam to side seam
Waist: 13-16" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Length: 63" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4599

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Hubert de Givenchy moved to Paris in 1942 where he worked for Jacques Fath, then Elsa Schiaparelli, and eventually Cristobal Balenciaga. Givenchy often attributed much of his later success to the years with to Mr Balenciaga and what he learned while there. In 1952, Givenchy founded his namesake house in Paris and quickly rose to fame as one of the great couturiers of our time. I am always pleased to find any of his Haute Couture work as it is so rare. This particular dress is exceptional with every detail on it finished to Haute Couture standards.

This is an amazing true Haute Couture Givenchy dress that is a very rare and special find. Two things of immediate note for this dress. First is the absolutely beautiful fabric combination. The bodice and sleeves are an inky black silk velvet and then the ruffles on the neckline, end of each sleeve, and the entire top layer of the skirt is a starched cotton and silk mix netting that has beautiful little gold metal thread flowers hand embroidered over the netting. I took closeups of both the front of these flowers and also their backs so that you can see the beautiful workmanship put into each individual flower. I also included close ups of the hand finished seams on the interior of the dress. The time and technique to complete this dress would have been astounding and I cannot even imagine how many hours this would have taken. The second thing of note is that stunning cut through the neckline. It is tremendously flattering to have that bare expanse of skin across the top of the shoulder like that. It feels a little bit sexy with the way the top sits off the shoulder to leave that expanse of bare skin. You could also wear it on the shoulder but I chose to show it off. I love that you have the versatility of the two different ways to wear it. A ruffle goes all the way around the neckline and around the end of each sleeve. It is shaped to come in at the waist and then curves out over the hips. The skirt is set into a seam that sits at the top of the hips and the netting is softly gathered into that seam so you get a touch of fullness. As the skirt flows down to the hem it expands outwards to give you pretty movement as you walk. There is a full black silk organza inner skirt under the top layer of the skirt so that it is opaque enough to wear. It is spectacular. This is a very beautiful example of Givenchy from this time period and an amazing example of the technical skills that can be achieved in Haute Couture. It is easy to see why his work is the subject of so many books and retrospective shows at museums worldwide. Excellent condition

The dress is fully lined in a matching hand set black silk. It zips to close and an inner waist stay hooks to close. Completely made by hand throughout to Haute Couture standards. It appears to have been worn very little if at all. Proper couture tag and numbered tape present. 

Sleeves: 26" and are 11.5" around the upper arm
The opening across the neckline is 18" flat across from side to side
Bust: 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Seam at top of hip: 16.5" flat across from side to side
Hips: open
Bodice: 19" from top of natural shoulder to seam at the top of the hip
Total length: 61.5" from top of natural shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4975

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 spectacular dress walked the runway for the Spring 2019 show and was Look 86 in the show. It was the second to last look on the runway and one of the bext dresses shown. Ironically I think it may have been inspired by a dress that I have had in the shop - this Spring 1977 Jean Patou. When they show originally debuted I had shared this in my stories and now I have this modern Dior version for you. A true full circle moment. I think it was one of the most beautiful pieces in the entire show and it is absolute magical in person.

The dress is beautiful to see in real life. It is made out of a light in weight printed silk that is covered in a gold metallic thread. The gold has been applied onto the silk in its own pattern that suggest leaves trailing over the entire dress. The pattern allows the fabric to catch the light from any angle and gives it this wonderful added extra texture. I also love how the gold part softens and disappears as it near the hem so you get this anchoring feel of the silk without the gold all the way around the lower portion of the skirt. It is a very pretty effect. The dress had been softly pleated and the pleating adds yet another layer of texture to the dress. It is suspended from the shoulders by straps that are made out of the same fabric and have been twisted. These curve over the shoulder and cross over each other at the back. The front plunges into a V and the back is left bare underneath the crossed straps. I love the curving angle of the sides and how the twisted straps let them sit up and off of your back a touch as you can see in the side shot of the dress. The waist nips in and then the skirt falls to the floor under that in a sweep of silk and gold thread. There is an incredible amount of fabric in the skirt. The fabric is feather light and so fine that when you stand still it falls in a column but moves around you with your slightest movement. No matter how great the photos look it is that much better in person. The fabric is stunning and every line of the dress is perfection. Excellent condition 

Fully lined in a nude silk chiffon and closes with a hidden set back zipper. It appears to have been worn very little if at all. Original uncut length. Tagged an FR36, GB8, IT40, US4.

Bust: the front will cover approx 14-18" flat across from side to side
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: approx 14" from top of natural shoulders to waist
Total length: 62" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4974

Reference Photos/Video: (1-3) Spring 2019 Christian Dior, Look 86. Model Fran Summers.  /  (4-5) Spring 2019 Dior Ad Campaign photographed by Harley Weir.

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 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 Fall 2011 Oscar de la Renta Bridal collection was amazing and this was one of the star looks of the show. His wedding pieces range from about $10000-$20,000USD with the more elaborate ones like this tending to be in the upper range of that. Oscar launched his first bridal collection in October of 2002 and his wedding pieces have been worn by some of the most famous women in the world. He once said 'In the same manner that she fell in love with that man, I hope she's going to fall in love with that dress.' 

The skirt on this dress is just magical. It is made from multiple yards of multiple layers of white tulle silk netting. The strapless bodice above the skirt is slightly more ivory in colour so that you get just a tiny bit of contrast between the two. The bodice is completely covered with delicate little scallops of a silk chiffon with embroidered edges. These sit on top of a lace fabric underneath. Following the top edge of each layer are tiny rows of ivory iridescent sequins. Little prong set rhinestones are also scattered over the bodice in little vertical rows so you get a subtle little glitter in the light. The front curves in a pretty sweetheart neckline and it has a full built in hidden corset inside the bodice. It nips in at the waist and is detailed with an elaborate applique design that wraps all the way around you. The runway dress only had a ribbon at the waist and I much prefer this more elaborate design that is made from faux pearls, silver tube beads and glass cut rhinestones in different shapes. The skirt is extremely full. There are 12 layers of tulle in the skirt and then an inner silk skirt. Under the top two layers of tulle some of the tulle layers have been gathered up in little drapes  I did not add any additional crinolines to the dress for these photos. It has enough built in layers in the  skirt already that it falls on its own perfectly. Every angle that you look at this dress from gives you drama and gorgeousness. It is cut longer at the back so that it flows out behind you when you walk. It is a very stunning dress. Excellent condition with a minor note below

The bodice is boned with padded inner cups for structure and support. The dress closes at the back with a hidden set zipper. Multiple layers of built in tulle and skirting as described above. Minor grubbiness/marks to the inner hem and the tiniest bit of darkening to the colour of a couple of the scallops near the top edge at one side. The dress was already in the shop and it had some issues and I decided to pull it out for a bit and had it completely restored so it is now in beautiful condition for its future bride. Tagged an ODLR 8

Bust: 16-17" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam if inner hook is closed 13" if left unhooked or the hooks moved
Hips: open
Bodice: 9" from top of bodice to waist
Skirt: 45" from waist to front hem, 50" to inner back hem and 5*" to the ends of the tulle at the back

Modern Sizing Equivalent: XS-SML

Item# DD4943

Reference Photos: (1-4) Fall 2011 Oscar de la Renta Bridal Collection, Look 5. 

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 designed by Belgian-born Jules-Francois Crahay, who 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 hugel​y ​desirable and influential.' His time at the Lanvin label is one of my personal favourites for the house. I especially love the his work during the period through the late sixties and into the early 1970s. He was a genius at print and colour and he pushed the envelope in terms of using cutting edge fabrics available during this time period. He mainly used this type of fabric for his 1971-1972 collections. This is the second time I have had a version of this dress and I love it even more this time.

This Lanvin dress is gorgeous and is from the main label. I am in absolute love with it. The dress has a gorgeous colour and print combination. It is made from mixing two fabrics and both hold colour exceptionally well so the colours are still crisp bright and true. The top portion of the dress is an easy silk jersey and then the skirt is one of his signature waffle weave cottons. The sleeves are long and simple. The neckline is scooped with a slightly wide cut. The top skims over you and the back goes down in a scoop to leave a bare expanse of skin showing. The waist is seamed and I love how the skirt is set into the waist in soft gathers so that it puffs out slightly around the waist. It also has a bit of a wrap effect where one side is open down the full length, but it is fully wrapped underneath so that you are completely covered. From there the skirt falls to the floor and it widens as it nears the hem. The fabric change on the skirt gives it a touch of weight so that it holds the shape well. The pattern is the same on both fabrics and yet they look slightly different because of the change in texture. It is brilliant. This full on pattern from head to toe makes the dress instantly recognizable as a piece of his work. Excellent condition with a note below.

The bodice is unlined and the skirt is fully lined in a white silky rayon. It closes with a back zipper. I see what looks like remnants of a lining here and there along the seams of the top. I see a mark at the front. Please see the photo after the label shot. Hand finishes. The fabric of the top has some stretch. 

Sleeves: 25" and are up to 11" around the upper arm
Inset shoulders: to 14"
Bust: 16-17" flat across from side seam to side seam
Natural waist: 12-14" flat across from side seam to side seam
Seam at top of hip: 13"
Hips: to 22" flat across from side seam to side seam
Bodice: 19" from top of shoulder to seam at the top of the hip
Total length: 57" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4941

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 Resort 2018 collection was Carolina's last collection that she designed before handing things over to Wes Gordon. In the Vogue review they talked abut the inspiration for the pieces saying, "Herrera said she looked to the gardens at her home in her native Venezuela for her flower motifs, and the exuberant colours she pulled from them for other pieces." This dress was Look One of the presentation. Brie Larson wore one on the Today Show that year, Grace Gummer wore hers to the Emmys awards HBO party and we found a photo of Helena Bourdon in one. It feels as fresh today as it did then. 

The dress is made out of a feather light silk crepe chiffon in a beautiful soft blue. A pretty floral print runs over the entire piece. The front plunges to the waist for a startling contrast to the romantic feel of the dress. A tiny ruffle runs over each shoulder and the sleeves slim down a touch as they reach their cuffs. The waist is seamed and buttons to close. A slit at the front runs up to meet the buttons and lets a flash of bare leg show when you move. The skirt is cut to feel soft and full as it nears the hem. This gives it a romantic feel and pretty movement when you move. This is the actual sample dress from the brand and has its original sample tag. Which means it very well may be the dress that was worn by some of the people that we have included here for reference. I love it. Excellent condition.

Fully lined in a pale blue silk chiffon and buttons down the front. Buttons on each cuff. Original hang tag and sample label attached.

Sleeves: 24"
Shoulders: approx 15"
Bust: 17" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 15" from top of shoulder to waist
Total length: 53" from top of shoulder to hem
Slit: 21.5 from the hem up

Modern Sizing Equivalent: XS-SML

Item# DD4749

Reference Photos: (1-2) Resort 2018 Carolina Herrera Lookbook.  /  (3) Brie Larson on 'The Today Show' 2017.  /  (4) Grace Gummer at the 70th  Emmy Awards’ HBO Party, September 17, 2018.  /  (5) Helena Bordon in Carolina Herrera.  

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 little set that was one that was produced for the shops that season. It is very pretty and has that perfect feel of the work that Galliano was doing for the label during this time period. 

I always love finding a pretty little set like this because it just gives you more options to be able to style the pieces. With this particular set you also get the option of wearing the top tucked into the skirt or letting it lay above the skirt's waist-line for a softer feel. Both pieces will also mix and match with other things you already have in your closet. The pieces are made from a pretty silk that has a secondary deeper ivory flower woven into it with a different finishing thread. There are also little medallions of embroidered clusters of flowers as well as a scattering of gold flower and leaves. This gives the fabric in almost antique feel that is gorgeous. The top buttons to close and is suspended from the shoulders by tiny straps that come out from the centre of the top and cross over the upper back on the other side. The top has the feel of a lingerie piece with soft gathered cups and little insets of lace underneath the breasts. Both the top edge of the camisole and the bottom hem are detailed with a lace finish that has a pretty ivory ribbon running through it. It buttons to close up the front. My dress form doesn't have quite enough chest to really have this sit on it properly but it will be better on an actual body. The skirt is a little masterpiece. It has a banded waist for shape and then it is made of several panels placed horizontally on curving bands down the skirt. When you lay it out flat it is tremendously full across the bottom and this is what lets it fall in those pretty folds that you see here. It is a gorgeous little set. Excellent condition.

Both pieces are unlined. The top closes with a series of MOP appearing ,Dior engraved, buttons down the front. The very bottom button is missing. The skirt zips to close with hidden set snaps on the waistband. Tagged an FR36, GB8, IT40, US4

Top
Bust: to 16.5" flat across from side seam to side seam
Waist: to 13.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Total Length: 23.5" from top of bodice to waist
Skirt: " from waist to hem

Skirt
Waist: 12.5" flat across from side seam to side seam
Hips: open
Total Length: 26" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD4937

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.

In 1952, Givenchy founded his namesake house on Rue Alfred de Vigny in Paris and quickly rose to fame as one of the grand couturiers. 16 years later for the 1968-69 season, he added a ready-to-wear line of clothing and accessories called 'Givenchy Nouvelle Boutique'. The line was initially sold in the United States exclusively through Bergdorf Goodman stores and was eventually available at other retailers as well. The line was high end and extremely well made. He launched this line to expand his customer base and it made to appeal specifically to his non-couture clients. This label continued until 1992. This dress is a gorgeous example from the time period. I love it. 

The dress is a fantastical confection of dotted silk organza tiers that run from the top of the dress to the hem. The bodice is suspended from the shoulder with straps made of the same silk. Each strap curves over the shoulder and then the first ruffle of silk starts from around the top edge of the top. The neckline is cut fairly straight across on both the front and back. The ruffles continue down the entire length of the dress and each one gets wider than the one above it. There are eight ruffles in total and it is just spectacular. The movement that the ruffles create as you move is fantastic. The dress underneath is made from the same dotted fabric and it also follows that widening line of the dress all the way to the hem. The skirt falls to the floor in a dramatic sweep that widens out as it near the floor. This cut is incredibly easy to wear and flattering. I love how the silk ruffles move around you beautifully with the slightest movement. There is a little silk flower attached at the base of one strap that gives the dress a little extra pop of colour for the perfect finishing touch. Tons of hand finishing throughout. It is truly magical. Excellent condition with a minor note below.

Fully lined in a red silk and closes with a back set zipper and then each tier has tiny snaps to close each of the ruffles over the zipper to hide it. Tagged a vintage Givenchy 8. I see one tiny hole near the hem of one ruffle near the bottom. It otherwise appears to have been worn very little if at all. Hand finishes throughout. 

Bust: to 17" flat across from side seam to side seam
Inner seam under the bust: 15.5" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Inner hips: to 17.5" flat across from side seam to side seam
Total length: 58" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4935

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 love it even more now. Three versions of this dress in this print were presented on the Fall 2000 runway that season. The twin of this one was worn by Trish Goff. Vogue's review of the collection states in part; 'Fall 2000 was, overall, the season of the lady. One who had polish—and, likely, two homes and one eye on the fluctuating stock market. “With the Dow Jones and Nasdaq soaring and plunging like a late-sixties hemline,” wrote Sally Singer in Vogue, “it was perhaps inevitable that many designers would choose for fall 2000 to forgo fantasy and get back to basics—luxe basics, that is.” I think this was one of the best dresses in that collection and I am very pleased to have it again.

The dress is a stunning example of the work that Lagerfeld was doing during this time period. It has an easy sexy feel to it. It feels like the kind of dress that you just throw on and walk out the door in and feel fabulous. The silk chiffon is feather light and has an amazing print in pinks and purple that covers the entire surface. The fabric is draped and gathered over the body to create the very feminine silhouette that you see. There is an inner purple lining that goes to just below the hip so that the silk has something to attach to, and the dress is opaque enough to wear. Over that the silk is gathered in soft sweeps around the body. There is a curved panel of fabric attached along one hip that drapes down and around the hips and then another panel attached at the top that drapes over one shoulder and that you can wear straight down and over the top of your arm. Because all of the panels are unlined you get this interesting play on the overlapping of the pattern. The skirt that falls beneath where the lining ends has a touch if transparency that gives a glimpse of the shape of the leg underneath. It is cut on an angle to further play on the asymmetrical feel of the dress and slit up one side of the skirt. This means that when you walk and move the slightest bit of air catches that layer of chiffon and it moves beautifully around you. The famous double C logo is worked through the print for the perfect finishing touch. It appears to have been worn very little if at all. Excellent condition.

Fully lined in a purple silk chiffon through the body of the dress and closes with a hidden set side zipper. Light boning on either side of the bust. Tagged a vintage Chanel 40. Because it is bias cut the length will come up once it is on.

Bust: 16.5" flat across from side seam to side seam 
Seam under bust: 14.5" flat across from side seam to side seam 
Natural waist: to 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 6" from top of the bodice to the seam under the bus
Total length : approx 65" from top of shoulder to longest point on hem

Modern Sizing equivalent: XS-SML

Item# DD4928

Reference Photos/Video: Chanel Fall 2000 Runway Collection, Look 72. Model: Trish Goff.

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

This is an incredible dress. This was a dress produced for the shops and it is especially interesting because it is a dress that was produced again in 2011 and re-issued in an ivory for the wedding collection that year. I know this because I have had that dress listed in the shop now and you can see it here. You will recall that I recently had a lace dress in that was also made under the same circumstances where a original dress done by Lee was re-issued at a later date for a wedding collection. I love having the original and as far as I am aware it was only produced in black and this purple in 2007. It has that same bias cut draped feel as the McQueen that Elle Fanning borrowed and wore recently so that will give you an idea of it on

This is a stunningly beautiful dress. It is one that will come to life even more once it is on an actual body and will only truly come to life when worn. It is a dress that definitely takes inspiration from the bias cut couture pieces of the 20s and 30s. McQueen was a master tailor and the seam work and simplicity of this dress do not hide that fact. It is made from a beautifully weighted purple silk satin that has a slight texture running through it. It has that same liquid feel that the best of the 1930s pieces did that were made from this similar fabrics. Like those dresses of the thirties this is also cut on the bias but with a more shaped silhouette. I love that the fabric is heavy enough and that the dress is lined so that it will not highlight 'flaws' underneath like some bias cut pieces can. It is cut to flow over the body and skims over the bust, waist and hips to the floor. The neckline drops into a V at the front for a bit of skin to show. It glides over the bust and there is this interesting softly curved seam that starts at the bust and runs down into the side seam. This not only helps to add a little shape but it also becomes this interesting design feature and a subtle way for him to work in one of his signature angled seams. The skirt continues past and over the hips and then flares out as it reaches the hem. At the back there is extra fabric worked around the centre seam to give you a trained effect behind you. This flaring out at the bottom and the extra bit at the back give you fabulous movement when you walk or move. It also adds to the hourglass shape the dress has. The sleeves are incredible. They are set in these soft loops around each arm. They leave the sides of the shoulders bare and really add to the thirties feel of the dress. They are spectacular. It is in its original uncut length. Excellent condition.

Fully lined in a purple silk satin and closes with a hidden set back zipper. Tagged a McQueen 40. The bias cut fabric does have some stretch. The measurements below give you the comfortable range the fabric has when lying flat. It is in its original supermodel length. The bias cut should allow it to fit a range of sizes. I see perhaps a touch of grubbiness and scuffing near the hem bit it is very minor and mentioned for accuracy only.

Bust: 16-20" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 62" from top of shoulder to front hem, 72" the longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4461

Reference Photo: Elle Fanning in Spring 2008 Alexander McQueen, from our archives, at the Critics Choice After Party, January 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.

This gorgeous little dress is the ready-to-wear version of the Spring 1987 Haute Couture version. We have included the runway photos of the couture version and the editorial photos to give you an idea of the dress on. This version is simplified version but still has very similar line. It is fascinating that he did this at times with a few select pieces from his collections so that his non-couture clients had access to his couture designs. The 1987 collection is a favourite and I love having this dress in the shop for you.

This is a dress that is not being done full justice on my dress form but it is gorgeous once on the body. The dress sits off the shoulders to leave a bare expanse of skin and the sleeves are cut to just past the elbow. A pretty chiffon ruffle runs around the neckline and then another ruffle wraps around each wrist. The bodice skims over the bust and comes in at the waist for shape. Under that the skirt flares out dramatically and is quite full. The front of the skirt is cut to the knee, or just above depending on your height, and then the edges of the skirt curve down and around to be full length at the back. The fullness and the length change give it a ton of movement when you move. The fabric is so unusual. It is made from a black silk net backed by a black silk tulle. Then onto the top net layer is a design made of black raffia. This gives the dress an incredible texture. The parts of the dress that are not lined have a touch of transparency which is very sexy. This is an incredible piece of Yve's history and an absolutely gorgeous dress. Excellent condition with a minor note below 

Lined in a layer of tulle as described above and then there is a inner lining though the bodice and to just past the hips made out of a gold nude toned silk chiffon covered in a layer of black silk chiffon. It closes with a side set zipper. The raffia has small breaks in it here and there that is inherent to the material and normal wear. 

Sleeves: 18"
Bust: 18" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam before it flares out
Length: approx 35" from natural shoulder to front hem, 52" to lowest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3888

Reference Photos: (1-2) S/S 1987 Yves Saint Laurent Haute Couture Runway Show.  /  (3) Brynja Sverrisdottir in S/S 1987 Yves Saint Laurent Couture. Photo by David Bailey.

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 Bates founded the Jean Varon label in 1960 and it quickly became known for the futuristic designs and innovative use of fabrics. He dressed Dianna Rigg portraying Emma Peel in the 1965 season of the action TV series 'The Avengers' and that helped bring him even more commercial success. By the late sixties and into the seventies his work tended more towards more floating, feminine designs. Some of the very best pieces were made during this time period. His more caftan feeling dresses in particular are fabulous and they are some of my favourites to find. This one with its dramatic sleeves and plunge front is fantastic. 

The cut of this dress is spectacular. The fabric is a rust clay coloured silk that is very light in weight and drapes beautifully once on. There are two secondary patterns woven into the fabric and this gives it a little pop that I love. The border on the neck line, around the waist, the bottom of the sleeves, and all the way around the hem have a square check design worked into them, and then the bodice and skirt have stripes. I love how he has put the stripes horizontally on the bodice to really highlight and add to the feeling of width through the sleeves and then the skirt is done the opposite way. The dress feels very sexy but in an easy to wear kind of way. It slips on and zips at the back. The top is spectacular. It is cut to skim over you to the waist. The waist is set on an upward curve and sits slightly below the bust line. The front plunges to the waist band for a gorgeous expanse of skin to show. There is space left between the two sides of the plunge and I love that little detail. The sleeves extend out from the fabric on the bodice with no side seams at all. They come out from the waist and are cut wide and straight. That makes them very full and they just sit beautifully on the body. The dress falls to the floor from there and the skirt widens out slightly as it nears the floor. It is gorgeous. Excellent condition with a minor note below

Unlined and closes at the back with a zipper. I see some tiny areas where the fabric has changed colour just very slightly. It's so minor, but I mentioned for accuracy. I could not capture it on camera.

Shoulders: no defined seam
Bust: no true side seams
Seam under the bust: to 13" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 10" from top of the shoulder to seam under the bust
Total length: 57" from top of the shoulder with just about 2" turned under the hem

Modern Sizing Equivalent: XS-SML

Item# DD4920

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 near twin of this dress walked the runway as Look 65 for the Fall 2018 Valentino season. The entire world was in love with Pierpaolo and this collection was raved about. Vogue opened their review saying "Something is going very right at Valentino. It would be hard to name another designer in the establishment echelons of fashion who is putting out a more inclusive, relatable, and unforced sense of modern elegance than Pierpaolo Piccioli. They continued saying "How to put it? Where so many other designers have sought to meet these fraught times with throwbacks to ’80s-power-woman shoulder-padded templates, Piccioli has found a new cadence of expression. It includes flowing lines, flowers, layers, scalloped edges, and a vibrant, sophisticated colour sense. For evening, there was a wealth of options to cover all occasions, according to the person a woman might be. It might mean flowing, completely covered-up gowns or ankle-length A-line tunics with slim trousers beneath... Piccioli handled both minimalism, in spare, dramatic shapes, and decorative embellishment in blown-up floral appliques and jacquard... It recognized dignity and delighted in amazing colour. Bravo, Piccioli. This was outstanding." The dress on the runway had a more bare front and it was the third last look of the collection. I am happy that I have the runway photos and a reference video for you because they show how beautiful it is once on the body and moving. It was also worn on the red carpets and in editorials that season. It is one of the best from a show filled with outstanding dresses.

The halter of the dress is made from a deep forest green velvet and then the skirt is a slightly-heavier-in-weight silk brocade that has a beautiful floral pattern worked over its entire surface. An exuberant, oversized floral pattern covers the entire skirt. The black portions that you see are a finely ribbed velvet that has an almost ultra fine ribbed corduroy finish to it. You can feel the added texture of the black parts of the print and it makes the print that much better. The dresses that went to the shops had tops that had more fabric in them then the runway and sample pieces that were loaned out for the red carpets and editorials. It makes the dress much more wearable and I like the balance more between the top and skirt. The top is made from two simple triangles in a deep green velvet. Each has a vertical dart up the front centre to add a touch of shape. They extend out from the waist into two long straps at the top that curve behind your neck, cross over themselves at the back, and then button and snap into place on either side of the little bit of velvet that curves around the sides and into the low back. The halter front and tiny straps leave your sides and your entire back bare. It is the perfect balance between the dress feeling romantic and being very sexy. The skirt is remarkable. It is set in around the waist in a series of tiny gathers and there is an internal stiffening around the waist to create that fullness of the skirt coming up, out and over the hips that you see. The fabric choice helps to hold the shape and the fullness. There is weight to it, but it doesn't feel too heavy to move in once on. As good as it looks here it only really comes to life when the dress is on and you are moving. The back of the dress has extra fullness built in and it is cut a touch longer so you get this beautiful sweeping feel behind you that just adds to the overall glamorous feel of the dress.  It is incredibly beautiful . And it has pockets. Excellent condition with a minor note below.

The halter is backed with silk and the skirt is unlined. The straps button into place and it closes with a low hidden set back zipper at the waist. Ribbon edged finished inner hems. Some minor grubbiness here and there on the hem and perhaps the tiniest snag here and there on the skirt. Presents pristine once on.

Bust: has no fixed side seams. Each halter covers to approx 8.5"
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: Approx 14" from top of neck to waist band and the length of the straps could be adjusted as needed by moving the buttons
Total length: 61" from neck to front hem, 62" to the back hem

Modern Sizing Equivalent: XS-SML

Item# DD4915

Reference Photos/Video: (1-2) Fall 2018 Valentino, Look 65. Model Sterre Dekker.  /  (3-5) Amber Heard at the premiere for 'Sorry Angel' at Cannes Film Festival, 2018.  /  (6) Barbara Shilova for Fashion & Arts Magazine, 2020.  /  (8) Model in Valentino for The Financial Times UK. Photographed by Vikram Kushwah, 2018.  /  (9) 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 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.

For the Cruise 2012 Karl booked the entire Hotel du Cap in Eden Roc on the French Riviera so that he had it at his full disposal for the show. This is remarkable in that it is arguably one of the most expensive hotels in the entire world. The show is also of note because he accessorized all the pieces with real diamonds and pearls. Vogue noted that he said "too much may not be enough" when asked about this extravagance. The twin of the suit walked the runway for Look 8 and was adorned with diamonds on the pockets and at the neck. It was sent to the shop with a beautiful crystal rhinestone and faux pearl button at the top of the neck and left to the clients to add their own personal diamonds.

This collection was a nod to old-school glamour and you can see that in the beautiful lines of the suit. It is constructed from an absolutely stunning ivory version of the Chanel signature boucle fabric. The weave is very tight and it is one single ivory colour. It has little bits of silver thread woven through it. These glitter in the light in this very subtle and beautiful kind of way. I know the still photos are not properly capturing it but in person it is magical. The collar is soft and rounded with a raw finish to its edges and then it is covered with the tiniest possible ivory sequins. He added another band of sequins under the collar to circle the inner shoulders near the neckline. A little jewelled clasp sits at the top of the neck that has crystal rhinestones and large faux pearls with the double C logo on their sides. I love the nod to the 1940s this little jewelled detail has and how it picks up on that old Hollywood glamour theme. The sleeves end at about the wrist depending on the length of your arms. The jacket has a beautiful curving seam at the front and two top set pockets. I photoed the jacket open as it was shown on the runway but there is one single little hidden snap so that you can close the jacket more if you wished. A second curved seam sits at the back. The construction is absolutely beautiful. Inside it has a Camellia flower embossed silk lining and a silver chain is hand sewn along the inner hem. The skirt is as beautifully cut as the jacket. It has a curved band around the waist and pockets on either side of the hip. It curves out to skim over the hips and then comes in at the bottom. There is a wide 7" band of the same fabric circling the bottom hem. He added a back vent that has three beautiful buttons and you could open those if you wished. The set comes with the matching belt that you see on the runway. The belt follows the same curve of the waist band. It hooks in place and it is completely covered on both sides with more of those tiny little ivory iridescent sequins. This is an exceptional Chanel. It would make a great bridal piece for the bride not looking for something traditional or as a piece for an event surrounding the ceremony. Excellent condition.

The jacket is fully lined in an ivory silk embossed with the Chanel camellia flower print and has a clasp at the neck and a hidden set snap halfway down. The skirt is lined in an ivory silk and closes with a hidden set zipper. The belt hooks to close. It appears to have been worn very little if at all. All three pieces are tagged a Chanel 38. The very subtle bit of metallic silver thread that runs with through the boucle is more apparent in person.

The Chanel boucle is created with their proprietary method of weaving that they themselves describe as "by weaving the warp and weft, using a variety of different kinds of threads which creates a unique and somewhat irregular appearance. The warp – vertically strung – is the background of the fabric, the base that will support the assembly of materials. There can be up to 12 different threads used for a single warp. The weft – woven horizontally – gives the fabric its unique character and can have an unlimited number of threads. Tight, perforated, textured, thick, with a relief, plaited, random, twill… the potential number of effects is endless". 

Jacket
Sleeve: approx 21" from the natural shoulder and is 17.25" from the dropped shoulder scene. They are 14.5" around the upper arm
Dropped shoulders: 19"
Bust: 17" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Bottom hem: 18" flat across from side seam to side seam
Length: 21.5" from neck to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 27" from waist to hem

Belt: It currently hooks to close at 28" and you could move the hooks if needed. it is 30" in total from end to end.

Modern Sizing Equivalent: XS-SML

Item# DD4911

Reference Photo/Video: Resort 2012 Chanel, Look 8. Model Sigrid Agren.

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 searching for the date of this dress, we found a runway piece from Fall 2003 that has very similar bead work through the skirt and was shown with a different bodice at the front, but with the same crossed over strap open cut back. I love that you can get an idea of how well it moves by the runway video. It is truly a beautiful and extraordinary dress and a gorgeous example of the work the original Mr. Valentino was doing for his self named label.

I love the bareness at the top of the dress with its bare back and the front draping neckline. It is a dress that really comes alive once on the body. It is very light in weight despite its extensive bead work and sequins that cover the dress. It is all cut on the bias so once you slip it on it just skims over the body. The dress is made from a bias cut black silk chiffon combined with a silk netting. The netted portions are covered with thousands of tiny black sequins and beads in a variety of shapes. A little beaded strap curves up and over the shoulders to criss cross over your bare back. A panel of silk chiffon at the front creates a pretty drape. It skims over the waist and then curves over the hips. The skirt flows to the floor from there and widens out a bit as it nears the hem. It is cut a little longer at the back to give a slate sweeping feel behind you. Panels of silk chiffon run down the back for a little added detail. Excellent condition with a minor note below

Fully lined in a black silk chiffon and closes with a back hidden set zipper. Hand finishes. I see minor missing beads and wear to the back hem and there is a couple small areas where the netting has popped out of the seams a tiny bit. Please see the photos after the label shot. All minor. Tagged a vintage Valentino 6

Bust: no true side seams but will cover up to 16" flat across the front bodice
Waist: 12-12.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Total length: 63" from top of shoulder to front hem, 68" to back hem

Modern Sizing Equivalent: XS-SML

Item# DD4632

Reference Photos/Video: (1-4) Fall 2003 Valentino, Look 70.  /  (5-6) Rupi Kaur in this dress for the South Asian Excellence at the Oscars Event, 2024.

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.

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

This set is from 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.

This is the actual dress that Sarah Snook wore to attend the Director Guild Awards in March 2022. This amazing sequin dress is by Bob Mackie from his boutique line and it is gorgeous. Mackie was best known for dressing Cher and for his signature glamour. He worked for both Edith Head and Jean Louis prior to entering costume design and he began by co-designing with Ray Aghayan. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years before launching his own label. His work always has that touch of the best of Hollywood glamour.

This is such a gorgeous dress. Its simple cut combined with that heavy sequin coverage add up to an incredible piece. Plus it is fabulous to have the added modern provenance after having Sarah Snook wear it. The dress has an incredible pattern done in sequins that make the entire dress catch the light from every angle. The sequins are all a glossy black and they are set in vertical rows. In between vertical sections of four, and four and a half inches in width, he left long bands of the fabric without sequins and then also did that same thing cutting across the dress so that he could create a slight check pattern that runs over the dress. It is subtle but adds the perfect amount of detail. The sequins within each created rectangular 'box' have been applied to slightly overlap the next sequin in line so you get a liquid effect. The dress is strapless with a slight curve to the neckline. The front neckline is cut straight across and the bodice kept simple. It is cut to fit over the bust and the waist is cinched. Inside is a hidden cupped and boned corset to keep the dress in place. The dress skims over the hips and the fabric there has stretch so it is easy to fit. The skirt falls to the floor and widens out as it nears the hem with a little flare to the lower skirt. The back is cut longer then the front for a bit of a trained feeling behind you. It has a very classic Old Hollywood movie star feel to it. This is a dress that you just slip on and it is perfection. Excellent condition.

The bodice has a built in inner corset that is cupped and boned. The rest of the dress is unlined. It closes with a hidden set back zipper. There is a wide stay under the bust and at the inner waist that hooks to close with four hook options. Tagged a vintage Bob Mackie 6.

Bust: 17-17-5" flat across from side seam to side seam
Waist: 14-15" flat across from side seam to side seam
Hips: 18-22" flat across from side seam to side seam
Bodice: 10" from top of bodice to inner waist
Total length: 53" from top of bodice to front hem, 56" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4876

Reference Photos/Video: Sarah Snook in this Bob Mackie at the Director Guild Awards, March 2022.

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

This is the actual runway sample from the Fall 1975 collection and you can see how fantastic it is on the body by the reference photo we found. Like the ivory coloured one already in the shop, the bead work on this dress was done by hand by Madame Gandini, who did beading for many of the Couture houses of the day. John's business is all done on a made-to-order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces like this sold for over $10,000 even in the 1970s. If you convert that to modern dollars you get to about $68,000. Having this actual runway samples that John pulled from his own archives to share with you is just amazing. 

This is an amazing dress that has been densely beaded by hand. The base of the dress is a black silk chiffon and then onto that are thousands of glossy black glass tube beads laid out in vertical rows to fully cover every inch of the dress. The dress has weight to it with all those beads and it is almost 10 pounds off the body. Yet once on, the weight is distributed over you perfectly. The impact of all those beads from head to toe is stunning in the light. The cut is kept simple so that the bead work can take centre stage. The bodice has a high collar and the beads are set there in a slightly different pattern for a bit of added detailing. The dress falls from the shoulders to skim over you all the way to the floor. There is just a suggestion of the waist and then it skims back out over the hips. The sleeves are long and they also have that same slightly different bead work to detail each cuff. The skirt widens out just a touch as it nears the hem and there is an extremely high slit up the back. You don't get as much sense of it in these photos but once on the body this really adds a high flash of bare leg as you walk away. It is insanely sexy. As good as this dress looks in these shots once it is on an actual body is eve better. It is completely made by hand and it is stunning. Excellent condition.

Fully lined in a black silk chiffon and it closes at the back with a metal and nylon zipper. Hand finished throughout. There is perhaps the occasional bead missing here and there but no bare areas. Numbered sample tag on the inner hem.

Sleeves: 22" and 10" around the upper arm
Shoulders: 14"
Bust: 16.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 59" from neck to hem
Slit: 30.5" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD4404

Reference Photos: Fall 1975 John Anthony 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.

Each piece that John Anthony made was on a made-to-order basis, which means that each piece is the only one that exists, or in the very occasional circumstance that there are similar pieces made, only a very limited amount of pieces were done. All of the pieces I currently have in the shop come directly from John's archive. 

He is one of the great American couturiers and he was known for his sharp tailoring and striking evening wear. He launched his atelier in 1971 and he quickly rose to fame, winning a Coty award in 1972 and then again in 1976. This is the original sample of this piece from his archives. We found a series of photos of pieces with the same bead work so you can get an idea of how beautiful they are on the body.

The dress is made out of a feather light deep brown silk chiffon. Glass tube beads are set in vertical rows over both pieces and all of the beads have been applied by hand in perfect little rows onto the silk. I love how they catch the light from every angle. Both pieces have a simple and easy cut so that they are easy to wear and are very flattering on the body. The neckline is scooped and closes with a hook and eye at the back of the neck above a keyhole. The sleeves have the same bead detailing and then they fall in a straight cut to the wrist for a touch of fullness. The bodice is cut to skim loosely over you to the waist. The waist is finished with elastic which lets the silk pouf under a touch. The skirt has a banded waist and falls to the floor under that. It flares out a touch as it nears the hem. It has a high slit on one side for a flash of leg to show. They are gorgeous when worn together. The work has all been done by hand and the workmanship is fantastic. They fall like a dream once on the body. Excellent condition with a minor note below

Fully lined in a second layer of nude silk chiffon. The top closes with a hook and eye above a keyhole at the back of the neck and has elastic at the bottom seam. The skirt closes with hook and eye at the waist and a zipper under that. A tiny area of missing beads here and there but nothing major. Please see the photo after the label shot. The sample tag is stitched inside the cuff of one sleeve.

Top
Sleeves: 23"
Shoulders: 14.5"
Bust: to 20" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Bottom seam: 14-20" flat across from side seam to side seam
Length: 27" from neck to hem

Skirt
Waist: 12" flat across from side seam to side seam
Hips: to 20.5" flat across from side seam to side seam
Length: 45" from waist to hem
Slit: 27" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD4571

Reference Photos: Fall 1981 John Anthony Ready to Wear Advance Preview.

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.

Louis Feraud opened his first boutique in 1950 in Cannes selling sundresses to the jet set. When Brigitte Bardot was photographed in a white pique and lace number, he became the darling of the fashion world. By 1956 he had moved to Paris and opened a couture atelier and in 1960s made his first official couture presentation. Ready-to-Wear followed in 1970. He won the Golden Thimble in in 1978 and again in 1984. Women like Elizabeth Taylor and Brigitte Bardot were huge fans of the label. This is a wonderful sequin and silk chiffon dress that showcases his depth as a designer. It is just exceptional.

The dress has the bit of a high glamour vibe to it that is fabulous. The sequins make it feel so special and I love the use of the silk chiffon for the upper shoulders and sleeves. The chiffon is set wide across the neckline so you get just a hint of the tops of your inner shoulders showing. It runs down to the bodice on the front and back where the sequins start and it also extends out into those phenomenal sleeves. The body of the dress is made out of a dense application of black sequins, set on top of a chiffon, which gives it a touch of structure but still keeps the dress feather light. It is cut fairly straight over the body so that it just floats beautifully over you once on. A slit on one side that runs up from the hem allows for a bit of leg to show. Outside of the glamour of the sequins it is the sleeves that are the star of this dress. Each sleeve has three tiers of pleated silk chiffon added to it. These start just under the base of the arm and are stacked over each other to the wrist. It gives it a stacked pagoda sleeve feel that is just insanely good. The contrast between all of that detail on the sleeve, the sequins and ease through the body of the dress is the perfect mix. Excellent condition

The body is lined in a satin finish rayon and the upper bodice and sleeves are unlined. It closes with a back zipper that starts at the sequins and there is a button to close behind the neck. Tagged a Feraud 40

Sleeves: 24" and are 14" around the upper arm
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Total length: 57" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4854

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.

McQueen's Fall 2006's collection was called The Widows of Culloden and it was dedicated to his muse and friend Isabella Blow. The Alexander McQueen site says of this collection: "The inspiration here is highly personal – the designer’s own heritage – which goes at least some way towards explaining the exquisite hand-craftsmanship that goes into each piece as well, of course, as bird head-dresses and McQueen tartan. The collection is luxurious and romantic but melancholic and even austere at the same time. The silhouette – all nipped waists, bustles and exaggerated hip lines – is designed to exaggerate a woman’s form and each piece is unique, a one-off couture creation with emotional content intended to be handed down from generation to generation like the most precious of heirlooms." This was also the show where Kate Moss made the famous glass box closing look. Vogue described that feat by saying; "Only Alexander McQueen could provide the astonishing feat of techno-magic that ended his show. Inside an empty glass pyramid, a mysterious puff of white smoke appeared from nowhere and spun in midair, slowly resolving itself into the moving, twisting shape of a woman enveloped in the billowing folds of a white dress. It was Kate Moss, her blonde hair and pale arms trailing in a dream-like apparition of fragility and beauty that danced for a few seconds, then shrank and dematerialized into the ether." They went on to talk about the collection saying; "The quality of the performance—and the extraordinary workmanship in the clothes that preceded it—was a timely reconfirmation of McQueen's unique powers as a showman-designer, and a far cry from the more straightforward presentations he¿s given the last few seasons. For this collection, he delved into his past, revisiting his Scottish family roots and refining the contents of the rampaging tartan "Highland Rape" show with which he began his career in London in the early nineties. Shorn of its original rawness and anger, the result was a poetic and technically accomplished tale that involved romantic images of Scottish fantasy heroines wandering glens and castle halls in vaguely Victorian tartan crinolines, bird-wing or antler-and-lace headdresses, feathered gowns, and pieces made from brocades that might have been dragged down from ancient wall-hangings." I have also included a shot from one of the McQueen book pages that tells more on the show. This was one of his most extraordinary shows and this dress is the twin of Look 32 worn by Freja in that show. It is fabulous. 

This is an incredibly rare piece of McQueen history and may even make a dress for a bride looking to go the non-traditional route or as part of a wedding weekend. And of course it is something that any McQueen collector would be thrilled to own.

I love this dress. It is basically an elaborate silk net tulle piece that sits over an inner ivory silk chiffon lining. Over that he has added embroidered lace panels in black that have all been placed by hand. The dress is incredibly full and voluminous. The bodice is meant to skim over you and the neckline of the tulle overlay is set scooped under the neck. There is a scooped bodice built in underneath that has been stiffened for shaping. Having the net extend up and to the shoulder allowed him to also place the embroidery up and over the shoulder, giving the illusion that it is somehow suspended over you from a distance. The trailing panels of black embroidered flowers contrast beautifully over the deep ivory netting underneath. The waist is seamed and set just above the natural waist line. The embroidery trails past the seam to soften the line. The waist is cut on the more wide and generous side which helps to create the shape he wanted the dress to have. The skirt has yards and yards of tulle with two more layers under the top layer and over the inner silk lining. The embroidery work is even more spectacular around the skirt going all the way around you. I love how it becomes very dense and heavy by the hem and then it trails upwards towards the bodice. It is incredibly beautiful and the pictures do not convey how magical it is in person. It feels like wearing a magical cloud of tulle. Alexander McQueen was incredibly gifted and this dress really shows the extent of his talent. It was one of my favourite dresses at the show. Excellent condition with a small note below

Fully lined in an ivory silk chiffon and closes at the back with a button at the back of the neck and a hidden side zipper under the waist line. I see a couple small breaks in the netting and it looks like there are some minor repairs done near the waist seam. I have photo them all and I've been very picky because it presents as perfect once on. It's beautiful.

Bust: to 16.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: open
Bodice: 11" from top of shoulder to waist
Total length: 43" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4851

Reference Photos/Video: (1-3) Fall 2006 Alexander McQueen, Look 32. Model Freja Beha Erichsen.  /  (4) From the book "Alexander McQueen" by Abrams and edited by Claire Wilcox.

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 shown for Look 40 for the Resort 2017 presentation. The entire collection was an explosion of flowers and handwork went into many of the garments. Astounding considering that it is RTW. Vogue explained that "Clothes like these are a very far cry from humdrum commercial fare to fill the gaps in stores between seasons. With Burton’s softening touch, they transcend the source material to become very special, non-disposable items a woman might want to keep forever." It is a terrifically beautiful dress and it is even more interesting for the fact that she made two versions of the dress for the collection, one on black net and the other on ivory. We found reference photos of Lily Collins, Emily Blunt and Bee Schaffer all wearing one that year and all looking phenomenal in it. 

This is an exquisite dress this is covered with an intricate design made out of tiny beads and sequins in a beautiful array of colours. The base is made of black silk netting and then the dress is lined in a black silk chiffon through the body. This gives it enough weight to hold the shape of the dress and to support the weight of the added embellishments but it still feels magically light once on. You rarely see this level of handwork on a modern piece unless you step into the world of couture and it is a joy to see this dress in person. The design that covers the dress has been meticulously done by using a combination of sequins and beads. Many of the sequins are set slightly on their sides and this gives the design a slightly raised 3D effect off of the netting. The designs forms flowers and birds within that gorgeous pattern and it is the kind of piece that the more you look at it the more you see. I took several detail shots so you can get an idea of the workmanship. Cut wise it is an easy dress to wear. The sleeves are long and they are left unlined so that the pattern really shows against your skin underneath the netting. The shoulders are slightly capped and the neck is scooped. It skims over the bust, past the waist and over the hips. There is no seam at the waist. Instead it is cut to slightly come in and the pattern also draws your eye inwards. The skirt falls to the floor from there and it is in its original uncut supermodel length. I love how the width of the skirt flares out and it is quite alive by the time it reaches the floor. The pattern also changes to pick up the grid work on the bust and tie the whole dress together. The extra fabric around the hem also gives you this beautiful movement when you move. Truly an extraordinary piece from the Sarah Burton era. Excellent condition.

Lined in a black silk chiffon as described above. It closes with a hidden set back zipper and each cuff closes with a hidden set zipper. The ease of the cut and slight bias of the netting should allow it to fit a range of sizes. Tagged a modern McQueen 42.

Sleeves: 24.5" and are 12" around the upper arm
Shoulders: 15" 
Bust: 17-18" flat across from side seam to side seam
Waist: 13.5-15" flat across from side seam to side seam
Hips: 17-19.5" flat across from side seam to side seam
Total length: 67" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4849

Reference Photos: (1-2) Resort 2017 Alexander McQueen, Look 40.  /  (3-5) Lily Collins in Alexander McQueen at the 19th Costume Designers Guild Awards, 2017.  /  (6) Katherine "Bee" Schaffer, in McQueen, and Anna Wintour at the 2018 Evening Standard Theatre Awards.  /  (7) Emily Blunt in Alexander McQueen for The Girl On The Train world premiere, October 2016.

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.

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.

Lace was one of the primary fabrics that Sarah Burton used for the Spring 2012 collection and Vogue reported that "She based her collection on the three Gs: Grès for the pleating and draping, Gaudí for the architecture, and Gaia for the sense of all-encompassing oceanic life that infused the clothes, like the outfits composed of coral or shells." They went on to remark on the beautiful pastels and golds used saying "this collection proved how hot-wired into the core of McQueen Burton truly is. The colour palette—as translucent as the inside of a shell—had the kind of unambiguous prettiness that McQueen himself might have felt inclined to disrupt in some way". The twin of this stunning dress in black was featured in the  Spring 2012 collection Lookbook sent out to select retailers. Pink wore one in black for an editorial shoot and Du Juan wore one on the red carpet. I love it in the gold. It is so striking.

The dress is stunning and it might even make for a spectacular bridal dress or to be worn for the events surrounding a wedding weekend or as a gala / event piece. It is made out of a muted gold lace that tops a pale nude silk underneath. The dress is cut to follow the curves of the body from the top of the neckline to below the hips but in a way that doesn't feel overly tight or confining. It just curves over the body in the best possible way. The neckline is a scooped and the bodice is shaped to flow over your curves. The waist is a touch on the more easy side and you could easily add a wide corset belt to get the effect you see in the reference photos and really cinch it in. It curves over the hips to about the knee and then the lower skirts explode out from there. Insets of the same lace with masses of a silk organza underskirt are set all the way around the skirt. If you lay the lower skirt out flat it has more volume than a full circle. This is what creates those incredible rounded effect and the volume that you see in the photos. We did not add any additional underskirts on this dress. All of that sweeping volume is all built in. It also creates beautiful movement as you move. You can see in the photos that the back is cut slightly longer then the front so you get this beautiful sweeping effect behind you as you walk. It is so special and absolutely stunning. This is Sarah at her best. Excellent condition.

Fully lined in a pale nude silk for the body of the dress and then silk organza through the lower skirts. It closes with a hidden set back zipper. It appears to have been worn very little if at all. Tagged McQueen 42.

Bust: to 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Total length: 63" from top of bodice to front hem, 66" to the longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4824

Reference Photos: (1) Spring 2012 Alexander McQueen Lookbook.  /  (2-3) Pink, in McQueen, photographed by Andrew MacPherson, Feb 2012.  /  (4) Du Juan in McQueen at the Deja Vu Screening, June 2012.

This suit is from Christian Lacroix's Luxe label that was only produced the very first couple of seasons after launching his label. It was very high-end expensive ready-to-wear that was made to demi-couture standards and was available primarily to his couture clients and a select few beyond that. It was also the predecessor to his 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. Very few pieces were made of this line so they are almost as rare as finding one of his Couture pieces.

This suit is everything you want to see in a Lacroix. The colour is that bright vibrant Lacroix pink that is now associated with his name. The colour is even better in person than how it photoed too. Both pieces are made of an almost grosgrain ribbon feeling silk that has black velvet dots fused onto the top of the fabric. The fabric choice allowed him to cut the suit to really hold the shape that he intended. The jacket has a gorgeous notched collar and big faceted black jet buttons down the front. It closes with hidden set snaps behind those buttons. I love that you can close it all the way up to the neck which means you don't have to wear anything underneath it or you can leave it partially or all the way open. The shoulders have some padding and the sleeves are set into the shoulder with a slight capped feel. Each sleeve ends with an upturned cuff. The jacket is meant to fit the body with a structured and seamed waist and then the hips have a peplum that adds to the hourglass feel that the suit has. I love the extra flap that gives the peplum a double hem. That skirt is high waisted so that your waist is very defined and then it is a poufed, almost bubble skirt under that. It goes out and around the hips and then comes in at the hem. This was a Lacroix signature shape and it is gorgeous. Everything about the suit is meant to invoke curves and I love the play on curves with the curve of the dots on the pink silk. It is gorgeous. Excellent condition with a minor note below.

All pieces are lined in a black silk. The jacket snapped to close and the skirt closes with a hidden set side zipper. There is minor wear to some of the velvet on the dots here and there. Both pieces are tagged a vintage Lacroix 38.

Jacket
Sleeves: 23.5" and are 13.5" around the upper arm
Shoulders: 14"
Bust: to 18" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Hips at the bottom seam: to 22" flat across from side seam to side seam
Bodice: 15" from neck to waist
Total length: 22" from waist to hem

Skirt
Waist: 12-13" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Total length: 22" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD4821

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 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.

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 extraordinary little dress and I'm very pleased to have the exact date of it because my clients grandmother wore it to her wedding on October 15, 1910.  By all accounts it was a long and happy marriage and my client hopes that this dress will pass on that love to its next owner.

This extraordinary dress was completely made by hand and is very feminine and beautiful. It is a wonderful example of the level of craftsmanship being utilized during this time period. It has survived the passing of time exceedingly well and was carefully stored all of these many decades. The base of the dress is made from a fine and light netting and it is this fabric choice that has allowed it to remain strong and sturdy over the years. The colour is a beautiful ivory that was almost impossible to capture and in real life it has a slightly more pastel feel to it that I think is just lovely. Onto this is an intricate design made of glass tube beads and little iridescent sequins that highlight the design and lines of the dress. The front neckline is in a soft scoop, and the back angles into a bit of a V above a row of snaps that close the dress. The sleeves extend out and are gathered along the top of the shoulders for a pretty little detail. They're open on their underside and the sequins and beads follow the pattern to circle the neckline and edge the sleeves. A wide band of sequins and beads detail the waist, and then the dress falls in a pretty cascade of the netting to just past the knee or a bit below depending on your height. A floral pattern is worked throughout the dress, and the workmanship is exquisite. Hangs lower than the front so you have a bit of a swooping feeling. There's a touch of light boning around the inner waist to hold the dress perfectly in place while it's on you. The placement of each and every embellishment is by hand and it is amazing to think of the time it would have taken to create this extensive design. The combination of the soft and romantic ivory net and the beautiful floral patterns that runs over it is absolutely fantastic. This would be an amazing dress for a collector or a bride who wants to incorporate a bit of the past into part of her celebration. Excellent condition

The dress is unlined with snaps at the back to close. Some of the snaps appear newer than others. The fabric appears to be strong and is wearable with the care. Perhaps the tiniest mark here and there and tiny break in the net but for something over 100 years old I would rate it as being in excellent antique condition. 

Bust: 16-18" flat across from side seam to side seam 
Waist: 12-12.5" flat across from side seam to side seam 
Hips: to 23" flat across from side seam to side seam 
Bodice: 13" from the top of the shoulder to the top of the 3" band at the waist
Total length: 46" from the top of the shoulder to the shortest part of the front hem, 51" to the back hem

Modern Sizing Equivalent: XS-SML

Item# DD4804

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 chic Christian Dior dress from the Marc Bohan years. The label is numbered and when you see that in a Dior Boutique label it most often meant that the piece was a special order or was a custom made order for a client in the atelier but fitted at the boutique store rather then in Paris. It is a wonderful example of the work being done during this time period and shows the restraint that the label could have when it delved into minimalism. It is a very easy and comfortable dress to wear. Don't let the simplicity of it fool you. This is a dream to wear and the simple lines are offset  by the high quality of the silk and the ease and beauty it has once on.

The dress is made from a black silk that drapes beautifully over the body. The neckline falls from a single shoulder that draped up and over to the back. There is an inner dress and then a layer of silk chiffon is draped over that dress to blouse over you to the waist. I love the way it softly angles from the shoulder down to the other side on both the front and the back. The waist has an elastic so the dress is extremely easy to wear and comfortable. The bodice blouses over the waist line. You can wear it as is or you can to add a belt underneath and cinch in the waist to create a more hourglass shape. The inner bodice is made from two layers of the same silk chiffon and it is cut to skim over your bust to the waist. The skirt falls from the waist to the floor gently widening out as it clears the hem. The elastic creates a series of small soft gathers all the way around the waist and this the skirt open up beautifully as it does. The skirt is made of three layers of the silk chiffon, each stacked perfectly over each other. A slit runs out the same side as the shoulder for a little bare flash of leg. This is a dress that you just slip on and it is perfect every single time. You can see the hand work throughout and it is beautifully made. Excellent condition.  

The layers of silk chiffon act as its lining. The dress weighs ounces. It closes with a side set zipper on the two innermost layers to the waist and then snaps on the top lay over that. Elastic through the waist. It looks to have been worn very little if at all.

Bust: to 17" flat across from side seam to side seam
Elastic waist: 13-16" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Bodice: 16" from top of shoulder to waist
Total length: 60" from top of shoulder to hem
Slit: 23" from hem up

Modern Sizing Equivalent: XS-MED

Item# DD4789

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 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.)

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.

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.

This wonderful little 1920s flapper dress was completely made by hand and a wonderful example of the level of craftsmanship being utilized during this time period. It has its original Made in France label still present and these pieces were always a little higher quality then some examples you see from the time period. It has no other label but it is not hard to imagine that it might have been a designer piece as well. The base of the dress is a black silk netting that is strong and sturdy. Onto this is an intricate design made up of gelatin sequins set boxes. Each is a combination of purple, pink & turquoise in an alternating design. The placement of each sequin is by hand and it is amazing to think of the time it would have taken to make the fabric alone. The center of each block makes me think of a cluster of little pink "hearts" that are then surrounded by an abstract shape. A metal based gold lame thread and tiny little gold tubes beads are then shaped around each to make the block design that you see.  These are then stacked in rows to cover the dress entirely with the black netting serving as the separation between each. This combination of colored sequins, gold thread & beads is absolutely fantastic. There is an extra panel of netting inserted at each hip to give the skirt extra flare. Excellent antique condition

The dress is unlined and slips over the head to wear. The edges of the side net panels are raw and at one time there may have an extension to them but it is now cut even with the hem. I see no other flaws and it appears to have been worn very little if at all and is wearble with the care it would deserve to be worn with. Even with that small defect the dress is remarkably sound and shockingly beautiful. It is almost 100 years old and is considered to be in museum quality condition.

Bust: 17" from side seam to side seam
Waist: 16" from side seam to side seam
Hips: 17" from side seam to side seam
Total length: 40" from shoulder to bottom hem

Modern Sizing equivalent: XS-SML

Item# E290

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.

James Galanos was just 27 years old when he launched his first label called Galanos Originals in 1951. By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. when you convert that to modern dollars and realize that it would be just under 30k for his upper range pieces. Part of the reason for those high price tags was that his ready-to-wear was made to couture standards. Galanos pieces were all produced in very limited quantities in his workshops and his work was as close to couture construction that you could find outside of Paris. Grace Kelly was an early fan and other couturiers looked to his work as inspiration. His work is held in all of the major museums around the world and he is one of my personal favourite designers. 

This is one of my favourite pieces I have seen by Galanos and it is incredibly beautiful in person. The dress is made from a feather light silk and that choice of fabric is what gives it that bit of volume that you see through the skirt. I did not add any underskirts, the shape that you see is all created by the way the skirt is set in and around the waist and the lightness of the silk. Two piped blue silk straps curve up and over the shoulders. The neckline dips in a slight sweetheart at the front with the silk gathered and softly pleated all the way around the top of the bodice for detailing. The silk on the bodice is that same brilliant blue as the straps and it is softly gathered down the sides to the waist. The silk extends out past the waist seam into a edged ruffle that meets a ruffle underneath created by the extension of the silk of the skirt. I love the detailing there that this creates and that underneath the ruffle the waist seam is anchored with a gold braided cording. The skirt has been softly gathered all around the waist and then it open outwards to have the volume and fullness that you see. Four panels of silk have been pieced vertically together to construct the skirt. At the front you see  a deep green panel on one side and a slightly metallic feeling copper brown on the other. At the back both of the panels are the same beautiful blue as the bodice. All of the edges where the panels meet are finished with a hand applied metallic gold cord. Between the green and brown panel at the front the skirt is slit open between the cording so when you walk or move you get a flash of bare leg. The silk is so light  that when you love the skirt billows out around you. Incredible. Excellent condition  

Unlined and closes with a back zipper. Ribbon edge interior seams. Hand finished throighout. It appears to have been worn very little if at all. 

Bust: 16" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of shoulder to waist seam
Total length: 59" from waist to hem
Slit: 26" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD3736

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 recognizable Alexander McQueen piece. While there are many of his pieces out there that only die-hard collectors would know at first glance, this is one of the dresses that you instantly know is McQueen. Lee had only recently joined the Gucci Group at this point and his shows were becoming bigger and more commercial. The Fall 2003 collection was titled 'Scanners' and he went to the frozen arctic tundra for the show set. The runway was a wasteland set against an icy mountain. Models walked among rubble and rocks on the runway and and a dusting of snow covered everything. The name of the show came from the invitation that had scans of McQueen's actual brain on them. In the book "Alexander McQueen" by Abrams, they noted that "the collection engaged McQueen's interest in Eurasian culture and was presented as a journey of displaced travellers from west to east, from dark to light across the harsh planes of Siberia through Tibet, and into Japan, the land of the rising sun." The looks touched on both Russia and Japanese themes as well as mixing in a little bit of his signature punk. This is the twin of the dress that walked the runway for Look 55 and it is outstanding. It also has a strong tie-in with red carpets and we have included photos of some of the people that have worn one here including Eve and Naomi Campbell. This is an exceptional, very rare and extraordinary piece of his work for the collector. It might even make an amazing choice for a bride looking a non-traditional choice or alternative dress in a more extended wedding celebration.

This dress is beautiful and rarely does one see this level of workmanship in ready-to-wear. The fabric is a feather light white silk chiffon that moves with the barest breathe of air. The cut is classic McQueen with a low cut squared off neckline at the front that is meant to hold and push the breasts upwards. Underneath the bodice sits a band of silk to add some shape and structure. This tiny little detail adds the perfect bit of shape and gives the bodice its empire cut. The back is scooped to show a bare expanse of skin. I love how the straps are meant to sit at the very outer edge of your shoulders. Inside it is lined in an ivory silk satin and has hidden set boning. The construction is beautiful and done to the high level that you expect from runway McQueen. The skirt falls from the band beneath the bodice and there are yards and yards of silk used to create the skirt. At the front it is cut to just past the knee or just above mid-calf, depending on your height. It curves around the back where it drops in length at the centre and then there are two long panels on either side of you that fall to the floor. The effect this multi-length hem creates when you move is fantastic. As you walk it floats out behind and around you. You can see the movement in the runway video and it is extraordinary. If that was not enough, the entire dress was then hand, beaded and sequin with a combination of silver thread, tiny little silver beads and tiny silver sequins. They form an exquisite and highly detailed trailing flower design that is denser around the hem and then trails up the dress into the bodice. Attached ties extend out from the centre back of at the waist with extra extra long ties that can be wrapped around you or tied and left to trail out behind you. This is a work of art from one of the greatest designers of our time. Excellent condition. 

Fully lined in a white silk satin through the bust and white silk chiffon through the skirt. It closes with a series of large hidden set hooks at the back. The hooks could be moved a quarter to half inch up or down to get more or less room. The interior bust is shaped and boned. Hand finishes throughout. No size tag present. 

Bust: 15-16" flat across from side seam to side seam
Empire waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 9" from top of shoulder to the top of the 1" band under the bust
Total length: 39" from top of shoulder to the front hem, 44" to the shortest pont of the back hem, 59" to the longest point of the hem.

Modern Sizing Equivalent: XS-SML

Item# DD4744

Reference Photos/Video: (1-3) Fall 2003 Alexander McQueen Runway, Look 55. Model Natalia Vodianova.  /  (4) Eve at the 2003 CFDA Awards.  /  (5) Naomi Campbell at a Party thrown in honor of McQueen, November 2004.  /  (6) Lily Donaldson on left at the 2006 Met Gala.  /  (7-8) Sienna Miller at the premiere of Cold Mountain, December 2003  /  (9) Julia Schlaepfer wearing this dress at the BAFTA Tea Party, 2024.

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 the Ready-to-Wear version of the Haute Couture Dior dress that walked the Fall 2021 show for Look 32. You can see the striking similarities to it from the similar metallic net fabric, to the cut. This version for the main line was produced for the shops in limited quantities and only sold at certain of certain Dior shops from what I understand. It is an absolutely stunning dress and I love knowing that it is based on that beautiful couture gown. It is truly a beautiful piece and it might even make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event.

The fabric on this dress is very unusual. A fine metallic gold thread is done in a grid cut out that creates a thatched pattern over the entire dress. This sits over a layer of a pale nude silk netting and then both of those sit over the inner layers of silk tulle and silk on the bodice. The skirt has multiple layers of tulle underneath that top metallic layer with an inner silk lining under them all. The skirt has a ton of fabric and I did not use any extras under-skirts in the photos. All of the volume that you see is created by all of the existing layers of tulle and silk. If you wanted the skirt to be even fuller you could add something underneath and turn it into a fairy-tale cupcake dress. The bodice is meant to be fitted and the fabric is wrapped and gathered all the way around you. Inside there are padded cups that create a sweetheart neckline and light boning to hold the dress in place and give you support. Tiny little half sleeves leave the shoulders bare and they wrap around your upper arms for a pretty feminine detail. The waist is cinched and then the skirt poufs out below that to create all that gorgeous volume that you see. The dress comes with its original Dior cloth garment bag and looks to have been worn very little at all. Excellent condition.

Fully lined in silk and constructed as described above. It closes with a back hidden set zipper and an inner waist stay hooks to close. The front cups are padded and there is light boning in the inner bodice. Hand finishes. Tagged a F36, GB8, I40 US4. The colour is slightly more metallic in person and better.

Sleeves: 11" and are 11" around the upper arm
Bust: 15-16" flat across from side seam to side seam
Waist: 12-12.5" flat across from side seam to side seam
Hips: open
Bodice: 10" from top of bodice to waist
Total length: 57" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD4733

Reference Photo: Fall 2021 Christian Dior Couture, Look 32. Model Mathilde Henning.

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 without a doubt one of the most recognizable of pieces ever created during Tom Ford's tenure at Gucci. It's twin was Look 10 on the runway and we have included runway photos and video for you to see how beautifully this moves once on the body. In Vogue's review of the show they said that "This season every major designer is talking about creating a "beauty" strong enough to defy our anxious times. Backstage that was the word Tom Ford used to characterize his Fall collection for Gucci—a collection in which beauty was personified as a power vixen extravagantly armoured to face down a troubled world" The evening pieces were mentioned specifically "For evening, there were gowns constructed with cutout zones of sparkling mesh and frilled bra tops; others snaked to the floor, held in place with complex asymmetric straps crossing the torso and shoulders. If Ford is treading the territory mapped out by Thierry Mugler and Azzedine Alaïa in the ’80s, it’s no surprise. Much of fashion is heading in that direction >anyway, and Ford, after all, bases Gucci’s entire brand proposition on finding new ways of upping the ante on sex season after season." This is a dress from one of the most incredible eras of Gucci.

I love that this dress is the twin of the colour chosen to walk the runway and that it has it's corset belt that was sold separately. Usually when I see one of these for sale they do not have the matching corset or they are in the black colour that was sold and produced for the shops. From my understanding, this colour was only sold in some of the Gucci shops and was produced in lower quantities, making it more rare and special. The dress itself is stunning and this one is pristine. It is made out of a silk blend that allows the silk to stretch and give. The fabric is as light as air and that incredible stretch allows it to conform to your every curve and helps to create curves. The neckline is meant to sit lower on the chest and it sits wide across the front. You can see that on the runway. The sleeves are long and simple so that the seaming detail on the dress can stand out. The silk is gathered up and over the edge of the neckline in soft folds and then below that is the incredible seaming that shapes the dress around the body. The seam work that he did for his time at Gucci was an integral part of his design philosophy The seaming acted like embellishments, shaping the pieces and giving them added detailing. The waist is seamed and it curves down and over the hips with insets there to hold and emphasize the shape. The skirt falls under that, following the curve of the body with just a slight flare out at the back hem. At the back the seaming curves around from that waist area and curves underneath your bottom. The silk is gathered in along those curved seams to create ruching and there is a panel built inside where they meet just above the hem to give added structure and support. It is incredible. The corset goes over top of that and it is made out of a thick stretch fabric that has an almost neoprene feel to it. It velcro's into place at the front and then straps wrap around you and buckle into place to cinch you in. This is a true stand out piece from Tom Ford's reign at Gucci and it is also incredibly sexy. Excellent condition.

Unlined and closes at the back with a hidden set zipper. The belt has Velcro at the front and then buckles to close over that. Both pieces appear to have been worn very little if at all. The dress has its inner fabric tag with the Gucci name on it only. The belt is tagged a size 40. The fabric does have stretch and the measurements below are the comfortable range laying flat.

Dress
Sleeves: approx 28" and is 12-15" around the upper arm
Shoulders: no defined seams
Bust: 15-17.5" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: 18-20" flat across from side seam to side seam
Total length: 40" from top of shoulder to front hem, 43" to the back hem

Corset Belt
6" high at its skinniest point and 9 inches at its widest
approx 26-3-" end to end 

Modern Sizing Equivalent: XS-MED

Item# DD4728

Reference Photos/Video: (1-3) Fall 2003 Gucci, Look 10. Model Mariacarla Boscono.  /  (4) Yasmine Warsame in Gucci for Amica Magazine, October 2003.

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 Spring 1990 Haute Couture collection. Its twin was shown under a jacket on model Gloria Burgess and we found the original sketch of the dress in my YSL folio. I thought it interesting to see that Gloria was not the original model intended for the dress and that there was a change by Yves as to who wore it on the actual runway and you can see that interesting little detail in the sketch. I have included all the reference photos for you here and it gives you a beautiful idea of how fabulous this is once on the body. This is also the collection that the book 'Yves Saint Laurent: Catwalk' notes that "The end of this catwalk show was greeted by 10 minutes of a standing ovation, following Yves Saint Laurent's homage - via 119 designs - to the hugely talented men and women who had thus far influenced him and made an impression upon him". The dress is gorgeous and Yves always cut his couture pieces so perfectly. It really is a beautiful piece and in my opinion, owning a piece of his couture work is one of the ultimate vintage acquisitions.

The dress is amazing and showcases how wonderful Yves Saint Laurent could cut a dress to flatter a woman's body. It is made entirely by hand and the silk is that heavier richer silk that you only see in the very best pieces of couture. The top is cut to skim over you and blouse over the waist. The shoulders have padding to extend the line of them outwards a touch over the ends of the shoulder. The sleeves are cut full through the upper arms and then narrow to the wrists. Each cuff ends with four handmade silk covered buttons and loops and each button is perfectly functional. The neckline is set a touch wide across. The silk is gathered around the waist into soft folds to create a little extra bit of a detailing. The folds are set slightly off to the side and on an slight angle that visually helps to extend the body of the person wearing it. The waist is seamed but cut on the more generous side. To cinch it in we have added an ivory silk chiffon sash that is a beautiful match to the dress. The skirt falls under that in a simple shape that flares out as it nears the hem. It falls to just about the knee or above depending on your height and there are hidden pockets along each hip. The colour of the silk is beautiful creamy ivory. This is a brilliant dress and when you see it in person you will fall in love with how good it is in person. It really shows how sometimes simplicity can have so much of an impact. It would be a dress that might make an amazing wedding dress for the bride looking for a non-traditional choice, for a day wedding, or as an alternative dress in a more extended wedding celebration. Excellent condition.

Fully lined in an ivory silk and all the work is done by hand to Haute Couture standards. It closes with a hand set side zipper and a button at the back of the neck. An inner waist stay hooks to close. Each cuff has four hand made silk buttons and loop. Padding in each shoulder as described above. Completely made by hand. Proper Haute Couture numbered label present. The silk chiffon sash is not original to the dress but will be sent with it. Any change in colour that you see in the photos is lighting.

Sleeves: 22" and 14" around the upper arm
Slightly wide set shoulders: 16"
Bust: to 21" flat across from side seam to side seam
Waist: 12.5-13" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 16" from top of shoulder to waist but mean to blouse a bit
Total length: 38" from top of shoulder to hem with 2" turned under

Modern Sizing Equivalent: XS-SML

Item# DD4727

Reference Photo: Spring 1990 Yves Saint Laurent Haute Couture Runway. Model Gloria Burgess.

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.

In 1952, Hubert de Givenchy founded his namesake house on Rue Alfred de Vigny in Paris and quickly rose to fame as one of the grand couturiers. 16 years later for the 1968-69 season he added a ready-to-wear line of clothing and accessories called 'Givenchy Nouvelle Boutique'. The line was initially sold in the United States exclusively through Bergdorf Goodmans and was eventually made available at other retailers. The line was high end and extremely well made. This part of his brand was created specifically to appeal to his non-couture clients who wanted to be able to purchase a piece of the Givenchy dream. This label continued until 1992 when it was retired and re-branded as the Givenchy Couture label. This dress is from those early days of the label and it is one of the prettiest Givenchy dresses I have seen. 

Modern Sizing Equivalent: XS-SML

Item# DD4721

Reference Photos: Spring 1982 Lanvin Couture. Model Anna Bayle.

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.