At the age of 31, Stephane Rolland took over as Artistic Director for the Jean Louis Scherrer Haute Couture atelier, making him the youngest of the 20 official couturiers at the time. That was in 1997 and he remained as the head of the Couture division until the last showing in 2005 when the house officials shuttered is couture business altogether. This dress is from the Fall 2001 Haute Couture presentation and it is the actual runway sample that was worn on the runway. It was Look 7 In the presentation that day. I have included several runway reference photos for you so that you can see just how spectacular the dress is once on an actual body. 

Any Haute Couture piece to come into the shop is a reason to celebrate but to have the actual runway sample is even that much more amazing. The dress is a work of art and is entirely made by hand to Haute Couture standards with the added touch of all those last minute adjustments done to perfectly fit the model to walk the runway that day. This is an amazing opportunity to see what few see; a dress straight from the atelier, overseen and fitted by the couturier himself for its debut on the runway. The entire dress is made from multiple panels of a red silk gazaar that are hand set to overlap themselves as they cascade down the length of the dress. The panels gradually become larger is they run downwards over the dress to the train at the back. They cover the entire dress from the strapless bodice to the very end of the train. By layering the panels the dress has a sense of depth and texture then even the photos can truly convey. Each panel is secured to the base fabric just along its edges so that there is a movement and lightness created when it is on and you move about. The inner part of the dress is cut to above the knee so that you get a long flash of leg at the front. The rest of the dress flows back and around you from there. At the back the train is very long and dramatic. The bodice is strapless and here the panels are set so that they form a peak upwards on one side. The interior is corseted and structured so that it firmly holds the dress onto the body and gives you shape. This is an incredible piece of modern Haute Couture and would have been priced well into six figures when it was originally made. Excellent condition with one small note to review below.

Fully lined in a fine red silk and closes with two zippers. One is on the interior corset and the second is on the outer layer of the dress. The interior corset is boned and shaped. The skirt is lined in a red silk taffeta. Done with Haute Couture construction techniques. The hand written runway sample tag is present. There is some deepening of the colour/ marks on some of the squares of silk that make up the train and some minor grubbiness from being worn for the runway and then stored. Nothing that detracts once the dress is on. It is close to a true zero and will zip properly in the back on the right sized person. 

Bust: 15-15.5" flat across from side seam to side seam
Inner waist: 11.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Inner dress length: 26" from top of bodice to hem NOT including panels that go over the edge of the dress a bit above and blow the actual inner structure
Length including train to the very longest point:  Approx 92" from top of bodice to final tip of the train

Modern Sizing Equivalent: XXS-XS

Item# DD3054

Reference Photos: Fal 2001 Jean Louis Scherrer Haute Couture Runway Show.

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

The twin of this dress is held in the permanent archives of The Metropolitan Museum. It would not surprise me to find out that these were the only two samples of this dress in existence. True Haute Couture pieces were never produced in any significant quantities. The dress is as wearable now as it was when first made and feels very modern. It is entirely finished by hand and is from the time period when the house was run by Hubert de Givenchy himself. This is a wonderful and well documented piece showcasing Givenchy's work during this time period. I have included the dress that the MET has in the final shot here for your reference

The dress is made of a deep blue grey silk crepe. It is cut with a strong nod to the classic Grecian silhouette that leaves one shoulder exposed and bare. The construction details throughout the dress are exquisite. The bodice has been gathered by hand to create a series of soft pleats that run from the shoulder to the waist. These are set on a curving angle to follow the cut of the neckline as it works it way up towards the shoulder. The draping and soft pleat technique adds a beautiful detailing to the bodice of the dress. The waist is defined by a slim gold leather cord that wraps and ties to add shape. The skirt falls below this to the floor gently widening out a touch as it nears the hem. A second panel of fabric is draped over the skirt and set so that it angles softly down one side mirroring the angle of the shoulder. Slipping over this is a short cape that is made from the same fabric. It is cut on an angle to point down the front and the back and gives the dress a beautiful flowing feel. The colour is richer and deeper in person and on an actual body the entire dress really comes to life. Excellent condition with a few small notes below to review.

The dress is fully lined in a hand set blue silk of very high quality. There is a wide waist stay that hooks at the inner waist. It closes with a hand set, side painted metal zipper and from the waist down there are hidden set snaps that close the fabric of the skirt over the zipper. The bodice is lightly boned and there are small bust pads that are handset inside the bodice. The cape is unlined and slips over the head to wear. There are some light snags in the fabric here and there and some small areas pf darkening on the skirt overlay - the snags are most noticeably on the back of the skirt near the bottom - these are seen most when it is laid out flat but once on the color and placement make all of them negligible. Please see the two images after the label shots. All the interior work is done by hand to Haute Couture standards. Proper Couture tags on both pieces. Haute Couture tape label #55417

Dress
Bust: to 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 15" from top of shoulder strap to waist
Skirt: 42" from waist to hem

Cape
39" from neck to longest point of hem

Modern Sizing Equivalent: XS-SML

Item# DD2767

Reference Photo: 1973 Givenchy Evening Dress from The MET Collection.

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

The Nina Ricci Haute Couture house was founded in 1932, at 20 Rue de Capucines in Paris and became one of the pre-eminent couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant who took over the atelier in 1954. Over the following three decades, his Haute Couture vision "celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day."

This dress is a wonderful example of Pipart's vision for the house and is a stunning example of the work that the atelier was producing during this time period. The dress is made of from a fine silk chiffon that has been dyed to the perfect red. Every stitch is done by hand and the hours that would have been put just into the hand rolling and stitching of all the edges on the various layers on the skirt alone is mind-boggling. The skirt is made of four full layers of bias cut silk that is layered over each other in cascading tiers of fabric. Each layer is cut to curve up slightly at the front and dip down longer at the back. The layers of silk create a beautiful sense of movement and lightness when you move. The bodice is beautiful. It is densely beaded by hand in a pretty floral pattern all the way around from front to back. Tiny silk straps curve up and over the shoulders. Along the very top edge of the neckline at the front is an attached panel of silk chiffon that wraps up and around the neck leaving the silk to trail down the back. This little extra detail creates a bit of high drama and intrigue to the design. The scarf is original to the dress but may have been attached at a later date. It would be an easy job to unattached it and have it as a separate piece again if you wished. It is stunning in person and on the body. Excellent condition with one small note below.

Fully lined in red silk chiffon and closes with a back hand set zipper. Finished to Haute Couture standards and entirely made by hand. There are two small areas of a darkened spots on both sides of the attached silk panel. Please see the two photos after the label shot. Depending on how this is tied and styled it does not necessarily show and if was unattached again you would have the option to not wear it with the dress. The proper Haute Couture label is present.

Bust: to 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 16" from neck to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2369

Quote and historical info on the house is taken from the Nina Ricci Website

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

In October 1997, the first women’s ready to wear collection under the Narciso Rodriguez label was presented in Milan for the spring 1998 season. Rodriguez was awarded 'Best New Designer' at the Vogue/VH1 Fashion Awards in New York and the 'Perry Ellis Award' for best new designer by the Council of Fashion Designers of America that same year. He was the first designer ever to receive consecutive womenswear designer of the Year awards by the Council of Fashion Designers of America in 2002 and 2003. Countless other awards and accolades have been awarded to him as well. He also designed the bias-cut wedding dress that Carolyn Bessette wore for her marriage to John F. Kennedy, Jr. and Michelle Obama chose to wear a dress from the designer’s spring 2009 collection for her husbands victory as present and his first State of the Union address. You may remember seeing Claire Danes in a shorter version of this same dress for the 2012 Tribeca Film Festival. This one is a more evening version and my client had this one made for her by Rodriquez that year. As far as I am aware it was a bespoke piece and it is the only one in existence. It is a stunning example of how amazing of a designer he is. 

The dress is absolute perfection and showcases his talent for the bias cut that is meant to flatter a woman's body but never in a way that is too tight. Rather it just skims over your curves and is so very flattering. The dress is completely cut on the bias and made from a heavy deep fuchsia pink silk crepe. It has that minimalist tendency to it that he is so well known for with a crisp and elegant result. The bodice is cut with his signature bra cut top with a curving black silk panel set so that it scoops under the breasts. It then extends upwards to curve over each shoulder and down the back into a deep scoop. Inset above the black is a top stitched pink bit of silk. The dress flows past the waist from under the black with no seam to break the eye. It is cut on the bias so simply flows perfectly to the hips and then sweeps to the floor. Just above the knee on the skirt inset panels have been set in all the way around the lower part of the skirt. These give the lower skirt the shape volume you see. It moves and flow around you beautifully when you move. The back is cut longer into a slight train that flows behind you. It is absolutely stunning and pristine. The photos come close to the actual color but in person it is even better with slightly more depth and richness. Excellent condition  

Fully lined in a matching silk and closes with a back zipper. The zipper has a bit of a 'stick' feel to it when you close it. Appears to have never been worn or worn very little. The bias cut should allow it to fit a range of sizes

Bust: to 17.5" flat across from side seam to side seam
Waist: to 14" 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, 74" to the back

Modern Sizing Equivalent: XS-MED

Item# DD3576

Reference Photo: Claire Danes in Narciso Rodriguez at the 2012 Tribeca Film Festival.

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

My couture client purchased this set in the spring of 2004 and it is a beautiful example of his work during this time period. This is one of the pieces made for retail sale that season and has many of the hallmarks we know and love about McQueen's work. Lace was used throughout the collection that year. Vogue said of the runway show; 'McQueen's signatures—elaborately pieced tailoring (now beautifully softened with delicate inserts of lingerie)... did star turns' and the this set lives up to that and more. 

Both pieces are made from a black silk taffeta and the top is detailed across the shoulder with a fine gossamer black lace. The skirt takes it reference from many of the cuts seen in the spirited dance show that the collection was presented with for that season. If you look through the photos of the show, you see many skirts were cut with this hip hugging silhouette that then flared outwards at the bottom skirting. On this set the flare is at the back with the front cut to be more of a sleek pencil shape. But when you turn to the side or around, you see that the silk hugs the bum and then flares out quite dramatically on either side at the back. The top showcases more of his elaborate and genius tailoring. It is cut and shaped by a series of vertical curved panels pieced together all the way around the body. It buttons down the front and has flap pockets set on each hip. The entire top of the shoulders and the capped sleeves are made out of a fine black lace that allows a glimpse of skin through its elaborate design. A wide grosgrain ribbon wraps around the top edge of the corseting and finishes with a neat flat bow at the front. The fabric choice gives it shape and holds the intended silhouette and the femininity of the lace is the perfect contrast against that sharp tailoring. This is Mcqueen at his finest and a stunning set that is even better once it is on an actual body. It appears to have never been worn or worn very little. Excellent condition. 

Both pieces are lined in a black silky rayon. The skirt zips to close with a hidden set zipper and the top buttons down the front. Note that it was a little small on the dress form and does button properly once on the correct size person. The skirt is tagged a 38 and the top is tagged a 40. It appears to have never been worn or worn very little. The entire set is a true black in person 

Top
Slightly dropped shoulders: 17"
Bust: 16" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 23" from neck to hem

Skirt 
Waist: 14" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 23.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3572

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

I found two versions of this dress when researching it. One was a Haute Couture version in a gold brocade from the Fall 1997-1998 runway. The Couture version took the formed and shaped bust-line to an even greater degree then this ready to wear version that I have here. Then there was an all black version shown for the Fall 1998 ready-to-wear show and you can see it has the same silhouette as this dress does. If you then combine the two, taking that same RTW shape and making it on the fabric from the Couture show, you have this dress. Finding runway references for Mugler's work is not always easy as he would often change designs for production and produced many pieces that were not shown on the runway. It's an extraordinary find.

I love the sharp fitted cut of the dress and that shaped bodice is exactly the kind of lines that we expect when we think of his work. That shaped, curved and pointed bust-line felt scandalous when they were first shown on the runway and still feel that way years later. This is classic Mugler and very collectible as a result. The dress is made out of a gold brocade that is heavy enough so that it was able to be sculpted into that curving shape. It molds and accentuates your curves. The curves through the hips are there whether it is on or off the body and he plays and exaggerates the female form through them. All of the shape is created through seaming to help to give the dress structure, shape and support. The waist nips in and the hips curve out and away from the body. The skirt is cut above the knee and curves in at the hem to further exaggerate the shape. The bust is spectacular. It is seamed and molded like a bra cup and then has those extensions that wing up into points on both sides. The cups are inset at the front so the shape is pushed to the front as you can see in the reference photos. You only have to look at the runway photos included to know how amazing this one is going to be on. The colour in person is a much stronger metallic gold feeling and really is better in real life. The fabric is also surprising soft. It's really fabulous. Excellent condition.

Fully lined in a brown silky rayon and closes with a back zipper. Tagged a vintage Mugler 38. The cups will probably fit up to a B, maybe a small C. They are seamed and wired for shape.

Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 28" from top of bodice to hem and the paint extend about
2.5” above the top of the bodice

Modern Sizing Equivalent: XS-SML

Item# DD3567

Reference Photos: (1) Fall 1997-98 Thierry Mugler Haute Couture Runway.  /  (2) Fall 1998 Thierry Mugler Runway.

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

A version of this set is held by the Liverpool Museum and was a key piece in the exhibit at the Walker Art Gallery Collection for the Fashion Icons: Celebrating Gay Designers exhibit. The show notes for their piece stated; 'Bill Gibb was born in Scotland and moved to London to study fashion design at St Martin’s School of Art. Between 1969 and 1972 he worked as a freelance designer for the fashion house of Baccarat before launching his own company. This evening dress, with its petal-shaped hemline, and glowing jewel-like colours, is typical of much of Gibb’s work in the early 1970s. In particular, his use of an exotic pattern and a metallic Lurex thread in the fabric shows how he was often influenced by rich historic fabrics and non-Western cultures.'

Gibb was one of the most influential and famous designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. This set is a wonderful example of the kind of work he was doing during this time period. His use of these metallic lurex fabrics helped to add a fantastical twist to the story he was trying to tell through his clothing. This set has all four original pieces to it. There is a skirt, a sleeveless tank that buttons at the front, the most fabulous jacket and a matching belt. The skirt is cut to midi length and is made of a series of flat knife cut pleats that fall from a more fitted hip. The choice of the lightweight lurex lets it have a ton of movement when you move and the pleats swish around you when you walk. The sleeveless top tucks into that. It is made in the traditional tailoring manner with a panel of lining fabric attached all the way around the bottom. This is something you normally see in couture pieces. This additional panel of fabric is made so that when you tuck it into the skirt you are not adding any bulk or lines around the hip area. The top buttons down the front and closes with holographic faceted buttons. Topping these two pieces is the jacket. It is cut with high capped shoulders and has an over-sized dog eared collar. It cinches in at the waist by seaming and flares out below that to past the hip. There are big curved pockets on each hip and the same buttons close the jacket that are on the top. It almost has a slouchy cardigan feel to it. The set comes with its original belt that has an unusual finish of a flexible holograph strip on the front of it. This strip picks up on the buttons of the jacket and top. I have shown the belt over the skirt and top, and then also around the jacket, since it works either way. The colour in the lurex is a fabulous mix of a soft green with other colours running through. The heavy dose of glitter running over the lurex softens the fabrics and gives it a fairy tale quality. I love the nod to the forties that the set has and the fabric is truly incredible. This is a rare set from one of my personal favourite designers. It appears to have been worn very little if at all. Excellent condition.

The skirt is lined through the hips and then where the pleats start it is unlined. It closes with a side zipper. The top is unlined and buttons to close with of lining around the lower half that you tuck into the skirt. The jacket is lined in a green silk satin and buttons to close. Two buttons on each cuff. Pockets on each hip of the jacket. Original tie belt. It appears to have been worn very little if at all.

Jacket
Sleeves: 24" approx.
Shoulders: no defined seam
Bust: 18-18.5" flat across from side seam to side seam
Waist: 14.5-16.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Bodice: 16.5" from neck to waist
Skirt: 16" from waist to hem

Top
Bust: 16.5-17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Length: 21" from shoulder strap to hem

Skirt
Waist: 12.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 34.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2739

Reference Photos: (1) Evening dress, Bill Gibb, 1973 from the Walker Art Gallery Collection, Fashion Icons: Celebrating Gay Designers" exhibit / (2) Evening dress, cellulose acetate, nylon and lurex, Bill Gibb, 1973, Liverpool Museum Archives. / (3) Charlotte Rampling wearing Bill Gibb for Harpers & Queen, February 1973. Photo by Barry McKinley.

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 shrug was shown on the runway in a darker colour but I prefer this amazing cream version. Its a little sleeker in feel an the colour feels more elevated to me.  I have held this in my archives for several years now and I think that it is a stunning example of the fur pieces being produced by designers like Valentino during this time period. Fur was well established as being treated like a fabric by this period.  It is made from a soft mink in a pale creamy ivory. In person it has a more creamy feel then how it photoed. The fur is supple and very very soft. What is remarkable is that the curving pattern that you see winding down each arm . The lines all match up perfectly across the back s they go into the sleeves. This gives the shrug an added bit of texture and pattern. To wear it you simply slip it over the shoulder. It has been properly stored and cared for and appears to have been worn very little if at all. No splitting, issues or shedding. Excellent condition

Fully lined in a black and white Valentino printed silk lining. It slips on with no closures. Tagged a 42

Sleeves: 22"
Shoulders: approx 15"
Bust: no defined side seams
Height at back: 14" from top to hem

Modern Sizing Equivalent: XS-MED

Item# S924

Reference Photo: Fall 2004 Valentino Runway Collection, model Malin Persson.

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

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

The twin of this dress was shown on the Resort runway for 2008 and was Look 56. In Vogues review of the collection, journalist Nicole Phelps said in part; 'The grand theater-in-the-round setting for Oscar de la Renta's resort show put some audience members in mind of Chanel's recent presentations, but if there was a designer's influence at play in this beautiful collection, other than de la Renta's own, it could have been Yves Saint Laurent's. Loulou de la Falaise, YSL's longtime muse-turned-fellow designer, was sitting front-and-center (coincidentally, as it happened), and up on the raised platform there were seventies references' she went on to mention this dress in particular saying; 'And as for those evening gowns, a pair of printed chiné taffeta dresses (one in marigold, another in coral) may have had the front-row lovelies—Renée Rockefeller, Aerin Lauder Zinterhofer—reconsidering their outfits for tonight's CFDA Awards, where, of course, de la Renta is nominated for Womenswear Designer of the Year.'

The dress dies have a nod to the work of YSL who did several dress in the 1970s in this same silhouette that is caught up at the bust and then widen out as it nears the floor with a longer back then front. This silhouette is marvellously falter on and easy to wear. It also creates the most beautiful lines as you walk away and the skirt and back pillow out and trail behind you. It is made out of a bright coral silk hat has a slight iridescent quality to the finish. The very upper bodice is fitted and wide starts curve up and around each shoulder. Under that it is all volume and drama. The dress has a ton of volume to it that shows best when you move. It has three sets of ruffled tiers that fall softly to the floor. The lightness of the silk causes the on the skirt to billow out and move with the slightest bit of air. When this is on and you are walking the effect that this creates is absolutely gorgeous. The back of the skier is longer then the front and I took some shots of it from the side so you can see how it curves down and back. The runway references also show this beautifully. I love how each there is defined by that gathered ruffle and the entire bottom hem is a wider version of the same. This extra little detail is fabulous and adds an extra element of romance and femininity. This is Oscar at his best and a tremendously beautiful dress. The dress was never worn and still has its original tags. Excellent condition. 

Fully lined in a matching coral silk.  It closes with a hidden set side zipper. Tagged a size 6. All original tags and unworn. The colour is slightly less vivid in person and even better.

Bust: to 17" flat across from side seam to side seam
Seam under the bust: 15" flat across from side seam to side seam
Natural waist - hips: open
Length: 52" from top of shoulder to shortest point of the front hem, 62" to the longest point at the back

Modern Sizing Equivalent: XS-SML

Item# DD3563

Reference Photos: Emina Cunmulaj for the Resort 2008, Look 56, Oscar de la Renta Runway Collection.

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

If there is a dress more instantly recognizable and famous then the Valentino dragon dress I am not sure what dress that might be. It is a star even among the many outstanding dresses that Valentino has created over the years. The Haute Couture version was first created to great fanfare in 1969 and we have included some of the many reference photos that can be found for that original version. Then for the spring of 2001, the Valentino atelier released a limited edition collection of re-edited copy of the dress. This is one of those dresses and my couture client purchased it directly from Valentino. This is a rare chance to own an official Valentino version of one of the most iconic dresses ever produced. 

This version of the famous dragon dress follows the lines of the original couture one perfectly. The only difference is that this one is of ready to wear finishings rather then made to the Haute Couture level that the original would have been made to. At first glance you immediately think of the 1969 version and it is such a special piece. The description of the dress where it is documented in the book on Valentino's work sums it up perfectly; 'Printed tunic dress with a yellow, green and red oriental dragon against a very dark background; it features a seamed bust line, a stopped neckline, long sleeves and a deep slit along the left hip.' The dress is made out of a silk that has a satin like finish to it with that wonderful dragon printed on its surface. The dragon curls around the body on both the front and the back of the skirt and across the back and bust. Even the sleeves have part of the design on them. The neck is scooped and the sleeves each end in a wonderful flare out by the time they reach their ends. A curved horizontal seam gives a touch of definition just under the bust and then the skirt flows to the floor in a widening line. The choice of fabric is perfect as it is just heavy enough to keep the shape that you see so that you get the full view of the dragon design from any angle once it is on. The slit on the one side is very high and shows a ton of leg when you move, balancing out the coverage everywhere else. It is incredible. Excellent condition 

The dress is unlined and closes with a hidden set side zipper and a hook & eye at the back of the neck. It has no tags but was purchased direct by my couture client. Proper interior tag and tagged a size 42. The cut is small through the upper bodice and arms hence the XS-SML size designation I have given it

Sleeves: 22"
Shoulders: no defined seams
Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 58" from top of shoulder to hem
Slit: 33" from hem up

Modern Sizing Equivalent: XS-SML

Item# DD3561

Reference Photos: (1) Vogue, December 1968.  /  (2-3) Valentino dresses, 1969.  /  (4-5) The re-issued Spring 2001 dress and credit from the book "A Grand Italian Epic: Valentino Garavani" by Taschen.  /  (6) Heidi Klum Valentino at the 2018 From Paris With Love Children’s Hospital Los Angeles Gala.  /  (7) Ruth Negga in Valentino, New York, 2018.

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

Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. The twin of this dress was photoed a year later for the September issue of Vogue on Donna Mitchell and I think that this photo has become one of the most famous shots of her and one of the best shots done for Vogue period. To have this in the shop is a bit of a holy grail for me personally as it is such a beautiful dress that I  have always loved. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have a way of flattering the wearer. Even when the dress was as extravagant as this one is. He knew how to walk that line perfectly. This very early piece of his work and with its glamorous fabric, history and that dramatic feather collar, it is some of his very best work ever. 

The dress is stunning and besides the actual beauty of it as a dress, the fabric is one of the best textiles I have ever seen. It is a printed silk voile in a riotous colour palette of yellow, coral and black with dots of an extra soft plush chenille fused onto the surface. The chenille appliqué covers the entire dress from shoulder to hem and gives it the most amazing tactile feel. The dots also give the dress texture and a three dimensional quality. To offset the texture and extravagance of the print on that fabric, the actual lines of the dress are fairy simple The bodice skims over the bust to the seamed waist and the sleeves are long and straight with zippers at each cuff. The neckline is high and scooped. The skirt falls from the waist to the floor in a gentle widening line. At the neck it becomes all drama again. Here we see that famous feathered collar in all its glory. the collar is actually a separate piece on its own that hooks into place and I have provided photos of the dress with and without the collar. The feathers on the collar have been hand dyed to match the colours of the dress and there are hand dyed smaller feathers hand placed and attached onto the larger feathers to create the pattern that you see. The effect is amazing and it is even better on person and on an actual body as all the elements really come to life. It is really one of the most significant and dramatic pieces ever done by him. A true collectors piece. Excellent condition 

The entire dress including the sleeves is fully lined in a nude coloured silk. It closed with a back painted metal zipper and each cuff has a zipper to close. The collar is backed with a silk organza and hooks to close. There are a few tiny areas of thinning to the silk behind the feathers of the collar but these are extremely minor. Overall it appears to have been worn very little if at all. 

Sleeves: 23.5"
Shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 42" from waist to hem with 3.5" turned under the hem

Modern Sizing Equivalent: XS-SML

Item# DD3562

Reference Photo: Donna Mitchell in Bill Blass, Shot by Richard Avedon, Vogue US, September 1971.

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

John Galliano was moved over from Givenchy to Dior in October of 1996 and stayed there until he was dismissed in February of 2011. The collection from about 2000 to 2011 are covered in full but the ones prior to that are harder to find the full information on. I believe this is a piece from around the time he switched over. During John Galliano's years at the house of Dior he arguably produced some of the most amazing bias cut gowns in the house's history. His work often hails back to the decadence and abandonment of the twenties and thirties in terms of their cut.  

This dress is beautiful. I love the soft tones and combination of yellows that have been used. It is made out of a bias cut silk chiffon whose pattern is a mix of a lemon yellow, a pale mint and deeper tangerine colour, all complimented with with pops of black and white. The design is laid out in a graphic chevron pattern that covers the entire dress. The dress is cut on the bias so that it skims over the body. The neckline is scooped at both the front and the back and the dress is suspended from wider cut straps that curve over each shoulder. There is no seam at the waist, instead it just drapes over the bodice and then falls to the hips. This gives is a very twenties feel. The skirt adds to this twenties feel with how it is set into the body of the dress. Panels of silk chiffon have been set with the pattern going a different way from the torso of the dress. It is sewn in with a series of points around the hips. This causes the skirt to have a lot of movement and it has a floating feel to it as you move around in it. To close the dress there is a tightly spaced row of his signature silk covered buttons and loops that run down one side of the dress. It is very light in weight and stunning on. Excellent condition

Fully lined in a bias cut off-white silk crepe. It closes with the series of buttons and fabric loops that run down the side. It appears to have been worn very little it at all. The bias cut should it to work on a range of sizes. The length does come up a bit once since it is cut on the bias.

Bust: 15-17" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: 16-20" flat across from side seam to side seam
Length: 60" from shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD2437

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

The twin of this dress was showcased in a special presentation for the InStyle & "A Diamond is Forever" Sneak Peek at Red Carpet Fashion for the 2004 Awards Season. I have included photos from that so that you can see just how gorgeous this dress is once on. This is definitely one of the prettiest Oscar dresses I have ever had in the shop 

The dress is a dream. It is made out of a yellow printed silk chiffon that has a soft green fern print scattered across its surface. It has a soft rounded shape to the upper bodice and the silk is draped over the torso to fall down and around you in gentle draping that goes from the top of the bust to just below the hips. I love how it is scooped up at the middle and the skirt is set in and under the draped bodice. The skirt has a ton of volume to it that shows best when you move. It has four full sets of ruffled tiers that fall softly to the floor. The lightness of the silk causes the ruffles on the skirt to move with the slightest bit of air. When this is on and you are walking the effect that this creates is absolutely gorgeous. It is held in place by the straps that come up and out of the front bodice and wrap around and hook behind the beck. This is made out of the same silk as the dress. This strip of detailing is gathered in a ruffle and the edges are left raw. Then, set along the entire length of the ruffle are little hand made flowers. This extra little detail is fabulous and adds an extra element of romance and femininity. This is Oscar at his best and a tremendously beautiful dress. It appears to have been worn very little if at all. Excellent condition. 

The bodice and torso are lined in a matching deep yellow silk. The ruffles of the skirt are set on top of the same silk chiffon so you get a touch of transparency as they move. It closes with an inner zipper to close the built in boned inner support and then a second hidden set zipper over that to close the exterior dress. The straps hook to close behind the neck. Lightly boned through the inner bodice. Inner waist stay hooks to close. Hand finishes through out 

Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 59" from top of neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD5556

Reference Photos: Model wearing Oscar de la Renta for the InStyle & "A Diamond is Forever" Sneak Peek at Red Carpet Fashion for the 2004 Awards Season, January 2004.

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

In 1996, the same year this gown was made, Hanae Mori was awarded the Order of Culture by the Emperor of Japan. This after a long and lustrous career that included becoming the first Japenese women to become a member of Le Chambre Syndicale de la Haute Couture Parisienne in 1977. In the Encyclopedia of Fashion they say of her work:

"....examples used bright hot colors, juxtaposed in one ensemble to provide interest, bringing a strong Japanese feel to their narrow hues, frequently harking back to the kimono for their silhouette and cut. It is in this area that her work is most inspired, bringing together European tailoring and Japanese color and ideals of beauty. She uses the Japanese love of asymmetry to further develop her style and the linear patterns she prints onto her distinctive silks. She exploits the natural appeal of such fabrics with a well-defined sense of cut to illuminate her realistic styles. By doing so, Mori is providing both an alternative to and a definite rejection of the type of elaborate couture confections that mold the female form into fantastical shapes, ignoring the woman beneath the fabric.......The designer is also a favorite of the Japanese royal family and Thailand's Queen Sirikit."

To find a true piece of her Haute Couture is exceedingly rare and when the design is as beautiful as this one is, it just makes it that much more special. This is couture on the highest level with everything about the piece deliberate and constructed to work as a whole. It is made of the finest silk and silk chiffon. The design is one of her signature custom prints that she helped to develop. Along the hem of the skirt there is also a hand painted detailing layered on top of the print. Bead work has been hand applied to the silk chiffon bodice to follow the black and white pattern on the underlying silk. The skirt wraps and secures over, draping around the hips and legs in a beautiful swath of silk. At one side of the waist she works in a touch of the East with the bow that you see. Underneath is a short mini skirt that is built in and has just the slightest touch of padding at the back. This gives shape around the hip and I feel it is also a subtle nod to the bustle pad. The top is semi-transparent and zips to close from the waist. It can be left open more to give a deeper plunge. I photos most of the shots with the zipper left a little open and included one with it fully closed. The shocking flash of brilliant turquoise under the skirt and lining the bow along with the high slit created by the wrapped effect are the perfect finishes. Great condition with a note to review below

The skirt is lined in a brilliant turquoise silk and the interior partial skirt is lined in black silk. The bodice and sleeves are unlined. The bodice closes with a front zipper. Her signature tiny fabric covered snaps sit at each cuff. There minor loss and loose beads on the top. Please see the photo after the label shots for the worst area. Completely made by hand as per the the standards of Haute Couture. Numbered tag underneath labeled "HC 1363 (perhaps the first number is a 7?) Pe 6-12-96"

Sleeves: 26"
Shoulders: 14"
Bust: 17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 53" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD2363

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 very beautiful and perfectly cut Haute Couture dress by Andre Courreges. Courreges spent 11 years as a cutter for Balenciaga before launching his own label in 1961 and that high standard of tailoring shows in his garments. Courreges produced Haute Couture right from the start that appealed to the youthquake movement. The lines of this dress are classic for the work that he was doing in and around 1966. He was famous for his 'space age' tailoring and bold forward thinking lines that were far ahead of their time when introduced and still have a lasting impact on current day fashion. The Met Museum holds a similar cut dress from this same time period in their permanent collection.

The fabric on this dress is exactly what you look for in a Courreges piece from this era. The dress is made out of a good weight wool fabric that is structured enough to hold the intended shape he wanted it it have. The wool has a slight texture to it and is done in his favorite color. The seaming is superb and the dress reflects the clean geometric lines that he excelled at. The shoulders are cut high and slightly inset. There is a beautifully curved seam just above the breasts that is set to meet the vertical center seam that runs down the front. This is then repeated at the back. A small horizontal strap is set at the lower back and it buttons into place. The sleeves pouf slightly above the buttoned cuffs and are cut to just above the wrist. The proper Courreges couture label is present and it is entirely made by hand. This is a stunning example of his work during this time period. Excellent condition with a minor note below.

Fully lined in a hand set cream silk. It closes with a back painted metal zipper. The strap set at the low back buttons into place and has properly finished buttonholes. Each cuff buttons to close. I see two pinhead size storage marks on the inside of one sleeve and the slightest of marks on the front and back skirt that are only visible in certain lights

Sleeves: 21"
Slightly inset shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 33" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD2727

Reference Photo: ca. 1966 Andre Courreges Dress at The Met Collection.

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

In 2015 Curator and Fashion Historian, Laura McLaws Helms contacted me about the upcoming exhibit at the Fashion and Textile Museum in London on Thea Porter's work that she had planned. She ended up borrowing a dozen Thea Porter pieces from me for use in the exhibit and for the accompanying book 'Thea Porter: Bohemian Chic'. A close up of the fabric from this dress appears on p.84 of the book to illustrate the collaborative efforts between Thea Porter and textile designer, Hannah Meckler. The pattern on this dress is the 'Wave' design and in the book this is clarified as being done by hand and "painted onto meters of silk chiffon that were made into evening dresses and Abayas". This dress has the added provenance of being the same print and fabric of a Thea Porter owned and worn by style icon, Kate Moss

This is a wonderful Thea Porter dress that has a bare back and halter neckline. This more fitted shape is a bit unusual for her but that is part of what I love about it. It shows the range that Thea had while still staying within her wheelhouse of that bohemian feel. Thea's pieces often created sensuality by combining full coverage and flowing fabrics, so to see a dress that has far more 'bareness' to it is a bit of an anomaly for her and really showcases how multi-faceted she was. The hand painted Hannah Meckler wave design that covers the silk is appropriately named for its beautiful blue tones that are reminiscent of the ocean. The pattern has been set to highlight the lines of the dress which would have required much pre-planning and a disregard for the extra fabric needed to achieve this. The skirt is made from many yards of the silk and is set on a bias cut so that the movement it has is incredible. The fabric choice gives the dress an airy, floating feel. The bodice is fitted and cut with a high halter neckline that curves up and around the neck to tie at the back. There is a second layer of silk there that ties over the inner strap and trails down the back. The back is left completely open with a wide expanse of bare skin showing. Curved pleats, done by hand, angle up to the silk chiffon rosette details the neckline. It is very beautiful. A wonderful example of Thea Porter's work and her collaborative efforts with textile designers of the time period. Excellent condition with minor notes to review below

Fully lined in pale blue tissue silk. It closes with a low, hand set, back painted metal zipper. The halter closes at the back with hook and there is a panel of silk chiffon that ties into place over that. Light boning on either side of the bodice. All hand work. There is a slight discoloration to the lining near the top edge, the waist and inner skirt. Tagged a vintage UK 10. Note that it was too small for my mannequin and it does of course zipper and close properly.

Bust: approx 16" flat across from side seam to side seam but there is some play here as the back is open
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: approx 13" from neck to slight empire waist
Skirt: 45" from slight empire waist to hem

Modern Sizing equivalent: XS-SML

Item# DD1108

Photo Credit: (1) From the Book Thea Porter; Bohemian Chic, p.84.  /  (2) Kate Moss in a dress with the same print

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 exquisite 1920s dress is made from a mix of real metallic gold thread woven through a deep burgundy silk. It is so hard to find pieces at this level from this period anymore and this one is extraordinary.

To find a dress from this period in this mix of a deep burgundy and gold like this is very unusual. In person the gold is the more predominant color and these early lame fabrics have a textile feel to then that you can no longer find in modern garments because of the way the fabric was made. There is a secondary floral pattern through the silk and this runs over the dress from shoulder to hem. The cut is kept simple and reflects the time period perfectly. Wide straps extend out from the halter cut of the bodice and curve over the shoulders and down the low cut back. The front dips into a deep plunge, crossing over itself slightly where it meets the band at the waist. At the back it dips equally as low but here the plunge is rounded at the base. From just under the bust the the top of the hips the fabric is gathered and wrapped around to follow the curve of the body. The gathers meet down the center on both the front and back sides in an elaborate panel. Below this the skirt falls to the floor in a series of soft pleats from just under the banding around the hips. The middle front seam of the skirt is left partially open so that you get an extra peak of leg when you move. The dress is entirely cut on the bias and drapes beautifully once on the body, moving around you like liquid. It is a remarkable example of the work being done during this time period. The color is still vivid and the fabric is strong & wearable. Excellent condition with notes to review below

Unlined and slips on to wear with a row of metal hook and eye down the side to close it. Hand finishes throughout. There may be the occasional darkening to the lame here and there but nothing outstanding. This is a natural occurrence to this type of fabric. I do not consider this to be a flaw and any tiny areas only add to the patina of this outstanding gown. For a piece that is almost 100 years old is it to be considered in outstanding, museum quality condition.

There is a small area of thinning of the fabric in the skirt that is just off from the side the front middle seam. It appears stable and I chose to leave it as it gets lost in the folds once the dress is on. There is an older repair to the hem of the skirt - I have photoed both the front and back where it was reinforced (the 2nd and 3rd last photo). Please review the last three photos. The fabric does have some stretch since it is all cut on the bias - the under bust measurement is fixed with no give - if you fit that then the size may otherwise fit a range of sizes.

Seam Under bust: 13.5" flat across from side seam to side seam with no give
Waist: to 14" flat across from side seam to side seam
Seam just above hips: to 17" flat across from side seam to side seam
Hips under the lowest seam: open
Bodice: 13" from top of shoulder to seam under the bust, approx 23" from shoulder to lowest seam just above the hips
Length: 60" from shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# E655

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

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

The Rive gauche label was often derived from the couture pieces of the previous season and with this dress exemplifies that progression. A dress with a similar hemline treatment was shown in the 1979 Haute Couture collection. That couture look was then translated into silk taffeta gowns for the Rive Gauche spring collection of 1980. The twin of this dress was photoed in March 1980 backstage at YSL.  This is actually the second dress like this that one I have had in the shop and I am very pleased to have found another. This one is not perfect but its flaws are in a spot that still makes it very wearable and its a very good price as a result. 

The dress combines two of his signature fabrics, silk taffeta and velvet. He used these fabrics extensively during these years as they gave him the structure and volume he needed to pull off his designs while keeping the dresses to a reasonable weight. On this one, the silk he chose is a deep, rich magenta. The silk has an iridescent quality to it that catches the light and gives the silk different hues and tones. This is combined with a inky black velvet that he uses for the bodice. The top portion of the dress is cut to be more fitted and it has a ruffled collar in the same silk as the skirt. At the end of each sleeve is a ruffled finish that is also done in the silk. A wide, attached silk sash wraps and ties around the waist to cinch it in and add shape. The velvet extends down to the top of the hips and then the skirt falls from there. It is set high up on one side and then curves down and around the back. On the side that it is set high up on the hip the hem is cut to also follow that line making it shorter at the front and then falling long at the back. It is exceptionally full and the fabric choice keeps it light in feel while still giving it volume. I love the wide ruffle that circles the hem giving it an extra flounce and added movement. There is an incredible amount of fabric in the skirt. It is truly remarkable. Excellent overall condition with a note to review below 

Fully lined through the bodice and unlined through the skirt and sleeves. It closes with a side painted metal and nylon zipper. There are areas of thinning on the back ruffle of the hem. The volume of fabric makes these pretty much lost on the folds. Please see the photos after the label shot.  Tagged a vintage YSL 38

Sleeves: 25.5"
Slightly inset shoulders: 13.5"
Bust: 16.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Length: 51" from shoulder to shortest spot on the front hem, 61" to the longest part of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD2854

Reference Photos: (1) 1979 Haute Couture Yves Saint Laurent  /  (2) Sayoko, wearing Yves Saint Laurent, in Paris, March 1980. Photo by Roxanne Lowit. 

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 dress that has a lot of impact and its feathered cuffs give it a shot of high glamour. It is made out of a black stretch jersey that has just a bit of give to it for maximum comfort when it is on. Each sleeve has a wide cuff made out of glossy black feathers. This simple addition to the cuffs is what  really ups the dramatic feel of the dress. The waist is defined by a high band inset of the same fabric. The front plunges to this band in a deep V. At the back there are two ties, one is set at the low back and the other ties just behind the neck. In between is a curved, round cut out that leaves the back completely bare. The sleeves are long and lean sand then end with that fabulous burst of feathers. The skirt falls to the floor from under the band at the bust, skims over the hips and then flares out as it nears the hem. Love the play of the bare skin of the bodice with the high drama of the feathers. Excellent condition

Unlined and closes at the low back with a metal & nylon zipper and snaps at each cuff.

Sleeves: 25"
Shoulders: 14"
Bust: 16-18" flat across from side seam to side seam, 13.5"-15" at the under-bust seam
Waist at second seam under the bust: 13-14" flat across from side seam to side seam
Hips: 17-19" flat across from side seam to side seam
Bodice: 110" from shoulder to first seam under the bust, 12" to the second
Skirt: 44" from second seam under the bust to hem

Modern Sizing Equivalent: XS-SML

Item# E668

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

I love this dress so much with its incredible volume and amazing use of fabric and color. It has no label but is well made. The color combination on it is so unusual. These are colors you might not see out together as often but the soft baby pink and that grass green work fantastically together. The dress is actually cut with a fairly simple line. The neckline is cut into a V at both the back and the front. It is suspended from two thin straps that curve over the shoulders and are made of the same satin ribbon fabric that edges the top edge of the neckline. From there the dress cascades to the floor in a loose and voluminous cut that is very easy to wear. It simple flows out in an ever widening silhouette to the ground. There are yards and yard of chiffon that make up the body and lower portion of the dress. The very inner layer is a pink stretch jersey and this is topped by the soft pink chiffon layer. Over this is that green layer and the green layer is cut so that it is split on each side and down the center of the front and back. This lets the pink show from underneath at the slightest movement. The bottom hem of both chiffon layers are finished with a wire that lets the hem curve and twist. This adds extra volume to the layers and creates a fantastically romantic and dramatic effect as the layers float over the inner lining. Amazing. Excellent condition with one small note below

Fully lined in pink stretch jersey and closes with a back painted metal zipper. Hand finishes. The inner layer of jersey has stretch so the dress has some flexibility. There are two area on the green that has light spots. With the amount of fabric in the dress they get lost in the folds when on. See the last two photos after the label shot

Bust: 15-17.5" flat across from side seam to side seam
Waist: open
Hips: open
Length: 59" from shoulder strap to hem

Modern Sizing Equivalent: XS-MED

Item# E686

Reference Photo: Cherie, Owner of Shrimpton Couture.

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

James Galanos typifies that true American glamour. His work combines a chic sophistication with bold design and fabric choices. He was particularly known for his amazing evening wear. His work was executed to the highest standards and the workmanship is on par with couture. He is often called one of the great American couturiers and that title is well deserved in terms of construction and quality found in his pieces. He was a master at working with silk chiffon and his technique of layering the skirts with multiple panels of silk is a signature.

I love this dress. The color combination is very unusual and the silk chosen for the layers that make it up are of the highest quality. The dress is made out of several layers of silk chiffon. The inner pink dress is made out of four full layers that are stacked perfectly on top of each other. For the skirt each layer is attached at the side seam and waist which leaves the hem free and gives the dress movement when you move. The top portion is also made out of layers of the silk and here is it finished with inner elastic through the waist and all around the upper seam of the neckline. This makes the dress very easy to wear and comfortable. It simply slips on and falls perfectly in place over the body. Over the skirt is a panel of green that is set on both the front and the back of the skirt. This is attached around the waist with the side left open down the length of each side so that the pink of the skirt underneath shows. It has its original matching fabric tie belt that you can use to cinch the waist for added shape or use around the neck or even as a head wrap. The choice of these unexpected colors work surprisingly well with each other and it is made to the Galanos couture equivalent standards. The dress form does not do the dress justice as to how it works on an actual body. Excellent condition with one small note below.

The various layers of silk also act as the lining for the dress. It closes with a hand set, painted metal side zipper above the waist and then has elastic through the waist and around the upper edge of the bodice. Hidden pockets along the seams of each hip. Hand rolled edges and hand finishes throughout. It does have tiny straps that you could wear over the shoulders but I feel they are more to hang the dress so presented it as strapless. There is the faintest watermark in the silk at the waist. Please see the last photo

Bust: to 18" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Bodice: 16"
Skirt: 41" from waist to hem

Modern Sizing equivalent: XS-MED

Item# DD1199

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

Kenzo Takada founded the Kenzo label in 1970 and the label is still in existense despite the loss of Takada on Oct 4, 2020. He was also the honorary president of the Asian Couture Federation. The Kenzo label was, and is, a great success, with a strong cult following and it is wonderful to find such and amazing vintage pieces.

Kenzo traveled the world and his designs often mixed in the influences from those travels. He would mix traditional Japanese cuts and tailoring methods with fabrics from around the world. The interior of the clothes were as important to him as to the exteriors and they are immaculately finished like this one is. This suit is fabulous. The fabric looks like it should be a heavy woven brocade but it is actually quite light. It is woven but it is very fine and soft. The skirt is cut quite full so that that when you move it has tremendous fullness. Yet because the fabric is so light it falls fairly straight with just a suggestion of that fullness when it is on the body. At the hem it is finished with a wide ruffle that adds to the pretty lines. The jacket is superb. It is cut to fit to be fitted to the body with full shoulders and sleeves that narrow in at the wrist. The front wraps over itself and buttons. The front panel is detailed with a large embroidered cluster of flowers set down the front. The waist nips in and then the hips flare out in a peplum. I love everything about it and these early pieces are even more collectible now. It appears to have never been worn or worn very little. Excellent condition.

Both piece are unlined. The skirt slips on with an elastic waist and the jacket closes with the buttons at the front. Each cuff of the jacket closes with two buttons. It appears to have never been worn or worn very little. 

Jacket
Shoulders: 14" across
Sleeves: 23" long
Bust: 16" flat across the back from seam to seam
Waist: 13" flat across the back from seam to seam
Length: 21" from neck to hem

Skirt
Waist: 12-15" flat across from side to side
Hips: open
Length: 27" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD1914

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

Ted Lapidus began selling his designs in the 1950s in Paris. By 1963 his work garnered him a spot as a member of the Chambre Syndicale de la Haute Couture and he added Haute Couture to his ready to wear lines. This dress is from his more expensive ready to wear line and is beautifully made. 

This is a wonderful example of how romantic his work could be. It has a soft and flowing feel to it yet it is fitted through the waist and still gives you shape. It is made of a silk chiffon with a ribbon effect that is fused directly into the silk. This gives the fabric the texture that you see and really plays on the different transparencies of the dress. Where the dress is unlined through the upper bodice and sleeves you really see the square pattern it creates and how you get a glimpse of the skin under the silk. All thin strip of gold thread runs vertically through the silk along the edges of the ribbon that catche the light and give it a touch of glamour. The bodice has in inner more fitted silk  halter suspended by tiny straps and over that the outer layer is set to blouse over with a scooped neck and long sleeves. The waist nips in and the the skirt flows out from there to the floor. Yards of bias cut silk are used on the silk and it is very full when you move. A stunning floral print runs over the bodice and down the front and the back off the skirt and the colors of it absolutely pop off of the black. The dress is very well made and even better in person and on an actual body where the fabric can really move and flow as it was meant to. Excellent condition

Fully lined in a black silky rayon and closes with a painted metal and nylon zipper on the interior and then the exterior buttons to close over that. Each sleeve buttons to close. This is the main label line not the boutique label

Sleeves: 23"
Shoulders: 14"
Inner bust: 16.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Inner lining hips: 18" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist but meant to drape a touch
Skirt: 42" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2884

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

The twin of this dress looked amazing on the runway that season and I am so pleased to have this one in the shop. Finding runway references for Mugler's work is not always easy as he would often change designs for production and produced many pieces that were not shown on the runway. It's an extraordinary find.

I love the sharp fitted lines of the dress and how the ruffles on the bodice feel almost scandalous with its nod to lingerie. This is classic Mugler and the ruffles gives the dress that overt sensuality that he so often worked into his creations. The dress is made out of a black jersey that is a touch thicker then normal so really molds and accentuates your curves. It is then seamed to further create that fitted shape that you see. The seams are all set into curving lines that move down the dress to create an hourglass shape. The seams also help to give the dress structure, shape and support. The waist nips in and the hips curve out following the lines of the body. Pockets set to curve around each hip, which is a brilliant way to give the hips more shape. The skirt is cut above the knee and curves in slightly at the hem for a fitted silhouette. The bust is spectacular. It is seamed and molded like a bra cup and then little ruffles in an ivory silk are applied to the edge at the front. The tops of the ruffle is jagged and finished with an embroidered edging. So you are completely covered but at the same time it has that French maid, lingerie feel to it. You only have to look at the runway photos included to know how wonderful this one is. Excellent condition

Fully lined in a black silk and closes with a back zipper. Tagged a vintage Mugler 38. The cups will probably fit up to a small B

Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 34" from top of straps to hem

Modern Sizing Equivalent: XS-SML

Item# DD3518

Reference Photos: Spring 1997 Couture Thierry Mugler Runway Collection, Look 15.

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

A dress in a similar cut in a blue metallic was worn by Iman on the Fall 1988 runway. Just behind her shoulder you can see one that was done ina black and gold colorway like this one is. This figure hugging bodice with a low-slung voluminous skirt was a trademark look for Ungar during this time period and this is a stunning example of his work at the time.

This is a dress made to hug and shape your figure into an hourglass. The metallic gold used is fantastic and pops against the black silk. The metallic thread catches the light and intensifies the feel of the gown. The fabric itself is quite light in weight but the construction of the dress is so elaborate that the dress has a decent weight to it on the hanger. Once on the body it feel balanced and light. The inside of the dress is quite structured for support and it is molded and boned to hold the shape that you see. The bodice is a modified strapless sweetheart neckline that curved and dips across the top. Through the body the dress is elaborately gathered with hand placed and gathered folds. These run from the bust right down and over the hips so your shape is very emphasized. Under that, the skirt is set with tiers and panels of a black silk, and each panel is individually set on an angle. This gives the low set skirt a huge amount of volume and movement. This technique also allows each panel that makes up the skirt to move freely so that whenever you move it does as well. A little box at the back is the perfect finishing detail. It is incredible and even more so once on. Excellent condition.

Fully lined in a black silk and zips to close at the back. Tagged a vintage 8. Note that the zipper stops a few inches above the low seam of the hips so there is no give in that part of the measurement. Looks to have been worn very little if at all. Boned through the bodice.

Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 26" from top of bodice to low seam below hips
Length: 54" from top of the bust to hem

Modern Sizing Equivalent: XS-SML

Item# DD3509

Reference Photo: Iman on the F/W 1988-89 Emanuel Ungaro Runway.

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 dress is a personal favorite and it shows the range of what Hanae Mori was capable of. The dress is simple and beautiful but still striking. It dates to the late 1970s, early 1980s and it is an absolute work of art. Hanae was the first woman of Japanese descent to have presented on the Paris and New York Runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Her work is exceptional.

This dress is a wonderful example of her range as a designer. It also showcases her extraordinary and meticulous attention to detail. The inner construction on this one is partially finished to Haute Couture standards and I have included a photo of the hand finished inner seams. I think that it may have been a special order placed through Saks Fifth Avenue based on the level of detail on the inner finishes. The dress is as light as a feather to wear because of the silk chiffon she has chosen to make it out of. The silk was then woven through with a gold lame thread that creates that beautiful design of huge stylized flowers that cover the dress entirely. The gold gives the dress its impact and the lightness of the silk chiffon is easy to wear. The bodice is suspended from the shoulders and has an almost chemise feel to it with the straps set slightly inwards. It skims down and over the body to the waist. The back closes with a series of silk covered snaps and her signature tiny snaps. Below this the skirt falls to the floor in two tiers of chiffon layered over each other for just a touch of fullness. It is astonishingly beautiful. Even more beautiful in person and the photos cannot convey the quality and feel of the high grade silk and the lightness of the dress when on. Excellent condition

Fully lined in a black silk and closes at the back with silk covered snaps to the waist and a series of her signature tiny snaps under that. Hand finished to couture standards throughout the interior. Tagged a vintage Mori 10. It will fit more like a loose chemise on a smaller frame and more fitted through the bust on a larger

Bust: 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam of the inner corset
Hips: open
Length: 59" from top of shoulders to hem

Modern Sizing Equivalent: XS-MED

Item# DD3244

Reference Photos: Cherie, Owner of Shrimpton Couture.

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

While researching this stunning dress I found the photo I included here of a dress from 1971 that the same lines and ruffle details. Based on the other work Mr. Givenchy was doing during this time period it makes perfect sense that this would be from that year's collection. In addition, I found a numbered tape inside the seam of the skirt and it may very well denote a special or custom order.

At first glance the fabric appears to be a metallic silk brocade, but as you go closer you realize it is even more special then that. It is actually a fine and very light weight woven netted lace with a blue metallic lurex thread running through the design. The play of the metallic thread against the non-metallic bits adds its own texture to the already textured lace. The fabric has just a touch of transparency to it and I love the unusual deep deep blue of it that has just a touch of purple to make it even richer in feel. Once you get past the sheer brilliance of the fabric you begin to notice the workmanship that has gone into constructing this. The bodice is cut to skim over the bust from the rounded neckline and then it cinches in at the waist. The dress comes with its original belt that can cinch the waist in more. The sleeves are long and are finished with a ruffled the wrist that creates a beautiful little bell shape. The skirt falls to the floor from the waist and gently widens out as is nears the hem. It is finished with a wide ruffled detail that ties on the ruffle on each cuff. It is stunning and even better in person. Excellent condition with a minor note below.

The bodice is unlined and the skirt is fully lined with a blue silk organza. It closes at the back with a fine metal zipper. Inner waist stay hooks to close. The belt closes with hooks. There is the teeniest of marks along the inner edge under the seam at the inner arms but they do not show through. Please refer to the photo after the label shot. There is a numbered tape along the inner skirt seam that I also photoed. Note that if you required more length it would be possible to move the ruffle down as it is set higher up the skirt rather then at the very edge of the hem. I think you could get a good 6" more in length. The sleeves are set the same way.

Sleeves: 24.5"
Shoulders: 14.5"
Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 40.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3167

Reference Photo: Jours de France Issue 844, 1971. 

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

In 1962 Capucci opened his first atelier in Paris and took the fashion world by storm. In 1968 he went back to his native Rome and opened his atelier there. By 1972 his work was presented in a museum in Rome at the Museum of Etruscan Art. A remarkable achievement for a living designer. He exhibited again in 1990 and in 2005 he founded the Roberto Capucci Foundation to preserve his numerous drawing and archives. His pieces tend to be highly architectural and the ones you see in exhibits border on not being wearable, so it is a treat to find a beautiful and highly wearable example of his work.

From the late 1970s comes this fabulous little deep blue chiffon dress that is cut to flow and drape over the body. The neck is cut wide to give a glimpse of the upper shoulders and the sleeves flow from there in an expanse of volume and fullness to above the buttoned wrist. The skirt has yards and yards of chiffon and flows to the floor in a pretty, light expanse of fabric. The back and bodice are especially pretty with their pin tuck lattice design that is detailed with a little clear beads where each pin tuck crosses over the other. It is lovely and a rare example of a hard to find designers work. Excellent condition

Fully lined except for the sleeves and closes with a back zipper on the interior fabric and snaps on the outer. Each cuff closes with a hidden snap under a silk covered button detail. Hand finished inside and hand applied beads.

Sleeves: 24" approx.
Shoulders: no defined seam
Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15" from shoulder to waist
Skirt: 45" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2753

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

Glossy black sequins have been densely applied to a feather light silk chiffon to make top this amazing Bill Blass dress. These cover the entire surface of the fabric and each individual sequin has been meticulously placed and sewn by hand. This is a wonderful example of the high glamour looks that Bill Blass was doing during this time period. The neckline is cut into a low V above a nipped in waist. The sleeves have been left unlined so you get a touch more transparency between the spaces between the sequins. The waist is nipped in and the skirt falls to the floor and is quite full. The skirt is attached to the waist in a series of soft gathers which help to give the skirt the fullness and volume that you see. These soft pleats are meticulously set around the waist and the construction is beautiful. Inside, the skirt has additional layers of of netting that are set under the lining. This also helps to create fullness and shape so that the waist is emphasized and the skirt hangs exactly how Mr. Blass wished. The hem of the skirt is finished with a thick band of glossy black feathers that are mixed with thin, metallic cellophane strips. This mix of weightless metallic strips and feathers is signature of Blass' that he often utilized in pieces that he used feathers on. It is really a remarkable example of his work. Excellent condition.

The dress is fully lined with a semi sheer black crepe through the main part of the bodice and the skirt. The sleeves and shoulders are unlined. The skirt has an additional lining of a starched netting in two layers to support the shape and give it inner structure. It closes with a back painted metal zipper and each cuff has a zipper at the wrist. The back does close from waist to neck properly but it was too small to close on my dress form. The dress appears to have been worn very little if at all.

Sleeves: 24"
Shoulders: 14"
Bust: 16.5" flat across the back from side seam to side seam
Waist: 12" flat across the back from side seam to side seam
Hips: open
Bodice: 14.5 from shoulder to waist seam
Skirt: approx 40" from waist to bottom of feathered hem

Modern Sizing equivalent: XS-SML

Item# DD3128

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

My client purchased this spectacular Vivienne Westwood gown from her mothers shop. She wore it to a friends birthday gala and that was the only time it was ever worn. We narrowed down the date based on that info and also the reference photo of a similar gown that was shown for the Fall 1998 presentation.

The cut and line of this dress are pure heaven. It is strapless and has that famous dipped and front peaked bodice edging that Vivienne has become famous for. Inside the bodice is one of her boned and shaped corsets. This is constructed to cinch you in at the waist and push up the breasts. Once on an actual body you will get that full Westwood effect from that inner corseting. The large flat bow that sits at the top of bust only emphasizes this. The bow is constructed so that it curves out from the body and this adds more shape to the bust and gives the otherwise simple dress detailing. Below that, the waist curves in with vertical seaming. It then curves over the hips and flares out, widening out as it curves towards the floor. The construction of the skirt has an almost architectural feel to it and it reminds me of that famous Charles James gown in the way that it flares and curves outwards on each side. The fabric is a heavy black silk satin that gives the dress the stability it needs to hold that shape once on the body. It is incredible and a rare find. Excellent condition

Fully lined in a black silk with an inner built in corseted bodice as shown. Inner wired peaks at the side of the bodice The corset zippers to close. The outer dress also zips to close with a hidden set zipper along the seam offset at the back

Bust: 15" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 51" from top of bodice to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3343

Reference Photo: F/W 1998 Vivienne Westwood Ready to Wear Runway Collection.

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 gorgeous little dress is a version of the all pink dress that walked the runway and was featured in the ad campaign that featured Linda Evangelista. The 1987 collection with its pink bows and accents is one of my all time favourites and I am very pleased to have this wonderful example from it in the shop for you.

This gorgeous dress is made from a black silk faille base with a bright shot of the signature pink used throughout the collection that year. The ruffle is in the same fabric that has been specifically dyed to this exact colour of pink. This choice in  fabric gives the dress its structure and shape and also allows for the volume that you see in the ruffle detailing that wraps around the waist and hips. The bodice is strapless and cut to curve in a modified sweetheart neckline. It is lightly boned on the inside for a built in shape that molds your form to it. It then curves in to skim over the waist and curves back out for the hips. From there it falls past the hips and then gently flaring outwards at the hem. The hem is not as dramatically cut as the runway version but also feels more wearable as a result. It is cut slightly longer at the back and I love how there is a matching dip at the back of the bodice so that there is an illusion of added length created. The pink ruffle is the star of the show and makes a wonderful impact. It is attached starting at the back waist and then wraps and dips down and around the lower hip on the other side. It is precisely folded and set so that the ruffles flare outwards from the body. Where it meets at the back hem the fabric on each side extends into two long and wide panels. You can let them hang from a simple knot as I have shown it or create a more elaborate bow. It is fabulous. Excellent condition with a very minor note below.

Fully lined in a black silk and closes with a side set zipper. It has a built in inner bodice that is lightly boned and shaped. Inner waist stay that hooks to close with a flat hook & eye. Tagged a 38 and has no give. There is the teeniest bit of fading to the pink along the fold edge on the one hip. Please review the photo after the label shot.

Bust: 15.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 47" from top of bodice to front hem, 49.5" to the back hem

Modern Sizing Equivalent: XXS-XS

Item# DD3276

Reference Photo: (1-2) S/S 1987 Yves Saint Laurent Runway.  /  (3) Linda Evangelista for Yves Saint Laurent, Vogue, March 1987.  /  (4) Linda Evangelista in Yves Saint Laurent, Vogue UK, March 1987. Photo by Hans Feurer.

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

Renato Balestra launched his couture label in Rome in 1951. His work quickly gained international fame and was one of the cornerstone ateliers of the Italian couture 'Alta Moda' movement. On their website they state: 'The Balestra brand blends the mastery of the artisans and the style of the designer to express its vision to the fullest, thanks to hundreds of hours of craftmanship and the highest attention to details.' This is a beautiful example of his work and is in remarkable condition. This particular piece has the added provenance of having been more for the Ebony Fashion Fair and could very well be the only one ever made exactly like this. 

The jumpsuit is made from a very fine silk satin that uses both a yellow and a purple for an electric clash of colours. The purple silk is used for the halter cut top of the jumpsuit and then a bright clear yellow has been used for the wide cut pants that start just under the high set waist. Under the bust the same purple silk has been individually cut into an intricate design and laid out onto the yellow silk. This was then appliqued onto the silk using a mix of a purple metallic thread embroidery, rhinestones and tiny tube beads to give it a 3D feel. These have all been meticulously laid out and done by hand. This touch of glitter around the waist is what gives the jumpsuit its sparkle and glitz. The bodice is simple and perfect with a deep V front that plunges right to the band under the bust. A sweet little flat bow sits there for detailing. The back secures with a hook and eye at the neck and then is left open in a long slit to the banding at the waist. The pants are cut wide and full so that you have this beautiful long line and a touch of movement when you move. The interior is all done to Haute Couture standards and is beautiful to see. The top is lined in a hand set silk crepe and the pants have been interlined with a yellow silk chiffon. The workmanship and care need to work with these types of fabric when all the work is done by hand cannot be underplayed. This would have taken hours of meticulous hand work to accomplish. The workmanship is exquisite and the liquidity of the fabric and the cut of the jumpsuit once on the body is very sexy. Excellent condition

Fully lined through the bodice in a hand set purple silk and fully interlined through the pants with a yellow silk chiffon. It closes with a hand set zipper starting at the waist and then has a hook & eye at the back of the neck. This leaves an open slit between the two at the back. All hand finished with hand finished interior seams and all the beadwork and embroidery work is done by hand to Haute Couture standards. It appears to have been worn very little if at all. Note that the yellow in person is a slightly lighter shade then how it photoed. It did not quite do up all the way on my mannequin at the back but will close as described above on the proper sized person for its size. 

Bust: to 17" flat across from side seam to side seam
Seam at under-bust: 13" flat across from side seam to side seam
Natural waist: 13.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 13" from top of bodice to seam under the bust
Pants: 46" from seam under the bust to hem
inseam: 35"

Modern Sizing Equivalent: XS-SML

Item# DD3498

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

The Nina Ricci Haute Couture house was founded in 1932, at 20 Rue de Capucines in Paris and became one of the most famous couture ateliers in the world. In 1954, Jules-François Crahay, Madame Ricci’s design assistant, succeeded her as Artistic Director. The house’s style became more structured. The signature curves of its silhouette elongated. Designer Gérard Pipart then succeeded Jules-François Crahay in 1964. Throughout the following three decades, his Haute Couture vision celebrated a more flamboyant, bold woman and his ready-to-wear found a loyal following among the most stylish women of the day. This coat is an early example of Pipart's work foe the house and is beautiful.

This coat came out of an estate of an extremely wealthy woman who was a regular couture client during the 1960s. For the 1965 collection Gérard Pipart debuted the side button closure that featured large button closures off to one side, a cloth version of which was photoed on Jean Shrimpton for Harper's Bazaar that year. I also found a reference photo for a similar all fur version. The coat I have here is a wonderful combination of the two. The exterior is a quilted silk that is dyed to a stunning ivory. The fabric is especially beautiful.  It has a 3D puff effect that is not just created by the stitching around the pattern in the silk that you normally see. Rather, different weights and thicknesses of thread have been woven into the fabric to create the design. The interior of the coat is lined a creamy colored sheepskin that makes it warm and cozy. The design of the coat has been centered around simple but structured lines. The front wraps over itself and buttons with one large silk covered button near the arm. The edges of the coat are detailed with a thick padded piping that runs along the front, around the hem and circles around the end of each sleeve. Pockets lie along the seam on each side. It is immaculate in its construction and an absolutely stunning coat. A beautiful example of how refined true Haute Couture can be. Excellent condition with one note to review below.

The coat closes with the button at the front and there is a button and loop to hold it perfectly in pace on the interior as well. The entire coat is lined in sheepskin. Finished to Haute Couture standards and entirely done by hand. It appears to have been worn very little. Pockets along the seam. I see a very small amount of fraying to the fabric around the back collar. Please review the photo after the shpt of the label. The easy cut should allow it to fit a range of sizes.

Sleeves: 20"
Shoulders: 15"
Bust: to 24" flat across from side seam to side seam
Waist-hips: 24" flat across from side seam to side seam and gently widens out
Length: 38" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# C454

Reference photos: Jean Shrimpton in Nina Ricci for Harper's Bazaar 1965, Avedon; Brigitte Bauer in Nina Ricci for Vogue 1965, William Klien. Historical info on the house verbatim from the Nina Ricci website.

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

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

The lines of this suit are beautiful. It really shows what a master tailor he was and how intricate his work could be. Both pieces are made from an ivory moire silk that has just a touch of the very pale set yellow to it in certain lights. The jacket is heavily embellished with embroidery and a raffia in the same shade of ivory. This monotone approach gives it a rich, luxe feel.  The detailing is down around the pockets above the slit cuffs ends of the sleeves and then there is a full medallion of it on the back. I love that even the silk covered buttons that close the jacket have embroidery work on them as well. The jacket is sleekly cut with lightly padded shoulders and long sleeves. The waist curves and nips in and the hips are cut on a structured rounded curve that is quite beautiful. The skirt falls to about the knee in a simple and chic pencil shape with a banded waist. Everything about the cut and line of the suit is done to allow that wonderful jacket to take center stage. This would even make a lovely wedding suit. Excellent condition with a small note to review below

Both pieces are fully lined in an ivory silk. The skirt closes with a hidden set zipper and hooks at the waist. The jacket buttons to close and has padding in the shoulders. I see one pinhead dot on the back of the skirt and some of the raffia at the very front has a slightly crushed feel to it. It feels immaculate when you look at it.

Jacket
Sleeves: 24.5”
Slightly inset shoulders: 14.5”
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 28" from neck to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 23.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3492

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 dress is from John Galliano's own label and is an incredible example of all the elements that his work is known for. Galliano has always been known for his amazing bias cut gowns and this example is a stunning lace version of that. His work, especially the bias cut pieces like this, have a feeling of high decadence mixed with the glamorous luxury of the twenties and thirties. They are always beautifully cut. His work marries the old Hollywood feel of those past eras with the minimalist spirit of the nineties and early aughts and the results are stunning.

This dress is exceptionally beautiful. It is made out of an ultra fine black lace that is cut to follow and mold to the body as it curves down the length of you. It is completely cut on the bias, is miles long and once on the body it skims over your curves and highlights your shape. It is extremely comfortable to wear and the lace drapes over a black silk interior that gives you the barest touch of coverage. The lace is transparent of course and the chiffon semi-transparent so there is the effect that you are seeing the body under the dress. The neckline is incredible. It is cut in a dramatic panel of lace that is caught up on one side. This is angled slightly to the side and is top stitched an gathered to anchor that huge collar. The collar can be worn low or almost as a hood depending on how you wish to have the lace lie and how much you allow the panel to open. The way that lace top sits you get a glimpse of one shoulder that is very sexy.  Under that the dress swoops down tot eh floor with a trained back. There is a little snap at the very end of the train and that snaps into place along the side seam. This allows you to pick the train up off the floor. I took a photo of the skirt both ways so you can see how this change in the skirt transforms the dress. A tightly spaced row of buttons and loops run down the side. This button technique is derived from the gowns of the twenties and thirties and this play a large part in the vintage feel the dress has. It is stunning on. Excellent condition

Fully lined in a bias cut black silk. It closes with a that row of side buttons and loops that you see. It appears to have never been worn or worn very little. The bias cut will allow for a little stretch and a bit of range on sizing. The train snaps into place along the seam if you wish to wear it without the train

Bust: 16" flat across from side seam to side seam
Waist: 12-14" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 64" from shoulder to hem with another 19" for the train

Modern Sizing Equivalent: XS-SML

Item# DD3490

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

When researching this dress I found the same print used on dress from one of Thea's very first fashion shows, held at the Greek street shop in London. The label on this dress is unusual and I reached out to fashion historian and author Laura McClaws Helms. She told me that in the very early days Thea would sometimes meet with boutique owners and agree to sell select pieces to them. We agreed that this must have been a very early collaboration resulting in this extremely rare label. I love that it uses some of the same fabric as the dress presented in the book.

The dress is stunning. It feels a bit like her 'Faye' dress in design, but with huge voluminous sleeves that are brought in at the wrists, and that fantastic panel of print that runs down the full front and back. The dress has been made from a fine black silk chiffon for the sleeves and outer panels of the skirt. The printed panels are also a silk chiffon and they are completely covered in a graphic, swirling pattern that utilizes a bright red, white and black. The fabric has a touch of transparency to it where it is a single layer like the sleeves. And because of how the sleeves are set, it leaves the entire upper sides of the bodice transparent as well. Which is just insanely sexy. The rest of it is lined for a more opaque feel. The sleeves are cut extremely full and each comes out from the sides of the dress right from the shoulder down to the waist. This fullness is then caught up at each wrist with a tie edging made from the same printed chiffon. The high set waist is highlighted with a banding of the printed silk and this extends into long ties that you can cinch to add more shape if you wish or wear it loose and easy. The neckline is cut high and that gorgeous panel of print runs down the front of the  entire dress. It then circles the hem in a very wide band of fabric and another panels runs down the full back. The dress is absolutely stunning and an outstanding and rare example of Thea's collaborative work. It is also important for being such a fine and early example of her work. Excellent condition with one small note below

Fully lined in a black silk chiffon except for the sleeves which are unlined. The dress zips to close at the back. The band at the waist extend to ties that you can cinch in the waist as desired. Hand finishes throughout. One of the ties at the wrist has damage. When it is tied it is completely hidden within the tie. Please see the photo after the shot of the label.

Sleeves: approx 28"
Inset shoulders: 12"
Bust: no true side seams
Empire waist under the bust: 14" flat across from side seam to side seam
Hips: open
Bodice: 12" from top of bodice to waist
Skirt: 45" from waist to hem

Modern Sizing Equivalent: XS-SML, Maybe a medium if the under-bust measurement will work

Item# DD3491

Reference Photo: (1) Chiffon Dress from a 1969 Thea Porter presentation on Greek Street, London. From the book "Thea Porter: Bohemian Chic".  /  (2) Model in Thea Porter, 1969. Photo courtesy of Laura McLaws Helms.

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