This dress is from the Spring 1996 collection as worn by Shalom Harlow for the runway show. It was actually the closing look of the show. Shalom also wore one for its appearance in Vogue Magazine. If that provenance was not enough, I lent this exact dress to stylist Penney Lovell who fitted it for Emily Deschanel's appearance at the 91st Academy Awards this year. Emily walked the red carpet in the dress. It is am amazing piece of fashion history and the dress is stunning.

The dress is a beautiful example of Ferre's work during his time as Creative Director for Dior. It was the highlight of the show for that season and was chosen to close the presentation. The dress is fitted through the bodice with a neckline that curves down in a slight scoop. This version as little straps that the dress is suspended from but if you prefer the strapless look of the runway you could easily tuck them in or remove them as the neckline is cut the same as the runway dress. There is now waist seam to break the line of the dress. All of the foundation work to hold the dress in place is done and hidden inside. On the exterior the dress curves down front he neckline in an unbroken line, curving in at the waist and then curving out and over the hips. Pockets sit on each hip and each is still tacked shut. The skirts flare out dramatically with a bit of a Spanish Flamenco feel and there is an elaborate set of built in underskirts to help achieve the flare and volume you see. These are made with a netted silk with lace finished edges and there are layers of the ruffles attached at the end of the inner hems. The skirt is cut shorter at the front and then flares out dramatically at the back. Emily is quite tall so on her the skirts lifted off of the ground but in a girl who is not quite as tall you would get a more trained effect. Note that the back of the dress curves around with a slight drop. On the shot of Emily from the back you can see that it is finished with a more V cut, this was a temp alter where the back was folded over and tacked as it suited Emily better that way. It was un-tacked and re-cleaned since the Oscar's and there is no evidence that it was ever down any longer other then the photo. Excellent condition 

Bust: 15.5-16" flat across from side seam to side seam
Inner waist: 12.75" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 50" from top of bodice to front hem, 60" to the longest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3155

Reference Photos: (1-4) Emily Deschanel at the 91st Academy Awards, Styled by Penny Lovell / (5) Shalom Harlow for Vogue, 1996 / (6) Dior SS 1996 Runway (7) Christian Dior Runway video, The Fashion Channel

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. He was arguably one of the most famous of all the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seem to have a way of flattering the wearer even at their most extravagant.

A sketched pink version of this dress was used in the 1985 ad campaign and this version looks identical to that one except for the color. The dress is made from hand dyed silk in a deep yellow that is mixed with an off-white silk inset on the bodice and has a white dot print throughout. The cut is simple and elegant. A boned and strapless bodice tops a full, flowing silk skirt that falls to the floor. The bodice is a mix of solid white and the patterned yellow silk. The fabric is gathered and wrapped around the bust and the yellow and white contrast each other to highlight and shape the body. The skirt is set into the nipped in waist with soft gathers that give it both a romantic feel and allow the fabric to have volume and movement. A huge matching sash wraps around the waist and you can tie it where it is most flattering. I have tied it in a large bow that sits slightly off to the side here. The fabric is a light silk organza that holds the shape and volume magnificently and gives the dress its light and airy feel. I love the print on the yellow portions - it is a mix of a dot and an abstract wavy line that really ties everything together. Excellent condition with one minor note below

Fully lined in a white silk and closes with an offset, painted metal and nylon zipper that is set where the two fabrics meet at the back. Light boning through the bodice. Hand finished. Snaps has been added to keep the sash in place at the back but they were poorly added and not original. They were removed and there is the tiniest evidence of them on the fabric along the back opening. Please review the photo after the label shot and before the reference photo.

Bust: 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 10" from top of dress to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2596

Reference Photo: Illustration by Bill Blass, Vogue, April 1985.

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 Balenciaga label launched in 1937, closed briefly from 1940 -1945 and then reopened until Cristobal's retirement in 1968. This gown was made in the Paris atelier for the 1962 season. The only other version of it is held in the Balenciaga archives. A photo of the back of this same dress can be found in the book 'Balenciga and Spain', making this dress very well documented. This is true Haute Couture from when Balenciaga himself was a member of  the Chambre de commerce et d'industrie de Paris and designing for his label. Pieces made during this brief period under Cristobal are very rare and this is an especially fine example. The legacy of influential Spanish couturier Cristóbal Balenciaga, continues to today. He is often reffered to as 'The Master of Couture' and rightly so. The recent V&A exhibit 'Balenciaga: Shaping Fashion' 'examined the work and legacy of influential Spanish couturier Cristóbal Balenciaga, with over 100 pieces crafted by ‘the master’ of couture, his protégées and contemporary fashion designers working in the same innovative tradition.'. I feel that this gown could have easily been included in that exhibit and is of museum quality.

The construction of the dress is highly sculptural in nature and a beautiful example of Cristóbal's work. The silk has a satin finish and the heavier weight of this fabric choice allows for the precise, sculptural lines that you see. The sleeves sit just off the shoulder curving away from the neckline in an elegant line. At the front the neckline curves upwards to bring the eye to the face. At the back it curves down to draw the eye to the long trailing bow that runs down the back. The bodice is fitted with a boned and cupped corset inside. This shapes the wearer and cinches in the waist. The hips curve outwards and the skirt falls to the floor in a perfect line that gradually widens out as it nears the hem. The back is magnificent with a a flat half bow at the center back that covers the fastenings. This trails down to the hem and the the skirt dips down slightly with extra pleating for fullness.

Inside the dress is a highly structured foundation garment. The interior corseting has all the things one looks for in couture of this time period. It is boned by hand with steel boning. It is a full inner corset with a complicated construction of elasticized fabric combined with built in cups that are covered in a silk net. This interior corset closes with a series of lingerie hooks and there is even an added a panel of soft silk velvet that is placed under the hooks and against your skin so you do not feel the hooks at all. The dress zips up over this and despite all of this interior work all you see on the exterior is that beautiful sculpted shape with not a single bump or creases to give away the construction underneath. Examples of his work are held in museums world wide and a gown in this condition and color is a rare find indeed. It is in very good condition but does have some small flaws. Please review the description notes below

Unlined with a full built in interior corset and a half skirt that helps to create some volume at the back. It is completely made by hand as the parameters of Haute Couture dictates. It closes with a handset back fine painted metal zipper and the interior corset closes with a series of lingerie hooks. Handset snaps close the lower skirt over the zipper and secure the bow into place. The Haute Couture label and numbered tag underneath are present. There are some faint marks in the fabric around the waistline and some slight fold lines in the fabric here and there from storage. Some rust marks are seen on the interior corset and some torn seams and marks on the interior top bodice and just at the very edge of the seam on the exterior. I have photoed all of the areas. Please review the photos after the label and tape number shot and before the reference photo. None compromise the integrity if the piece. It appears the inner hem was redone at a later date as the thread does not match anything else and looks like it was not done by hand. It was photoed on a size 2 dressmakers form and just fit so best for a size 0-2.

Due to the rarity and nature of this gown it is sold as a final sale.

Bust: 15" flat across from side seam to side seam
Waist: 11.5" flat across from side seam to side seam
Hips: open
Length: 54" from shoulder to front hem, 56" to back hem

Modern Sizing Equivalent: XXS-XS

Item# DD2881

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 extraordinary and exquisite 1920s bias cut gown is made from a spectacular mix of real metallic gold thread woven through a deep burgundy silk. It is truly a masterpiece and a work of art. I am extremely pleased to have it in the shop as gowns like this from this period and in this condition are becoming harder and harder to find. The color mix is superb. To find one in a mix of a deep burgundy and gold like this is very unusual. The fluidity of the fabric cannot be conveyed and it has a rich, luxurious feel to it. In person the gold is the predominant color and the mix of the real metal thread in the silk is amazing. It is done to form a floral pattern that runs over the dress from shoulder to hem. The cut is very simple but extremely well executed with wide straps extending out from the halter cut of the bodice and curving over the shoulders. The front is set in a deep plunge and the fabric here crosses over itself slightly. At the back it dips equally as low but here the plunge s rounded at it base. From just under the bust and all the way round the fabric is gathered and curved to follow the body. The gathers meet down the center on both sides in an elaborate panel of ruching. Below this the skirt falls to the floor and is set along the lower edge of the fitted bodice portion of the dress is a series of soft pleats. This gives the skirt extra volume and movement. The middle front seam of the skirt is left partially open from the hem so you get an extra peak of leg when you move. It 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 and is really a treasure. The color is still vivid and the fabric remains strong & wearable. It is a very high end, excellently constructed garment. Excellent overall condition. Museum quality and rare with a few minor 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 or readily apparent and 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. I see a couple of small flaws. There is a small area of thinning of the fabric in the skirt that is just off 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 one. 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 to see these areas mentioned. 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.

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.

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

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

George Halley started at Charles James who said of the young designer that he 'was a genius at draping'. By the time Halley opened his own atelier in 1966 he was well on his way to fame. He won the Coty Award in 1968 and his work is on par with couture. He is one of my personal favorite designers. In 2015 I included him in my list of 'The 10 Designers to Add to Your Vintage Collection' for Harper's Bazaar, saying; 'If you want old school glamour and to feel like Hollywood royalty, look to this under-the-radar label outside of vintage circles... A Coty Award winner in 1968, Halley was one of the great American Couturiers and his work always feels grand and elegant. Think polished silk and fused velvet's and embellishments that have a touch of the Grand Old South to them. Silhouettes to look for are his sweeping ball gowns and hostess gowns. Rich fabrics and rich colors are used with a master's hand. Feathers, crystals, hand painted fabrics and fine workmanship are all things to expect from a George Halley gown. Slipping one on instantly makes a girl feel special and important. These are the showpieces and while you should expect to pay for the quality and beauty of what you get they are absolute jewels'. The best of his work are the pieces that show his love for Old Hollywood glamour combined with his love for over-the-top opulence. Women's Wear Daily called him 'a designer in a lovely world of his own'.

This gown is really quite extraordinary and almost outrageous in its level of opulence. It is constructed to couture standards and the workmanship and quality of materials used in its construction are amazing. The impact of the color combined with that refined and elegant cut are just wonderful. A George Halley design always starts with his fabric and embellishment choices and here he has gone above and beyond. The skirt is made from rich silk with a satin finish in a purple lavender color. It is set higher up the bodice just under the bust and has tremendous volume of fabric. An added, attached silk organza underskirt helps to hold the shape and fullness you see but most of it is created by the deep inverter pleats that sit at the back and the soft wide gathers at the front. I love the huge soft bow that sits at the front. This is attached to a band of matching silk that is attached partway around the waistline and then snaps into place on the other half, meeting and hooking into place under the bow. The hidden details are exquisite with each snap covered in silk and set into place by hand. The bow draws the eye up and assists in creating that beautiful silhouette. The bodice is a work of art with a floral design made entirely of heavy glass crystals, beads and rhinestones. These are set by hand and follow the pattern of the pale lavender lace underneath. The bodice has a high neck whose collar is densely applied with hand placed jewels. The beautifully cut sleeves widen as they near the wrist and each has its own densely beaded finish. In person the color is softer and has less of a contrast then how the light has made it feel. The crystals catch the light when you move. It is very heavy because of the dense glass bead work on the bodice but once on, somehow feels extremely comfortable. This is a remarkable gown that would be impossible to replicate in our modern work. This is almost certainly a one-off and a wonderful find. Excellent condition with two small notes to review below.

The dress has an attached inner stiffened organza skirt and the outer skirt is interlined with a matching purple silk. The bodice is fully lined in a hand set inner cream silk and layer of nude silk sits between that and the outer embellished lace layer. It closes with a hand set back zipper, The bow is partially attached and on the part that it is not sewn into place, it closes with hand set silk covered snaps around the other half of the waist and then hooks into place under the front bow. Each sleeve has a hand set zipper at its end. There are two small breaks in the netting close to each other on the back of one shoulder, see photo after the label photo. There is also a variation to the color under the folds of the pleats on the skirt, the silk is a darker shade of purple all along and under each fold. You do not see this when it is one as it is hidden under the folds. The color is also very soft along the transition and very even so it looks deliberate in many ways. Neither of these notes detract and the gown is extraordinary and very beautiful.

Sleeves: 14"
Shoulders: 23"
Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 11" from top of bodice to waist
Skirt: 47.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3152

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

George Stavropoulos was known for his evening wear and his signature looks often involved draping and the use of multiple layers of silk done on a bias cut. He focused on cut and fabric to convey the beauty of each piece. It was said that his gowns 'seemed to float on air'. He launched his label in 1960 and soon was dressing women like Elizabeth Taylor, Jackie Kennedy, Barbra Streisand and Maria Callas. His gowns are almost entirely made by hand and are made to couture standards. By the early 1980s one of his dresses started at around $8500 and they went up in cost from there. That price point equals to around $26,000US in today's dollars. When you buy a vintage Stavropoulos gown you are getting incredible value for your money.

This dress is a wonderful example of his work. The print that covers the exterior layer of silk  chiffon is a beautiful combination of different shades of purples mixed with greens. The dress is completely made of a bias cut silk chiffon. The skirt is wonderful with four layers of silk chiffon laying under the top printed layer. The bias cut treatment of the silk gives the dress incredible movement as you move. The neckline of the dress is cut high on one side and it is scooped at on the other. It is so well made that you can easily wear it either way around. I have photoed the dress with the scoop at both the front and the back so that you can see it either way. It works both ways and I suspect that on each person one way will feel better then the other. Or, if you are lucky, you will be able to do both so it will be like you are getting two dresses in one. The sleeves are very full and each is caught up at the wrist so that they pouf out above the cuffs. The bodice floats over a wide band at the waist which gives you added shape. Below that the skirt flats to the floor and all of those layers of silk are hidden until you move. It is very romantic feeling and even better in person then how it photoed.  Excellent condition with one small note below.

The inner layers of silk act as the lining and there are a total of 5 layers of silk in the skirt. The bodice is lined in silk chiffon and the sleeves are left unlined. It closes with a low hand set, painted metal zipper on the inner layer and hidden snaps to cover the zipper on the outer. The color is slightly lighter and more pastel in feel then how it photoed. There is a teeny separation at the seam of the shoulder and the silk is just starting to shatter along the seam of that same side at the edge of the neckline. I have photoed this and it can been seen in the shot after the label shot. I have reduced the price on this from $1500 to accommodate for this small flaw

Sleeves: 28"
Slightly inset shoulders: 13"
Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Inner lining hips: to 21" flat across from side seam to side seam
Bodice: 15" from neck to waist
Skirt: 45" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2806

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 exceptional dress is by Marc Bohan for Christian Dior and it is a wonderful example of his work during this time period. It is not perfect but I believe its flaws could be reinforced. Please make sure to read the entire description and review the provided photos before purchasing. Its an exceptional piece and offered at a dramatically discounted price as a result of its small flaws.

It was in the late 1960s that Bohan was doing these wonderful metallic detailed dresses for Dior and the results were stupendous. The red silk chiffon base is as light as a feather and there are literally yards and yards of fabric used to make this dress. Woven through the silk is a winding flower and vine design that is entirely made form a gold lurex thread which gives the dress its metallic finish. The gold is used from neck to hem and catches the light as you move. The neckline is high and the bodice is set above a empire waist that is detailed with a wide red silk ribbon that is attached and hooks to close at the back. This is balanced by long sleeves that has a bit of volume to it above the cuffs. The skirt is fabulous and has a tremendous amount of fabric it, falling to the floor from under the red ribbon. It also has a extremely large shawl scarf piece that is made form the same fabric and I think you could easily use some of the fabric from that to reinforce the flaws. The flaws are as follows. There is stress and small tears to the fabric at the seams under each arm and near the seams. I see some very small starts of this near the seam of the top of the shoulder. There are a couple of large areas on the fabric of the skirt that also show small tears and weakening. Please review all photos provided that are shown after the label shot and read any extra details concerning condition below. Otherwise it is in great condition and presents very well

The skirt is fully lined in a red silk with the sleeves left unlined. It closes with a back painted metal & nylon zipper and hook & eye just above the zipper of the low back. The ribbon belt hooks to close. Each sleeve buttons to close and one button is missing. Hand finishes. Please read above concerning weak areas of the fabric. There may be additional teeny tiny areas I missed. The scarf could be used to reinforce the weak areas or even to recreate and replace them as it is huge. This would easily be priced for $3500 if perfect so is a tremendous bargain for the person willing to put in a little work on it. It is sold as a final sale

Sleeves: 25"
Shoulders: 14.5"
Bust: 17.5" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam of inner lining
Bodice: 11" from top of bodice to waist
Skirt: 43" from waist to hem

Shawl: 94" x 43"

Modern Sizing Equivalent: XS-SML

Item# DD3151

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 black version of this dress walked the runway for the Fall 2001 Couture show and I have had a black one in the shop but never the ivory until now. Versions of this piece have been a constant throughout Alaia's history and similar gowns featured prominently both in the Alaia exhibit at the Groninger Museum and accompanying book 'Alaia- Azzedine Alaia in the 21st Century,'.

This long and sexy silhouette is perhaps one of the most iconic of all the Alaia designs and most certainly one that is instantly recognizable as being his work. It is a look that feels as fresh to wear now as it did when it was created. The dress is made from his signature stretch viscose jersey. This fabric molds to the body once on and is cut to hug every curve through the bodice and the waist. Under that it flows out into a very long, full length skirt that is made of yards and yards of fabric. The contrast of being fully covered and yet having your every curve show is signature part of his genius in covering the female form. The bodice of the dress is cut into a slightly higher neck and back and has low dipping sides. Raised seam work highlight the curves of the dress around the body and also create and emphasize the bust and waist. More seams curve around the backside and hug the body. The color is a creamy ivory. This dress would also make for a wonderful wedding dress for someone looking for something not as traditional. Excellent condition with one very minor note below

Unlined and closes with a hidden set side zipper. There are also hook and eye hidden at the top of one shoulder. The gown is bias cut so does come up in length a touch once on. It is tagged a vintage Alaia size Small and Alaia does run small. The knit will stretch a bit and allow for a bit of range size-wise. I have given the range laying flat and stretching out to its comfortable max - you might be able to squeeze a touch more if needed. There is a teeny bit of a very faint mark near the base of the zipper but it is extremely minor. Please see the photo provided after the label shot

Bust: will stretch to 16" flat across from side seam to side seam
Waist: 12-13.5" flat across from side seam to side seam
Hips: 14-18" flat across from side seam to side seam
Length: 67" from top of shoulder to front hem, 70" to back hem

Modern Sizing Equivalent: XS-SML

Item# DD3145

Reference Photo: (1) F/W 2001 Alaia Haute Couture Collection, Look 18.  /  (2) Alaia in his Paris Atelier with his long-time muse Naomi Campbell.  /  (3) Book: Alaia, Azzedine Alaia in the 22st Century, BAI publishers, Groninger Museum.

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 Fall 1952 Christian Dior Haute Couture dress is a beautiful and rare example of Christian's work from this time period. Christian wrote of the Fall 1952 collection, "In the Autumn, the silhouette took inspiration from modern techniques with the 'Profile Line'. This 'Ligne Profilee' was inspired by the shapes modern life surrounds us with" ... owing its shape to "natural curves refined and profiled with care"..."Molded to the body, their goal is first and foremost to thin down and lengthen". Vogue said in part in their review that, "The designing of seam is like a lesson in the construction of a beautiful building... His completely slim profile follows the curve of the ideal body". The New York Times noted "Dior calls the waistline 'unbroken'. It is never cinched. The cut is so perfect, the look so custom-made that description cannot do justice to the simplicity of high tight collars, smooth long sleeves and buttons down the center front". It is a becoming exceedingly rare to find such wonderful examples such as this and I am very pleased to have it in the shop.  A similar gown from this same collection that seems to be a simpler version of this one (and in a far less desirable condition then this one) is held in the permanent collection of the Metropolitan Museum.

The dress is constructed from an ivory silk that has a slight ribbing finish to it. The cut is simple and deceptive in how it makes the many Haute Couture finishes appear to be effortless in their execution. The top is cut straight across at both the front and back. It is molded to the body with wide straps in the same silk curving up and over each shoulder. Clear faceted buttons, that I believe are glass, are places at the outer edges of the top seam and then gently curve in towards the waist. This draws the eye inwards and gives the illusion of an even smaller waistline. The buttons continue on that inward line once they  past the waist seam. On either side of the buttons are simple little slit pockets whose inner construction in quite intricate, These follow the curve of the hip and help add volume there without adding bulk. The skirt billows out to a beautiful fullness and the shape is built in through layers and layers of silk netting and tulle underneath. For the majority of the photos I have added another separate crinoline so that you can really see the volume that can be achieved through the skirt. The last two full photos of the dress before the label shot is of the dress with only its built in skirts. The inner construction of the dress is absolutely exquisite with a boned and silk net corseted interior. Attached to the inner silk skirt there are various layers of silk tulle attached at different lengths. A scattering of beads and crystal rhinestones on the front of the skirt offer the final finishing touch.

It is a beautiful example of Christian Dior's early work and a wonderful example of the golden years of Haute Couture. The dress is not perfect and I have gone through the condition below so please review those notes carefully and review all of the provided photogrpahs. I also took an extensive set of videos when I steamed out the inner parts of the dress and these show the inner construction wonderfully and in detail. I did this through my Instagram stories and saved the series as a tagged highlight "Dior Steaming" that can be access on my bio page there.

The majority of its issues are simple grubbiness. My cleaners felt that the inner parts of the dress would have to be removed and then re-attached in order to clean it properly and the decision was made to leave it in as found condition and leave the original stitches. They did feel that it would clean beautifully so if it is purchased to be worn or perhaps as a wedding dress, it is 100% cleanable and perhaps there is another cleaner out there that may have a different solution. That will be the decision of the new owner regardless.

Fully lined with built in interior silk skirts that have attached tulle layers. There is a built in netted corset that is boned. The interior corset closes with a series of hook & eye. The dress zips to close over that. The dress has general grubbiness over its entire surface with most around the commonly touched by skin areas - around the pockets, the upper bodice and the hem of the skirt. There is a bit of yellowing under one packet and one a couple areas of the skirt. I do not see signs of any major alterations though I suspect that the hem was let down at some point in its history. There are tiny little rust pinpoint marks here and there. The interior tulle edges are left raw. There are some scattered holes in the tulle of the skirt and a couple in the netting of the inner corset but nothing that compromises its stability. It is mainly just grubby. Note that the color has perhaps a touch more cream to it then how it photoed.

Note that because of the rarity and value of the dress it is offered as a final sale to lessen the possibility of multiple shipping trips. Please buy accordingly and ask all questions before purchasing

Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of shoulder to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3144

Reference photos: (1) The Metropolitan Museum of Art. Quotes in first paragraph from the book Dior Catwalk

This garment is in as found condition. Please review all condition notes, descriptions and photos provided.

From the Spring 2007 Chloe runway is this wonderful little jacket that can be worn as a suit jacket or even a light outdoor jacket if layered over other pieces. It is made out of a muted dusty aubergine colored linen that has a wonderful texture. Lara Stine wore a version on the runway open and layered but I love it just as much properly buttoned and closed. When buttoned you really get the baby doll feel of it. The collar is small and rounded and detailed with tightly spaced rows of top stitching that follow the curved line of the collar. This same detail is picked up on each flap of the pockets. The sleeves are cut straight and cropped and the body of the jacket swings out in a full cut from the shoulders. I love the over-sized buttons and each appears to be a highly polished wood set in a silver toned base. It appears to have been worn very little. Excellent condition

Fully lined in a similar colored cotton and closes at the front with the buttons as shown. Tagged a 40. Each pocket it still tacked shut across the top opening. The pockets also have access from the sides

Sleeves: 17"
Shoulders: 14.5"
Bust: to 19" flat across from side seam to side seam and it widens out to approx 26" flat across by the time it reaches the hem
Length: 27" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# S839

Reference photo: Chloé Spring 2007 Ready-to-Wear Fashion Show, Look 13, Model: Lara Stone

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 the stark lines of this Geoffrey Beene dress and the contrast between the deep burgundy panels and the deeper cream parts of the dress. The two colors are set so that they become an integral part of the design and add both interest and length as the eye is pulled from the neck to the floor. The neck is high in a modified turtleneck that has a more sleek then slouched feel. The sleeves are long and lean and the bodice skims over the bust into the seamed waist where it softly, and just slightly, poufs over the seam there. The skirt flares out in a widening line from the waist to fall to the floor. The back is all the one burgundy color but the front has inset jersey panels done in a soft taupe cream color. These swoop down in a V on the top and are set as an inset panel of fabric in the skirt. This helps to add to the volume of the skirt and creates an interesting visual effect. The way it closes is fascinating with three different zippers layered and placed so that no bulk is created but that each element of the dress stays perfectly in place. Excellent condition

The top is lined with a inner taupe layer of the jersey and the skirt is unlined. It closes with three zippers, one that closes the inner jersey lining, a second long on that runs from the outside neck down inside the skirt and the last on the outer skirt. A zipper is also set at the end of each sleeve. The fabric has some stretch but the waist measurement is set and will not stretch further

Sleeves: 24"
Shoulders: 14.5"
Bust: 16-18" 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: 44" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3141

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

Look 44 on the Fall 2006 Runway was worn by Natasha Poly and I have included that reference photo here so you can see how the dress will look on the body. Michael Vollbracht  was the designer of this collection and he told Vogue that he was looking to 'channel' the spirit of the label's namesake. Mr. Vollbracht only designed for the label from 2003 - 2007. I think this was one of the prettier pieces he designed while there and does indeed have that Blass feel to it. The dress is strapless with a more fitted inner dress that hugs the bodice and skims over the hips before gradually flaring out as it nears the hem. The hem of this inner dress is finished with a wide pleated detailing that gives a little extra texture though the top layer and also helps to add weight to hold the shape. Over this is a synthetic net layer that has a huge floral design covering its surface from bodice to hem. The flowers are made up of a black cord and a matte satin and this combination gives them a pretty 3D raised effect off of the netting. The back of this top layer is cut longer to form a small train and the netting also helps to give it a more ball gown feel with the extra volume created. There are little loops and buttons on the back so you can lift the skirts off the floor if you wish. It appears to have never been worn. Excellent condition

Fully lined and closes at the back with a zipper. The net layer closes over the zipper with a series of hidden snaps. The inner bodice is lightly boned and there is an inner waist stay that hooks to close. Fully lined in a silk. The exterior fabrics seem to be a combination of silk and synthetics. There are little loops and buttons on the back so you can lift the skirts off the floor if you wish. Tagged a modern 4

Bust: 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 10" from top of bodice to waist
Skirt: 42" from waist to inner hem, 48" to back train if left unbuttoned and down

Modern Sizing Equivalent: XS-SML

Item# DD3140

Reference photo: Fall 2006 Bill Blass runway, Look 44, Model: Natasha Poly

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

This is one of those absolutely beautiful printed silk dresses that you can only find from the 1940s. It was definitely stored properly for all these years because the colors in the print are as crisp and vibrant as the day it was made. The base of the dress is a deep chocolate brown and then onto this are beautiful sprigs of flowers that have the feel of being hand painted onto the fabric, even though they are of course screened on. The cut is fitted with a high neck that has a neat little pointed collar. The sleeves are capped and the waist is seamed for fit. The skirt is very interesting in its construction. At the front, it wraps over itself and has a curved panel that shows a bit of leg when you move. At the back it is gathered into the waist seam for a little fullness and falls longer then it does at the front. On each side a panel of fabric wraps partially around the hip and then is caught in a loop of fabric on the front of each hip and falls to the hem. This is a very pretty detailing and one I have not seen before. Excellent condition with one minor note below

Unlined and closes with a back painted metal zipper. There is just the slightest touch of color change to the tops of the shoulders - it will not even photo but is mentioned for accuracy. I don't think it impacts at all when on.

Shoulders: 15"
Bust: 17" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 14.5 " from top of bodice to waist
Skirt: 24" from waist to shortest point of the front hem, 29" to longest point at the back

Modern Sizing Equivalent: XS-SML

Item# D606

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 print was shown on the 1983 runway in a variety of color combinations. Here we have a little day dress cleverly fashioned to fut loose and easy over the body and yet still have a touch of shape.  The colors are amazing and absolutely pop off of the silk. Yves Saint Laurent was a master at choosing the fabrics that were the perfect compliment to the prints that he used. This dress is no exception to that rule with its riot of multi-colored, bright abstract design that covers its surface. The cut is pure Yves and a wonderful example of the work her was doing during this time period. The sleeves end just below the elbow and are cut with a full pouf above that. The bodice is set to sit loose and easy over the body with a high neckline that has a tie at the neck to tie onto a bow or loop and let the tie ends hang down. It has a slight dropped waist silhouette that gives it a bot of a twenties feel. The waist is cut full and loose with a dropped band of fabric to detail it. The band is finished at the front to extend into long fabric ties that you can wrap and/or tie for more shape. Below that the skirt flares out with a pretty swing feel. You can wear it loose and easy or cinch in the waist more with the ties. Adjusting the ties at the waist will also let you to change the length of the skirt depending on how tight and high you tie it. Excellent condition

Unlined and closes down the front with buttons. It is tagged a vintage YSL 34 but the loose and easy but will allow it to work on a variety of sizes. It appears to have been worn very little, if at all.

Sleeves: 19.5"
Shoulders: 15.5"
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: open
Bodice: 18" from neck to waist
Skirt: 23" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD2253

Reference Photo: Yves Saint Laurent S/S 1983 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 thirties dress and jacket set are beautiful. It is getting harder and harder to find pieces from this era is this kind of quality. The dress is bias cut and made form a textured silk crepe that is covered in a bright and vibrant floral print. It is completely cut on the bias so drapes and moves to fit you perfectly from the second you slip it over your head. The front is cut in a halter style with a double set of tiny straps from which the entire dress suspends. I love how the fabric is folded over at the neckline for added detail and how the back dips down to show a little skin. Below the bodice the silk skims over the waist and flows into the skirt which then sweeps to somewhere between mid-calf or  ankle depending on your height. Topping this is a little open, cropped jacket made of the same fabric. It has little cuffed capped sleeves which perfectly tie into the bodice on the dress. The silk is light in weight and moves beautifully. The colors are pretty and feminine with that gorgeous abstract floral design covering the entire surface. Truly a beauty and one of the best of the period I have had in. Excellent condition

Both pieces are unlined. The jacket slip on with no front closures and the dress has a small opening at the back that closes with hook and eye bit otherwise just slips over the head. Some boning at the back along where it hooks to close to keep it from dropping down. Hand finished. The bias cut does allow for some give and the measurements are what is the comfortable range while lying flat

Jacket
Sleeves: 9"
Shoulders: 14.5"
Length: 14.75"

Dress
Bust: 16-18" flat across from side seam to side seam
Waist: 12-14" flat across from side seam to side seam
Hips: open
Length: 52" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item#  D604

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

Sybil Connolly was based in Dublin and her first major fashion show as a designer in her own right was in 1953 and quickly became a darling of the American market. Jacqueline Kennedy wore  Connolly for her official White House portrait and Connolly was a particular favorite of Carmen Snow, the editor of Harper's Bazaar. In 1957 she launched her couture label. She created Haute Couture pieces made from Irish textiles and in particular she became famous for her distinctive use of  pleated handkerchief linen. This excerpt from the FDIM Museum explains Sybil Connolly's techniques:

"Sybil Connolly's trademark gowns required a tremendous amount of fabric. To construct one pleated evening dress required between 72 and 90 yards of Irish handkerchief linen. After undergoing a secret pleating process, this initial yardage became 7 to 10 yards of slightly irregular, narrow linen pleats. Like the early 20th century designer Mario Fortuny, Sybil Connolly was very protective of her pleating process, swearing that it was a secret she would "carry to the grave." In her designs, Connolly usually oriented the pleats horizontally, covering the seams with self-fabric cording. The cords also lengthen the overall line of the garment, providing a counterbalance to the horizontal pleats. As Connolly tended towards solid colors, the stiff cording also provides a necessary visual contrast to the soft linen pleats."

Connolly was named the 'Dior of Dublin' by the press and rightly so. This dress is not 100% perfect but still a stunning example of the pleating techniques as described above. This best matched the sketch of the dress that Connolly named the 'Non-Chalance'. I found a sketch of it within the permanent collection of the Hunt Museum in Ireland and there is also a similar gown held in the collection of the Irish Linen Centre & Lisburn Museum. Sybil worked directly with the cloth when she did her design work and rarely did any preliminary sketches so it is a pleasure to have found one to reference. I found a quote that referred to the Irish linen she used to be 'of a quality so fine it was almost chiffon-like in weight' and that’s description is very accurate. This dress has a very formal feel to it that is heightened by that strong red color that the linen has been dyed to. The elaborately layered cuffs are a made from the same fabric but here the pleats are more a traditional tiny pleat and they are set vertically, rather then the horizontal pleating of the dress. They are dramatic and very full with their two layers stacked on top of each other. They add a touch of romance and whimsy to the dress and give it a lovely movement when you move your arms. This same treatment circles the hem as well and adds a touch of a flounce to the other wise structured skirt. The dress is otherwise kept to simple lines so that the pleating technique takes center stage. The bodice is fitted, with a slightly scooped neckline. The waist cinches in for shape and then the skirt billows out to a beautiful strong line that allows the many yard of fabric used to take full center stage. Soft gathers at each side of the hip and around the back create more volume. It is wonderful and rare example of her work. The gown presents as excellent condition at first glance but does have some condition notes below to review.

The dress is fully lined in a matching red hand set silk and closes with a back painted metal zipper. The hand work done can clearly be seen throughout the interior. I see some shattering to the silk around each arm but other wise the inner silk appears to be strong and stable. The small amount of shattering does not affect the exterior at all. There are areas of darkening/discoloration to the fabric present. I see an area on the front skirt under the waist. A smudge on the piping edge of one sleeve and a darkening to an area on the front bust. One small smudge on the back of the skirt about half way down. Inside, there is a tiny bit of fading to the seam under the arm and the inside neck. There is a tiny repair to the base of the arm seam on each side. The dress is strong and stable otherwise. The discoloration ranges from a subtle darkening to a deep darkening of the fabric as photoed. You could easily get away with wearing it as is if you don't mind a piece that is not perfect. Please review the photos shown after the label photo. It is cut slightly narrow through the shoulders.

Shoulders: approx 14" but no true seam
Sleeves: approx 18"
Bust: 17-18" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of shoulder to waist
Skirt: 44" from waist to front hem and 46" to the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3137

Reference Photos:  (1-2) Sybil Connolly Design Sketches from The Hunt Museum.  /  (3) An original Sybil Connolly creation. Copyright Irish Linen Centre & Lisburn Museum.  /  (4) Portrait of Jacqueline Kennedy by Aaron A. Shikler. Oil on canvas, 47 x 31 inches, executed between 1968-1995, from a Private Collection, courtesy Davis & Langdale Company, Inc., New York.  /  (5) Cherie, Owner of Shrimpton Couture, by Erin Leydon.

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