This is a remarkable example of his Courrege and his more extravagant work during that time period. I know we more often associate his work with very mod, strict lines but he also did many dramatic pieces like this using silks and organza's and I am sometimes more excited to find these then the more common mod feeling ones. A version of this one is held at the Munchner Stadtmuseum making it even more special.

This beautiful dress made out of a feather light black silk organza is just absolutely stunning. Many of his pieces are a play on volume and proportion and this dress is an amazing example of that. It is a dramatic piece that is more fitted through the upper shoulders and then flares out very dramatically through the body to the hem. When you think about how this is a look that you really started to see pick up speed a couple of decades later, you really get an idea of just how far ahead of the curve his work really was. The fabric is a very light weight black silk organza that has just enough structure to it that it holds the intended shape and volume while feeling like you are barely wearing anything. The slight sheen and texture to it combined with the absolutely superb seaming details give the dress a rich, luxurious feel. All of the seams are set vertically and there are long lines of ruffles done in the same fabric that run from the neckline down to the hem. Each of these is set to follow the flare of the dress and this added texture to the surface of the dress is a wonderful touch. The same ruffle treatment runs down each sleeve. The neckline is finished with a flat, hand set piping of the same fabric and a sweet little bow that sits at front of the neck. Each sleeve is finished in the exact same manner. The dress somehow is able to feel like a combination of a child's baby doll dress and the most wonderfully edgy avant garde thing you have ever seen. Made to demi-couture standards. Extremely collectible and rare. Adding a modern belt would add shape and change the look and feel of the dress. Excellent condition.

Fully lined in a hand set black silk organza. The lining zips to close at the back and then the layer over that snaps in place in a series of snaps that lie over the zipper. There are 1/2 snaps ringing the interior of the neckline but I think they are placed there for weight and were never intended to actually snap into anything. Hand finished throughout. Tagged a Courreges A but very generously cut through the body. The open cut should allow it to fit a range of sizes keeping in mind that the shoulders have a slightly narrower cut

Sleeves: 22'
Slightly inset shoulders: 13"
Bust: 19.5" flat across the back from seam to seam
Waist-hips: open
Length: 48" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD3532

Reference Photo: 1969 Courreges Dress from the Munchner Stadtmuseum 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.

Versions of this dress have appeared in several museum exhibits of his work and I have included a photo from one of the Halston's books that shows a close variation of this style. This is classic Halston from his main label couture line. These one shoulder pieces are one of the most instantly recognizable looks that he ever created. I have versions of these in my own personal collection and this one is a very versatile version of his classic dress

The dress is entirely cut on the bias and utilizes his signature minimal seaming. Halston defined how woman dressed in the 1970s and these one shoulder dresses in particular were tremendously flattering to the body. It is also insanely sexy while still being extremely comfortable to wear. It is feather light and you are barely conscious of wearing anything. The fabric is a very fine light silk chiffon that moves and drapes beautifully. The silk used is on two tones of hand dyed color. The inner dress is a deep raspberry and then one half of the overlay is a deep burgundy. Both  colors are flattering on most skin tones and are a beautiful alternative to black. The inner dress is suspended by a single hook at the shoulder and is made of three full layers of the silk. A second, separate piece is made of the same silk. That second piece is an oversized rectangular constructed from two attached layers of the silk chiffon. This is what allows you to be able to create countless looks. I quickly styled a half dozen variations by tying the over layer in different ways around the inner dress and you could easily get more elaborate if you started using brooches or got more creative. When draped over the shoulder and tied it creates a full second outer layer, cascading down and over the inner layer for his classic one shoulder silhouette. It is spectacular. This is a rare example of Halston at his very best and it is easy to see why it is a piece favored by Museums. Presents as excellent condition but please review the full condition notes below

Constructed in multiple bias cut layers as described above. The inner dress slips on and has a hook at the top of the shoulder and the second outer layer is a double layer of silk in two colors tones. Hand finished and the bias cut should allow it to fit a range of sizes. There are two marks n the inner dress's skirt. One on the hip and one on the lower skirt. You would not see either with the overlay worn over it. The marks are only on the top layer so you could remove the one layer or have it switches to the inside. Note the length will come up when on due to the bias cut

Dress
Bust: 13.5-17.5" flat across from side seam to side seam
Waist: 13-18" flat across from side seam to side seam
Hips: 13.5-21" flat across from side seam to side seam
Length: 62" from shoulder to hem but will come on once one

Outer Layer
80" x 39"

Modern Sizing Equivalent: XS-MED

Item# DD2473

Photo Credit: "Halston" by Phiadon, 2001. Various Halston dresses held in The Metropolitan Museum Permanent collection, NYC

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 amazing little dress is flawed but it is too cute to not put out there and I know there I have clients out there who either don't mind vintage that is a little less then perfect or that are a whiz and can work some magic and have it re-cut. The dress is a pink printed crepe that is sleeveless and has a bullet bra cut at the front. You can see that my dress form does not quite give it the shape it can have. Each cup is seamed to a point and on a girl that fills them out properly that definite sixties shape will be far more apparent. It skims over the waist and hips and then the hem is detailed with a wide band of pink dyed feathers. It is is just too cute for words. Please read the full condition report below

Fully lined in cream silk and closes with a back painted metal zipper. There are marks under both arms and I have photoed each side for you to see. It is otherwise in great condition

Bust: to 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 11" from top of shoulder to waist
Skirt: 21" from waist to bottom of the feathers at the hem

Modern Sizing Equivalent: XS-SML

Item# E683

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 set is not 100% perfect but it is radical in design and a very rare example of the work of Marion Foale and Sally Tuffin. This is really a collectors piece even though it is wearable. The designing duo were two young women determined to launch a label without having to have a male name on the masthead. The were known for their tailoring, lean cuts and outerwear. In 1962 Vogue featured one of their pieces and they audience expanded outside of London. Their work was featured regularly in the 'Young Ideas' section in British Vogue. The label shuttered in 1972 and pieces from the label are a very rare find.

This was a key label from the British Fashion movement and this is a rare example of their work from right before they stopped producing this label. I have included a photo of this same outfit from a British Vogue editorial on their work from the September 1971 issue. In that issue these sets were described as 'Pajama' sets meant to be worn outdoors. The first thing that strikes you about this is the feeling that it was made by hand. You can imagine the young pair of designers making this themselves in their studio. The pants have a flat front and zipper and are cut straight and wide all the way down to the hem. The top slips over the head. It is cut straight down through the body and the sleeves are the same. A large front pocket sits across the entire front and each side is notched. There is a small slit opening at the neck and it is set offside. The fabric is a padded red and off-white check that is top stitched into big quilted diamonds. The fabric gives it a certain structure so that it sits on the body in a very straight and angular way yet the fabric itself is still soft and pliable. Presents as great condition but please review the notes below.

Both pieces are unlined. The top slips on the wear and the pants have a front zipper. The fabric has a slight feeling of grubbiness overall and some of the quilting top-stitching has come off here and there. There is a discoloration at the seat of the pants. A tiny bit near the arms. A small notch of the fabric is missing near the waist band. Please see the photos after the label shot.

Top
Sleeves: 22"
Shoulders: "
Bust: 17" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 26.5" from neck to hem

Pants
Waist: 12" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 39" from waist to hem
Inseam: 30"

Modern Sizing Equivalent: XS-SML

Item# DD3524

Reference Photos: British Vogue, Sept 15 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.

Bob Bugnand opened launched his couture salon in Paris in 1954. His pieces were made to order from sketches and he had the capacity to produce only 50 original pieces a month at most. In 1958 he opened a custom, made-to-order salon in New York allowing clients to buy the Paris designs without having to travel overseas. During the summer of 1960, Bugnand was recognized with membership in the Chambre Syndicale de la Couture Parisienne and opened his salon at 372 rue St. Honore in Paris. From 1962 - 1965, he collaborated with Sam Friedlander to launch a ready to wear line that stayed true to his couture roots and used high end finishes, giving us the exact window to date this within.

Both pieces of this pant set are made from a brightly printed floral patterned silk that has a solid blue silk trim at the hems and cuffs for contrast. The printed part of the design is completely covered in clear sequins that are hand set to lie flat and side by side across the surface of the fabric. These catch the light with every movement and really gives the design an extra dimension. The top has a simple cut to it and is shaped to follow the lines of the torso. It flares out from the waist to skim over the hips. That same flared shape also finishes the sleeves and the legs of the pants to give the entire set a beautiful balance and a slightly mod feel. The pants are cut with a flat front and sleek lines until they flare out at the hem. I love that you can wear it together as a set, or break the pieces up and pair them individually with other modern pieces from your wardrobe. Excellent condition

Both pieces are fully lined in white silk. The pants close with a side painted metal zipper and the top has a painted metal zipper that runs down the back. It appears to have been worn very little if at all.

Top
Sleeves: 23"
Shoulders: 14.5"
Bust: 16.5" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 27.5" from neck to hem

Pants
Waist: 13" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 41.5" from waist to hem
Inseam: 29.5"

Modern Sizing Equivalent: XS-SML

Item# DD2208

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.

This is a wonderful hip length string coat from the 1970s by the Crissa Cotique of France label. I love these and have had versions of these in the shop. I always look for them. It is made entirely from curved set rows of a soft and fluffy cotton string. Many designers have made versions of these coats since, but there is nothing like the original. You will see these pop up fairly often in the truly cropped length that lands above the hip, but the longer ones like this one are harder to find. I have one of these myself and I always look for the longer ones for the shop. I have included photos of the even longer version of it that I have so you can get an idea of how it looks on, but please note that this one would probably land at about the edge, or just above, of the mini dress I am wearing in the shots.

The color of the cotton string on this one is a light ivory/off-white color that is consistent from top to bottom. Any variations of color in the photos is the lighting only. The cut is loose and easy and it is open down the front with large sized, hidden snaps to close it. It has slouchy pockets on either hip. The inside is unlined and you can clearly see the way the string has been set onto the base and finished. It is meant to be big and slouchy once on so the size is almost irrelevant as they will fit pretty much any size. These can be styled for high, sexy glamour or keep it soft and romantic. These coats can top absolutely anything from jeans to an evening dress, making them an extremely versatile piece to have in your wardrobe. It is a timeless piece of instant glamour and a fabulous alternative to any type of fur, whether it be faux or real. Excellent condition with a minor note below to review

Unlined and closed with hidden set, large snaps along the front. The color is consistent and the strings are strong and stable. These were cut to be worn over-sized and slouchy and it will fit a variety of sizes. There is a mark near the label that is only on the interior and does not show at all on the outside. A touch of grubbiness to the strings to the edge of one side at the bottom. Please see the two photos after the shot of the label

Sleeves: 28"
Shoulders: no defined seam
Bust: to 21" flat across from side seam to side seam
Waist to hips: open
Length: 33" from neck to hem

Modern Sizing Equivalent: XS-LRG

Item# C554

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

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

This was obtained from a client who was a long term client of Norell and though it has lost its label it is a Norell. Of course provenance is everything so it is priced far lower then it would be with its label so its a steal.

The dress is chic and sophisticated. I think every collector of vintage cannot go long in collecting before a Norman Norell lands in thier closet. His dresses are cut with a master's hand and every line and seam is deliberately placed exactly where it should be. This particular dress is a classic silhouette and can be worn on its own or with something layered under it or over it. I know it is not as flashy as some pieces are in vintage, but it is beautifully made and the type of dress that is a solid basic for any closet. It is a sleeveless wool crepe shift dress in a deep chocolate. Don't be fooled by it's simplicity - it is seamed and constructed to couture levels and the finishes within it are superb. The front is suspended buy little straps and then it is cut in a chic sheath. At the back, it dips into a soft curve to leave an expanse of skin showing. This is a classic dress that will last you a lifetime and never go out of style. Excellent condition.

Fully lined in a matching brown silk that is entirely hand set. It closes with a hand set side metal zipper. At some point the hem was let down and the edge is finished with the ribbon he used on his inner seams. The inside lining is cut and not attached/finished around the inner edges. It could be worn as is or shortened to your desired length.

Bust: 16.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 38" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD3512

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.

I just sold the twin of this a couple weeks ago and buy some strange twist another came in that is slightly longer then the other one was. The dress is a wonderful and easy to wear caftan dress by the Young Innocents by Arpeja label. Arpeja was based out of California. They had several lines that were very on trend and targeted towards a more youthful audience. The Young Innocents label launched in 1964 and lasted into the early 1970s. They were an early proponent of sourcing fabric that were from organically grown sources.

This caftan dress is bright and colorful and so very pretty with its mix of a true bright blue and a soft apple red. It has an almost smock feel to its construction The sleeves are exceptionally wide and the effect once on a real person is wonderful. The neckline is cut into a V at the front and trimmed with a wide border of the red floral fabric. This same red is used for the attached ties that you can use to cinch it in at the waist. Under that the skirt falls to the floor, gently widening as it nears the hem. More red edges each wide sleeve and then is used in a wide band around the hem. It is a made out of cotton so it is very easy to care for. I love the combination of the red and blue and the big floral print that covers both colors. The fabric also has an unusual 'puffed' ribbon effect running through it that adds an extra layer of texture. The dress is magical. Excellent condition

Closes with a back zipper and the attached ties will allow you to cinch in the waist as much as you wish. Easy to care for and can be machine or hand washed. The loose and easy cut should work on a variety of sizes.

Sleeves: approx 19"
Shoulders: no true shoulder seam
Bust: open with no true side seams through the bust area
Waist: 16" flat across from side seam to side seam
Hips: open
Bodice: 14" from top of bodice to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# D624

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.

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

This is a striking little dress that is made from a combination of a heavy red silk and an inky black velvet. It is done to give the illusion that the red silk has been wrapped around the inner strapless black dress. To give more depth to that illusion a large swatch of the silk is gathered and wrapped over the bodice and then rises above one shoulder in the most dramatic way. This appears to anchor the fabric that wraps around the bodice to the back - enveloping the wearer like a beautiful package. With the way that it points and the fact that the silk is that deep red, it gives it a flame like feel. It is like wearing a piece of art and at the same time it acts as a clever way to make the wearer appear even taller and leaner then she is. The other shoulder is left completely bare for the perfect balance. I love how the black velvet is set in on sharp angular lines to contrast that more fluid feel of the red. This inner construction is lightly boned and shaped so that the dress falls straight down from the bust. It nips in at the waist and there is a black silk satin bow that wraps and hooks into place around you. It is wonderful. Excellent condition with two minor notes to review below

Fully lined in a black silk through the bodice and has a built in inner red silk skirt. It closes with a zipper that follows the angle of the seam at the back. Lightly boned through the inner bodice. The belt is partially attached and hooks into place to close. The point that is extended out has a flat wire inside that is not super stiff. Hence the way it drops in the photos. If you wanted it to be very high and extended it would be easy to open a seam and add more wire. There is a very faint spot on the front skirt that you only see in certain lights its so faint and the pile under one arm has flattened just a tiny touch. Please see the last two photos after the label shot

Bust: 16.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Inner hips: to 22" flat across from side seam to side seam
Bodice: 10" from top of black bodice to waist
Skirt: 42" from waist to hem with 2" turned under the hem

Modern Sizing Equivalent: XS-SML

Item# DD3500

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.

This is the exact dress that Martha Hunt wore to the Cannes Film Festival in 2018. Amal Clooney also wore a more graphic print version of this dress at one point in a different print and colorway. Hers was more graphic and did not have the same ruffles and softness that this one does. I think this floral one is just the prettiest thing I have ever seen. The dress is spectacular and even landed Martha in the Harper's Bazaar round up of the best looks from Cannes that season.

The dress is a work of art and the silk chiffon used to make it is some of the finest, lightest chiffon I have seen. The fabric is notoriously difficult to work with and with all the intricate pleats and detailing, putting this together would have taken a lot of man hours. The dress is all finished by hand is is just spectacular. The halter top is made of two long panels of fabric that are cut wider where they go over the bust and then narrow a bit to extend into very long ties that tie behind the neck. Each is finished with a ruffled edging and this gives it both a soft and hyper feminine feel and also softens that deep plunge and hides that touch of transparency of each halter a bit. The waist is more structured and is a wide panel of banding that wraps around you. It is top stitched all the way around and has additional layers of fabric built inside to give it more structure. The skirt flows to the floor from there and it is a soft, floating cascade of the silk over an inner silk lining. The skirt is pleated around the hips so that you get a slim feel there and then opens out so it is soft and flowing below that. Excellent condition with two notes to review below

The halter is unlined and semi-transparent. The waist band is lined in a blue silk and has some structure. The skirt is lined in a blue silk crepe. It ties to close at the back neck and has a low painted metal zipper below the waist. There are two tiny well done repairs, one along the zipper and at the base of the zipper, and then another in the skirt at the back above the hem. Some other tiny repaired holes here and there and marks on the inner lining. None detract and once on you don't see any of them. It is fabulous. Hand finished throughout. Note that it does close at the back. It is just a touch small on my dress form. Tagged a vintage Valentino 6

Bust: no true seams and adjustable
Waist: 12" flat across from side seam to side seam
Inner hips: 19.5" flat across from side seam to side seam
Bodice: approx 15" from top of bodice to top of waist band but fully adjustable with the ties
Skirt: "45 from top of waist band under bust to hem. Waist band is 4.5"

Modern Sizing Equivalent: XS-SML

Item# DD3487

Reference Photo: (1) Martha Hunt in Valentino, Cannes, 2018.  /  (2) Martha Hunt featured in Harper's Bazaar.

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 beautifully showcases the genius of Oscar de la Renta and the work that he was doing in this time period. The attention to detail alone is fabulous. The dress has a beautiful elegance to it and is quite striking. This sense of refinement is a constant in Oscar's work and I particularly love the earlier examples of it. You can see how many of the elements in this dress are a reflection of the  standards he adhered to for his entire career and body of work.

The dress is made from a semi-sheer silk chiffon in a deep dusky pink with a floral print screened over the surface. Through the body is a built in under dress done in two layers of a nude silk chiffon and this falls to just above the knees. This play on the sheerness allows the design that runs over the chiffon to have a different feel as it runs over you. Over the floral design of the silk is an intricate pattern that is made from sequins. The sequins are placed in two ways... some are placed flat side by side and then in other areas they are overlapped to form perfect little curved rows. This changes how they catch the light and adds even more texture and gives the entire dress its subtle glint. The bodice is cut to skim over the body and each sleeve is long, slim and left unlined for a touch of transparency. The shoulders have light padding to hold the shape and give the upper part of the dress a touch of formality. The skirt is fantastic and it flows to the floor, gradually widening out a touch as it nears the hem. At the back it continues to extend out into a modified train for the perfect dramatic finish. It is a beautiful example of his work during this time period. Excellent condition with a minor note below.

Lined to the knee with two layers of built in nude silk chiffon. The sleeves are left unlined. It closes at the back along one side with a hidden set zipper. Tiny padding in each shoulder  - just enough to support that little cap. Hand finished throughout. I see a small repair on each of the seams where the train is set onto the dress and another near the hem of the back train. Please see the three photos following the label shot. Tagged a US4

Sleeves: 24"
Shoulders: 14.5"
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 58" from top of shoulder to front hem and 72" to the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3482

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 has appeared in several museum exhibits of his work and Carmen Kass wore one on the red carpet. Barbra Walters was also photoed wearing a version in 1977 and that photo is now in one of the books on his work. This is classic Halston from his main label couture line. It is one of the most instantly recognizable looks that he ever created. I have one of these in my own personal collection and it is one of the stars of my personal archives. I feel very lucky to have found another one that can be loved by someone else too.

This is an amazing couture Halston dress and a very rare and special find. It is entirely cut on the bias and utilizes his signature minimal seaming. Halston defined how woman dressed in the 1970s and these one shoulder dresses in particular were tremendously flattering to the body. It is also insanely sexy while still being extremely comfortable to wear. It is feather light and you are barely conscious of wearing anything. The fabric is a very fine, light gold silk lame that moves and drapes beautifully. The dress is suspended by one hook at the shoulder and then you wrap and tie the outer layer over that to tie it into place over the hook. An elastic band inside hooks around your waist so that it sits just perfectly. The wrapping of the dress creates a high slit up the side for your leg to show. The entire dress falls from that single shoulder, cascading loosely down for the ultimate Grecian goddess feel. It is spectacular. This is a rare example of Halston at his very best and it is easy to see why it is a piece favored by Museums. Excellent condition

Constructed from a single bias cut layer with part of the inner dress closed. The dress slips on with an elastic that wraps and hooks around the waist. It hooks at the top of the shoulder and then wraps and ties on the top of that shoulder. Hand finished. It is all bias cut which should allow for a larger range of sizing. This one is not quite as long as the one Carmen is wearing in the reference photo. They were made to order specifically for the height of the girl buying them though the photos are slightly deceptive as it does fall longer at the back point of the hem.

Bust: 14-18.5" flat across from side seam to side seam
Waist: open with the elastic inside stretching to about 38"
Hips: no true defined seams because of the wrap
Length: 58" from shoulder to very longest point on the hem but will come on once on

Modern Sizing Equivalent: XS-LRG

Item# DD3483

Reference Photos: (1) 1976 Halston Original Gold Lamé Sarong from the Halston Retrospective at Nassau County Museum of Art.  /  (2) Halston Dress at the Studio 54 Exhibition at the Brooklyn Art Museum.  /  (3) Carmen Kass in Halston at "The Michael Awards", November 2000.  /  (4) Barbara Walters in Halston, accompanied by Alan Greenspan, December 1977. From the book "Halston: An American Original".

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 the 1960s if you wanted to wear something with a dramatic flare then you chose the work of Ronald Amey. He was known for his original use of fabrics and colors and his dresses were priced into the thousands even in the 1960s. His career was very short-lived. From 1959-1969 he designed under the label Burke-Amey. Joseph Burke, his partner, took care of the business side of things. In 1970s he bought out Burke and renamed the company Ronald Amey where he continued to produce his dramatic clothing until the label shuttered in 1976. His clothing was of very high quality and he incorporated many couture level details into their construction. All of his pieces were sewn in-house at his New York atelier

One of his signatures was to combine prints, fabrics and detailing embellishments in interesting, unusual ways and this dress is a wonderful example of that. This is an absolutely beautiful dress and I think that in person it is even better. The bodice is cut to curve around the body and then it is cinched in at the waist area. The sleeves are spectacular and each is cut to be full and voluminous. The skirt also has volume and is cut in a wide curve that billows out and away from the body. The base fabric is a printed silk organza. This choice of fabric allowed him to give the sleeves the volume you see but it also keeps the dress light in weight. The neckline is high and the detailing on it runs wide across the tops of the shoulders. That metallic band that Amey used to detail the dress is fantastic. It is a lattice made of silver metal thread that has little eyelash tufts attached to it. This is then bordered by a band of gold and silver thread. This curves around the neckline and then down the front all the way to the hem of the skirt. More of this silver and gold detailing runs around the hem, the waist and then is used again for the cuffs on each sleeve. Big dome buttons that are wrapped in a gold metal thread sit at the back of the neck and on each cuffs. Excellent condition with one minor note below.

Fully lined in a pale ice white blue silk throughout. Entirely hand finished. It closes with a back zipper and two gold buttons at the neck. Each cuff has three gold metal dome buttons and loops. There is one gold bead missing on the top button at the back of the neck otherwise the dress appears to have been worn very little if at all. The dress is even better in person. The length will land from midi to just above the ankle depending on your height

Sleeves: 24"
Shoulders: 14.5"
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: 36" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3481

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

Really great Ossie Clark pieces are becoming increasingly harder to find anymore and this one is amazing. The print that you see on the jumpsuit  is by Celia Birtwell and has a floral print in shades of blue on black. That original Birtwell design is called 'One Step, Two Step' and it covers the jumpsuit from the top of the collar to the bottom of the wide pant legs. It has been printed on a black satin and this fabric choice gives it a bit of an evening feel and also shape and structure. The sleeves are cut fairly straight and long with just a slight tapering in at the wrist from the shoulder.  Each shoulder has tiny gathers at their tops so that they have just a touch of volume. The waist seam is set high to land just under the low dip of the neckline. French pleats are set along that seam adding some detailing. The legs seem even longer because of the way it is cut and I love the deep V plunge at the front. My client purchased this jumpsuit at a past auction of Celia Birtwell's personal collection of Ossie Clark pieces. This is most likely a one-off. It does not have a label but was owned by Celia and came directly from her collection. Excellent condition with a tiny note below to review

Unlined and closes at the front with a hidden set painted metal zipper under the waist seam. Unlabelled. I see some stitch marks where it appears some seams were let out to gain length through the torso. Is is not cut very long through the torso so make sure to check that measurement

Sleeves: 25.5"
Slightly inset shoulders: 13"
Bust: 17" flat across from side seam to side seam
Slight empire waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: approx 12" from top of bodice to waist
Leg: 49" from slight empire waist to hem
Inseam: 34"
From neck to inner leg seam: 27"

Modern Sizing Equivalent: XS-SML

Item# DD2882

Reference Photo: Ossie Clark/Celia Birtwell printed black satin jump-suit, circa 1974, from Live Auctioneers Archive.

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 pleating technique that Issey Miyake was to become famous for was begun in pieces produced during the 1980s. They soon became his signature and an integral part of his brand. Part of the incentive behind using pleats in this manner was to give his clothes a sense of ease. He wanted his clothing to have freedom in the way that they moved and for him it was always about the shape of the body rather then the shape of the clothes. That is why the best of his pieces only come to life when they are on and moving along with your own movements. This is a beautiful and earlier piece of his work and the tag style dates it the early 1990s. It has an elastic waist and the skirt falls to about midi length with the hem falling at various lengths once on so that some parts hang slightly longer. The fabric is completely pleated and has a wide blue toned grey stripe worked through it. The stripes have been laid out in different directions and there are also panels worked into the skirt that are set on a curve. This creates amazing movement once it is on. I love how the stripes work together and contrast against the pleating. There is a very generous amount of fabric in the skirt and I would bet that if the skirt was laid out flat and it was un-pleated it would be a full circle skirt. It is fantastic. Excellent condition

Unlined and has elastic at the waist. Tagged a size Small. The easy cut should fit a range of sizes.

Elastic waist: 11-15" flat across from side seam to side seam
Hips: open
Skirt: 34" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# S912

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 fall 2008 collection was called 'The Girl Who Lived in a Tree'. The 2008 collection was inspired by a combination of McQueen's trip to India and a 600 year old elm in his garden. I have included two photos from the runway that year and you can see how the elements from these pieces were combined to create this gown which was a part of the production run  sent to stores that season. We also found a photos of a very pregnant Ashley Simpson who wore thew twin of this dress ot the 2008 VMA's that year. Pieces from this collection are some of the most valued by collectors. The V&A Museum says of this collection: 'McQueen’s Autumn/Winter 2008 collection centered on a fairy tale narrative devised by McQueen about a girl who descends from a tree to marry a prince and then become a queen. It was inspired by a 600-year-old elm tree in the garden of the designer’s Sussex home. At the center of the set stood a giant tree swathed in fabric, inspired by Bulgarian artist Christo, who is renowned for wrapping buildings with material.' This dress feels a bit like the embodiment of that center piece they refer to, as you are wrapped an swathed in fabric once it is on.

The dress is astounding and the work of a master tailor. Rarely does one see this level of workmanship in ready to wear. The fabric is a beautiful silk chiffon with a soft almost waffle finish worked into it. This gives it an incredible amount of texture while the silk used is feather light. The dress once in feels like it is floating around you, like wearing air. The cut is pure McQueen with a low, almost scandalous, dipped neckline with just the suggestion of a seam that is created through a line of hand placed stitches on the exterior that run just under the bust. This gives that dress its empire feel. The texture and design that is worked into the silk make the dress feel like it has been gathered into little pleats over the bust and the final effect is beautiful. Inside, the bust is more structured and supported and it is incredible that the support comes mainly by seaming and fabric rather then extensive boning. The skirt falls to the floor from beneath the empire cut of the bodice and there are yards and yards of silk used to create the skirt. Once side is caught up and drapes and is attached to the top of the shoulder creating that stunning looped effect that you see in the photos. The back trails out behind you in a long train. It is important to note that the train on one has never been altered or shortened. I have seen others of these come to market and the trains have often been changed but this one is entirely original. It is a work of art from one of the great designers of our time. The dress has its original hang tags in place. Excellent condition.

Fully lined in black silk sating through the bust and black silk chiffon through the skirt. It closes with a hidden set zipper at the back. The interior bust is shaped and lightly boned at the sides. Original tags attached. Tagged a McQueen 38 and appears unworn.

Bust: to 17" flat across from side seam to side seam
Seam under bust: 14" flat across from side seam to side seam
Natural waist: open
Hips: open
Bodice: 10.25" from shoulder to seam under bust
Length: approx 60" from shoulder to front hem and the back trains adds another approx 30"

Modern Sizing Equivalent: XS-SML, will fit a small busted MED

Item# DD3473

Reference Photos: (1-2) F/W 2008 Alexander McQueen Runway Collection (Look 7 & Look 27).  /  (3) Ashlee Simpson at the 2008 VMA's.

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

This is an incredible belt by Yves Saint Laurent and dates to the time period from when he was creating his famous Russian collection. You can see in the reference photos how this style of belt was used in a variety of colors and finishing details to perfectly set off the collection. This one is a wider cut, more dramatic version of the other two that I have in the shop right now. The main belt part of it is made out of a black canvas on a black leather base combination. It is trimmed with a gold metallic flat piping and gold metallic rick rack and then has a long black and gold braided ties. At the end of each tie is a 4" black tassel. The tie part is not attached to the belt so to wear you simply wrap it around yourself and then use the hooks at each end of the belt to hook and tie it at the front. It can top just about anything and its wider width really defines the waist. This is an important piece of fashion history and a rare find. Excellent condition

Marked a brand size 2 and measures 25.5" from end to end of the actual belt part and then the braided tie is 54" long. The belt itself is 3.25" wide. Perhaps a touch of grubbiness to the braiding but no true flaws

Item# A373

Reference Photos: (1) F/W 1976-77 Yves Saint Laurent evening ensembles from The MET Collection online.  /  (2) 1977 Yves Saint Laurent Rive Gauche Ad.  /  (3) 1976 Yves Saint Laurent Peasant collection for American Vogue.

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

This is an incredible belt by Yves Saint Laurent and dates to the time period from when he was creating his famous Russian collection. You can see in the reference photos how this style of belt was used in a variety of colors and finishing details to perfectly set off the collection. This one is a beautiful cool red canvas on a red leather base combination. It is trimmed with a red, white and blue braiding with long red and blue braided ties. At the end of each tie is a knot and a large glossy red bead. It simply wraps and ties at the front and can top just about anything. This is an important piece of fashion history and a rare find. Excellent condition

Marked a brand size 2 and measures 25" from end to end of the actual belt part and then the braided ties extend a 21" on either side. The total length including the ties is 67". The belt itself is 2.5" wide. Perhaps a touch of grubbiness to the braiding but no true flaws

Item# A372

Reference Photos: (1) F/W 1976-77 Yves Saint Laurent evening ensembles from The MET Collection online.  /  (2) 1977 Yves Saint Laurent Rive Gauche Ad.  /  (3) 1976 Yves Saint Laurent Peasant collection for American Vogue.

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

For the Vogue review of the Spring 2016 Vetements show, Sarah Mower stated: The entity that goes under the name Vetements has caused quite a quake through fashion—bottom-up, from nowhere. Just when—by looking at mainstream corporate luxury-goods norms—it seemed that cool was dead and buried and nothing “alternative” could ever again survive, along came a couple of brothers, Demna and Guram Gvasalia, and their collective of friends, to prove skeptics wrong....At top speed, Demna Gvasalia and his co-conspirators confirmed everything their following likes about their off-kilter, elegant, giant-jacketed tailoring and clunky romantic dresses, and then bettered it all. ...Then came the dresses, in a stunning number of new, colorful, and punchy-sophisticated ideas....Demna Gvasalia himself learned the ropes at Maison Martin Margiela, before setting up Vetements and getting on with proving that there can be a different way of doing things. Apart from their stylistic insights into what people really want to wear, it feels like the beginning of something else, too—perhaps something like the power of niceness and friendship in an industry that could do with a lot more of that."

This dress was one of the favored among the street style set and was photoed endlessly it seemed for various editorials. It sold out world wide and was wait listed. It is impossible to find even now I am very pleased to have sourced one that has never been worn and is absolutely perfect. It feels as fresh and avant garde as it did then and will absolutely be a future collectible. The black base fabric is covered with a large floral print that runs over the entire dress and the cut is oversized. The body of the dress is made of layers of a chiffon and the sleeves and all the ruffles are made out of a heavier, stiffened fabric that gives them shape and structure. The shoulders are cut wide and are meant to be prominent. You can see the beginning of their signature asymmetrical setting of the skirt that carries through to present collections. It is remarkable and a true piece of fashion history that will only increase in value as time passes. I also have a red version of this same dress that is also new with tags. Original tags attached. Excellent condition.

Lined in the same chiffon and slips on to wear. Tagged an XS but is meant to be worn over-sized. It will fit a range of sizes because of this.

Sleeves: 29"
Shoulders: 17.5"
Bust: 21" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: open
Bodice: 17" from top of bodice to waist
Skirt: 29" from waist to hem

Modern Sizing Equivalent: XS-LRG

Item# DD3465

Reference Photo: (1) Spring 2016 Vetements Runway, Look 17.  /  (2) Vetements Outfits Photographed by Inez + Vinoodh, Vogue, March 2016.

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 1920s dress is extra special because of both its condition and that extraordinary and unusual color. You rarely find bright vivid pieces like this from this time period and certainly not in this condition. The dress is made from a luxurious deep fuchsia pink silk velvet. The bodice is cut to skim over the bust with a slightly dropped waist typical to the time period. The skirt is gathered into the dropped waist so that it has a bit of volume below and to the hem and it is cut longer at the back then the front. Accenting the pink are gold lame details and the fabric used for the gold parts is the real metal thread lame that you will never find in modern clothing. It is used first at the collar which circles the neck so prettily with a little gather at the front. At the back there is a darling little bow with ties that extends down the length of the back and here the gold is mixed with the pink velvet. At the waist there is a pretty little flower made out of the gold lame and another gold flower is set onto the skirt. It is stunning. It has the perfect bit of weight to it so that the dress hangs perfectly once it is on the body. It is an absolute treasure. It is such a rarity to find a piece this old and in this condition considering it is entirely original and so many of the pieces you see at market at this level of condition have had restoration work done to them. Excellent antique condition with some small flaws inherent to its age and noted below.

The velvet is self lined and the dress closes down the side with snaps. For an original piece that is now almost 100 years old I would rate this as excellent overall condition. I see some wear to the gold lame here and there, most notably on the piping around the arms, both shows shattering and you can see the cording that the gold was piped around in areas, There is a shiny mark to the velvet on the front bodice and some marks on the skirt. The last four photos show these areas. There may be minor scuffs here and there but the dress is sound, strong and wearable. The color is deeper and richer in person. Hand finished throughout

Bust: 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Length: 41" from shoulder to hem at the front, 45" to the back hem

Modern Sizing Equivalent: XS-SML

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

Item# E680

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

Victor Costa launched his label in 1974 and was known for producing his own versions of what was seen on the Paris runways. He chose good fabrics and his designs were often very close interpretations of other designs but with his own unique twist when it came to colors, cut and fabrics.

This dress is striking with its stark red and black striping. It is definitely a dress for someone who wants all eye on her. Personally I love the bold mix of the red and black and the use of satin as his fabric choice just makes it better. It gives the dress the most amazing finish. The bodice is fitted and strapless and cut to curve around the bust. The waist nips in and the hips are emphasized by that wonderful attached peplum just below the waist seam. It also has its original tie belt in a matching fabric that allows you to cinch the waist in further. The skirt falls to the floor from there and there is quite a lot of fullness and volume created by the addition of an attached tulle underskirt inside. It falls to the floor in a gently widening curve. The fabric has just a touch of weight to it so helps to hold the shape. I love how the stripes are set on both horizontal and vertical lines to highlight and emphasize the different parts of the cut of the dress. It is really incredibly. Excellent condition

Fully lined in a black silky rayon and the skirt has an attached later of tulle to help hold its shape. The bodice is fully lined and lightly boned.  The dress closes with a back zipper. Original matching fabric tie belt. It appears to have never been worn or worn very little

Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 10" from shoulder to waist
Skirt: 43" from waist to hem with 3" turned under the hem

Modern Sizing Equivalent: XS-SML

Item# DD3458

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

Victor Costa launched his label in 1974 and was known for producing versions of what was seen on the Paris runways. This dress for example is a version of what Yves Saint Laurent was doing in this time frame. Costa chose good fabrics for his designs and even though his work was often very close interpretations of other designs he did add his own unique twist when it came to colors, cut and fabrics.

This is one of my personal favorites of the Victor Costa pieces I have had come into the shop and the fact that it is a play on the work of YSL plays a part in that. It is well made and really great value for your dollar. He has chosen to use a silk taffeta for the dress and this choice gives it just enough weight and structure to be able to create the impressive lines and volume that you see but without making the dress heavy or bulky to wear. It also gives the dress the most amazing slightly iridescent finish. The bodice is fitted and strapless and cut to curve and shape the bust. Circling around the top portion of the bust is an elaborate ruffled finish that is made of two panels of taffeta. The waist nips in and it has its original tie belt in a matching fabric that allows you to cinch the waist in further. The skirt falls to the floor from there and has yards of fabric in it that create the fullness and volume that you see. The skirt falls in a gently widening line and is finished by a pleated ruffled that goes all the way around the hem. I love everything about the dress and how the ruffles are used to emphasize the romantic feel of the dress. It is really incredible. Excellent condition

Fully lined in a the same fabric through the bodice and the skirt is unlined. The bodice is lightly boned and shaped with stiffening fabric. The dress closes with a back zipper. Original matching fabric tie belt. It appears to have never been worn or worn very little. The color in person has a slightly more purple tone to it then how it photoed. It is even better in person.

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 bodice ruffles to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3460

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 the Vogue review of the Fall 2009 collection they noted that Karl Lagerfeld titled the Fall 2009 collection Belle Brummell (inspired by Beau Brummell) ... 'a gender-reassigned quip referring to the British Regency dandy who dictated men's fashion by tying his cravats in ever more elaborate configurations. The pun also gave full permission to bring the classic Chanel white georgette blouse into play, a perfect device for subtracting the austerity from black in a distinctly Rue Cambon manner. Lagerfeld worked it every which way, in bouclé, lace, knit, satin, and paillettes.."

This jacket embodies that feel with its high glamour and decidedly elaborate configuration. It is made out of a pale putty colored mohair that is a fine and light as gossamer. It seems to weigh mere ounces when you hold it and yet it somehow manages to retain the structure and volume he intended it to have. The body of the jacket is more loosely woven and finished with a fine scattering of fringed detailing. This gives it texture and dimension but without any weight added. The sleeves are incredible and each is a cascade of ruffles overlapping each other. These are even more incredible when you realize that the ruffles are formed from one long swath of knit that has been hand set onto each sleeve in a curving design that wraps down the arm. I have lifted one part of the ruffle and photoed it for you to be able to see just how incredible the workmanship is to achieve this final look. On addition there is silk tulle inset into each sleeve to help retain the shape and volume you see. At the neck is a long black silk satin tie that gives it that perfect Chanel finish and contrast. It is magical and looks to have never been worn or worn very little. Excellent condition

Unlined and slips on the wear. Ties at the neck. Tulle inset into teach sleeve so hold the shape and volume. Hand finished throughout and hand knit. Tagged a Chanel 38. It appears to have never been worm or worn very little. The easy cut should allow it to fit a range of sizes.

Sleeves: 20" to the cuff and 25" to the longest point of the overlapping ruffle
Shoulders: 15"
Bust: to 22" flat across from side seam to side seam
Waist: to 23" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Length: 20" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD3457

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

Claire McCardell is remembered as a being a true pioneer of American fashion. She was one of the most influential women's sportswear designers of the twentieth century. She studied at Parsons and worked as a fit model before a series of small jobs in fashion.  in 1929 McCardell landed a job as a design assistant to Robert Turk, an independent designer and dressmaker. It was he that took her along with him when he became the chief designer at Townley Frocks in the early 1930s. When he passed away in 1932 she became the head designer for Townley and eventaully a partner due to her success with the label. She gravitated towards natural fabrics like cotton, denim and wool. Her silhouettes flattered the female form and even now they seem shockingly modern. In 1954 Audrey Hepburn was photoed by Mark Shaw for Mademoiselle Magazine in her dressing room backstage at Ondine. In those series of photos she is wearing a paisley print dress that is remarkably like this one.

This incredible dress is likely from that same 1954 collection as Audrey's was from and is made out of a soft cotton that has a satin finish to it. This gives the fabric a slight sheen that is very pretty. The bodice is fitted with a simple scooped neck and sleeveless silhouette. The waist nips in and then the skirt flares out from there. It is not excessively full but it does have a touch of fullness due to the way the skirt is set into the waist with that series of soft pleats that you see. The dress hangs sleek and slim when you are still and then will flare out a touch more when you move. I have photoed it without its belt as the belt did not fit on my mannequin properly but with the belt in place I think the dress is even better. It is wide so really cinches the waist in and the large gold toned belt buckle at the front feels very modern. It is gorgeous and the perfect little summer frock. Excellent condition with a note below

Unlined and closes with a metal zipper at the side. The belt has a double buckle to close. There is one area of discoloration on the side of the skirt that gets lost in the patter. The fabric on the belt shows minor grubbiness. Otherwise the dress is is very crisp and fresh feeling

Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 14" from neck to waist
Skirt: 29" from waist to hem with 4.5" turned under the hem
Belt: will accommodate 24" - 27"

Modern Sizing Equivalent: XS-SML

Item#DD3453

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