Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. His work always has a high fantasy element to it and he was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection. Every piece I bring into the shop is very special and this one is no exception. Gibb had a great fondness for history and exploring the far corners of the earth for inspiration. This set has obvious Asian roots with the fabric choice but he has taken the lines of a traditional piece and extended and manipulated them to make a new silhouette. I also love how the fabric combines the cherry blossoms print with English roses within the woven fabric to further emphasize his combining of cultures in this set.

The set consists of a very long, slim cut skirt that has a more over-sized cut jacket that sits over it. The skirt is made from two panels that are almost perfect rectangles that are brought in for the waist. This gives it a very linear line from the hip to the hem. It is seamed down each side with  a very high slit running up each leg. This lets you be able to you to walk in it and it shows a ton of leg when you move or sit. Over this is a simple open front jacket. In comparison to the skirt it is cut with a sense of volume and meant to feel more towards the over-sized side of things. The jacket has no front closures and simply slips on to wear. I love how the top of the collar is set so that it kind of flares open at the very top of the neck. The sleeves are long and cut wide. The braiding that runs down them extends the length of them visually and adds a pretty detailing. More braiding runs along the edges of the set and highlight its lines. The fabric is a beautiful bright red silk satin with little cherry blossoms and roses woven through it in a slightly metallic finished thread. This is a rare and absolutely amazing set that is even better in person and is even better on an actual body then on my dress form. Excellent condition with a minor note below

Both pieces are fully lined in a red silk. The skirt closes with a metal and nylon zipper. The jacket has no closures and slips on to wear. I see a tiny touch of foxing on the side of the skirt, a tiny pen mark on the front of the jacket and some slight lines running up the satin on one sleeve. Please see the photos after the label shot. Tagged a vintage UK 8

Jacket
Sleeves: 24.5
Shoulders: 15" across
Bust: to 16" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 13" from neck to hem

Skirt
Waist: 11" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 43" from neck to hem
Slits: 20" from hem up

Modern Sizing Equivalent: XXS-XS

Item# DD3436

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 designers work but with his own unique twist when it came to colors, cut and fabrics.

This dress is extremely striking with its graphic red and black striped design that runs over the entire dress. 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. The mix of the red and black is such a bold and strong choice and the use of satin as his fabric choice just makes it better. It gives the dress the most amazing finish and the fabric has just a touch of weight to it that helps to hold the shape. 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. From there the skirt falls to the floor and widens out as it nears the hem. There is quite a lot of fullness and volume to the skirt created by the addition of an attached tulle underskirt inside and you could add even more fullness. For these shots I have added a light full length crinoline so that you can really get an idea of the skirt. There is room to add an even fuller one if you really wanted to go full on volume. I also shot it without a crinoline for you to see that and you can see that in the final shot in the series of the full length photos included here. It is really an incredible dress and is even better on an actual body. Excellent condition

Fully lined in a black silky rayon and the skirt has an attached layer of tulle to help hold its shape. The bodice is fully lined and lightly boned.  The dress closes with a back zipper. It has its original matching fabric tie belt. It appears to have never been worn or worn very little. The crinoline used in the shots is not included.

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.

The notes for the 1972 collection in the book 'Dior, The Catwalk' tell us that The New York Times declared Marc Bohan's collection for Dior as 'the best of the season in Paris'  that year. There was also the information that of all the Dior collections, the full records for this particular one did not survive the passages of time so finding a piece that is so well documented is a bit of a miracle. The version of this dress that has a higher neck line and tie bow was photoed by Richard Avedon that year. It was also shot for the September issue of Vogue and one is held in the V&A collection. When I found these photos I also found the caption that went with the Vogie shot and I lovedhow it described the dress: "Pretty. That's really the word for it - the softness of everything at Dior. So feminine at night especially...The flirt of the sleeves on a short dress for evening...black mousseline, covered at the neck and yet...revealing lots of skin beneath and lots of leg below". During this time period Bohan often made a series of couture dresses that had different necklines so that his client could choose their level of modesty that they were comfortable with. I love both versions but I think I prefer this lower V neckline when it comes to actually wearing it. It allows those spectacular sleeves to take full centre stage and that little extra skin gives it a more modern twist. You can also wear a wide variety of jewels with this neckline and I think that gives you more styling opportunities. The dress is exceptional.

This is an exceptional example of his work during this time period. The dress is entirely made from a feather light silk chiffon. This fabric is notoriously difficult to work with and when you add in that it was all entirely made by hand the level of workmanship takes on a whole new meaning. There is a slight texture to the fabric and this helps to lift and add volume while still keeping the weight to the absolute minimum. The sleeves are incredible. Each sleeve is a single layer of that fine silk chiffon and they are cut to be extremely full. As they near the cuffs the shape is further exaggerated and they poufed over their cuffs. Just above the elbow is a panel of the same silk that has been wrapped and attached around the arm. This lays over the lower portion of the sleeve and is set so that it flares out. It is a very unusual treatment to the sleeves and instantly catches the eye. When you move it has a beautiful floating movement to it that you can see in the reference photos. The bodice skims over you and a simple collarless V runs down the front. It plunges almost to the waist and is stopped by a tiny stitch at the base of the V. The skirt is made of layers of silk chiffon that are set on the bias. There are two of the black and then a nude silk under that. The shape this creates mimics the detailing on the sleeve and when you move the skirt also will move. At the back is the final perfect detail. It has been finished with just a single layer of chiffon so that you see the entire bare back though the silk for an unexpected touch of sensuality. This is a rare piece of fashion history. The proper Haute Couture label is present and is dated and numbered. Excellent condition with a small note below

Fully lined in a nude silk chiffon except for the sleeves and upper back above the waist. The back closes with a low set, fine metal zipper and then the dress snaps to close with a series of tiny snaps up the back of the dress that run over the zipper, past the waist to the neck. Each cuff buttons to close. There is a tiny area of thinning on the top of one shoulder. Please see the photo after the label shot. Entirely made by hand. The Haute Couture label is present and the dress is numbered #01340

Sleeves: 27"
Shoulders: 14.5"
Bust: 16" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 24" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3031

Reference Photos: (1) Karen Graham in a chiffon dress by Marc Bohan for Dior, Autumn/Winter Collection 1972, photo by Richard Avedon, July 1972.  /  (2) Dior dress in Vogue, September 1972.  /  (3) 1972 Christian Dior Dress part of the V&A 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.

Ted Lapidus began selling his designs in the 1950s in Paris. By 1963 he was an official member of the Chambre Syndicale de la Haute Couture and he debuted his Haute Couture label in addition to his already high end ready to wear. This dress is from his initial, main ready-to-wear line that commanded very high prices in its day and is not to be confused with the later boutique line. It is beautiful.

This is a wonderful example of how romantic his work could be. The dress has a soft and flowing feel to it yet it is fitted through the waist and constructed to be flattering on the body and give you shape. It is made of a silk chiffon that has a ribbon weave fused directly into the silk. This gives it a thatched woven effect. In between the ribbon weave the silk is semi-transparent and the play between the two opacities is stunning in person. The body of the dress is backed with a black lining but where the dress is unlined through the upper bodice and sleeves you really see the square pattern the ribbon silk creates. To highlight the design that this creates even more, the fabric has a thin strip of gold thread that runs along the edges of the ribbons. This catches the light and gives the dress a subtle shot of extra glamour. Inside the bodice is a simple tank that is suspended by tiny straps. The top of the dress is set over this so that it blouses over the waist. The neckline is scooped and that sleeves are cut to billow over the cuffs. The waist nips in and then the skirt flows out from there to the floor. Yards of bias cut silk are used in the skirt and it is very full when you move. To finish the dress there is a stunning floral print that runs over the bodice on both sides. More flowers run down the front and the back of the skirt. This pop of colour is fabulous and it would have had to have been all pre-planned before the construction of the dress was done so get the flowers to lie just so. The dress is very well made and even better in person. On an actual body where the fabric can really move and flow it is fantastic. Excellent condition

Fully lined in a black silk and closes with a painted metal and nylon zipper on the interior and then the exterior buttons to close over that. Each sleeve buttons to close. 

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

Modern Sizing Equivalent: XXS-XS

Item# DD2884

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

This dotted confetti printed fabric was used in several of the pieces for the resort collection in 2014 and then the team produced this dress as an option to the shops that season. It ended up being one of the more visible of the pieces from Riccardo Tisci's time as Creative Director for the house and sold out instantly in the few places that it was carried. I have the twin of this one in my own personal archives and this one is as pristine as mine is. It is one of the most beautiful pieces to have come out of his time at Givenchy and it is a piece that will only gain in importance as time goes by. In Vogue's review of the show it was noted that just the week before the Resort collection was debuted Tisci had won the CFDA's International Award and he was quoted as saying at the time that "This year has been beautiful and amazing for me". The confetti print was noted in particular in the review and as good as the pieces were that were shown, I think this piece is as strong or stronger then any of them. I love it. 

The dress is magnificent. It is made out of a silk chiffon that is a very fine scarf weight silk that is very difficult to work with especially given the elaborate draping that has been done on this dress. The fabric has a slight texture worked into it. This helps to give the dress a little bit of lift and volume so that it seems to float around you when you move. It would have taken many hours and a high degree of technical skill to drape that silk so perfectly into place. The dress is cut to flow beautifully around the body. The neckline is set high with a band that curves around your neck. The bodice is gathered into that and then drapes down over your front in a series of soft gathers. These are then set into the the waist in a way that brings in the gathers but shows the most minimum of a seam on the exterior. This way there is no harsh line to break the eye. Instead your eye just follows down to the skirt that flows to the floor in yards and yards of silk chiffon. The halter front leaves your entire back completely bare. The waist line at the back is curved downwards slightly and above that is nothing but a bare expanse of skin. Two long panels of silk are attached at each shoulder so that they drape dramatically over and down towards the floor. You can wear them over the shoulder more so that you get a more caped effect or wear them more towards the back so that they act like long panelled trains that billow out behind you. All of the silk and layers are cut on the bias so the dress really has the most spectacular movement when you move. It is simple and classic but has a high impact feel at the same time. It appears to have never been worm or worn very little. Excellent condition

The bodice and skirt are lined in black silk chiffon and the dress closes with a low set back zipper and hooks to close at the back of the neck. Tagged a 38 and appears to have never been worn. 

Bust: should fit a variety of sizes because of the open back 
Waist: 12.25" flat across from side seam to side seam
Hips: open
Bodice: 15" from neck to waist
Skirt: 45" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3813

Reference Photos: (1-2) Resort 2014 Givenchy Collection. Look 12 & 13.  /  (3) Credit Unknown.

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 likely the work of Elinor Simmons before her name went on the labels. She designed for the Malcolm Starr label from the early 1960s to 1972. You can see her influence in this gorgeous Malcolm Starr set with its almost sculptural lines and elaborate embellishments on the tunic.

I love that it this comes as two separate pieces. They look amazing together as a set but it gives you the freedom  to break them up and wear them individually with other pieces in your existing wardrobe. This foundation of this set starts with its fabric choice and it is a beautiful choice of fabric indeed. Both piece are made from a white silk brocade whose pattern is done in a silver thread. The weave is quite close to the top of the fabric so that it has a bit of a sheen and a very flat and smooth surface. This allows the light to bounce off of it and give it a high metallic feel that is lovely. The pants are flat fronted and have a sleek fitted leg that taper down into a neatly cropped peg leg. Depending on your height this will fall to the ankle or just above. The tunic sits over the pants and is cut to skim over the torso and flare out at the hip. It has a high scooped neck and no sleeves. Darts at the front shape the tunic over the bust and it sits loose over the waist before skimming over the hips. Each side is notch quite high in an open slit. Running across the back and front hem of the tunic is a wide band of silver bead work that is all done by hand. Where it is open at the sides the bead work runs up and follows the slits. I love it and it has that perfect sixties chic feel to it. Excellent condition

Both pieces are fully lined in an off-white silky rayon. The tunic closes with a hand set back painted metal zipper and the pants close with a side hand set zipper and hook & eye at the waist. Hand finished throughout. The bead work is hand done and very dense. It looks to have been worn very little if at all. 

Tunic
Bust: 18" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam with open sides
Length: 28.5" from neck to hem

Pants
Waist: 12" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 36" from waist to hem
Inseam: 25"
Rise: 12.5

Modern Sizing Equivalent: XS-SML

Item# DD3712

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

One of the key elements of the spring 1973 collection was the snap closures that Courreges used. They played a two fold role in that they were a functional element that actually acted as closures and they where also a decorative design feature that helped to highlight his signature cuts. In the runway reference photo that I have included here, you can see the same snap detailing. This is a beautiful and rare example of his Haute Couture work from this time period that still feels fresh and wearable even now.

The suit is made from the classic wool that Courreges was using for his pieces during this time period. It has enough weight to hold the sharp angular lines of the suit but without adding bulk or making it feel too heavy to wear for our modern aesthetics. The colour is a beautiful deep blue that has been captured well in these photos. The wool has  a slight texture to it. The stitching and the snaps have all been dyed to match the colour of the suit. This lets you see the seaming and detail but in a way that gives you the full picture all at once. The jacket is beautifully cut. It is meant to skim over the body with just a touch of a boxy feel to it. The sleeves are capped and the shoulders are seamed but have no additional padding. The shape is all created by the cut and perfect tailoring techniques. To wear it you simply slip the jacket on and it snaps into place down the front. The top stitched seaming detail is done to follow the lines of the jacket and become their own design element. The skirt is spectacular. It is cut to be fitted around the waist and then is cut on an angle to the hem. I have photoed it flat for you as well as on the dress form so that you get a better feel for the shape. It has an unusual way to close. There are snaps that run down each side and you can fully unsnap it on both sides. The bottom two snaps at the hem are decorative so that you get a bit of a vent on either side but all the snaps above it open. This lets you open the sides up and leave the resulting slit as high up as you dare. It is an incredible example of his work. The exterior of the suit is in excellent condition and there is a note below regarding the lining

Both pieces are fully lined in a white silk and close with the snaps as described above. There is an area of fabric missing from the interior of the skirt. It is stable and does not effect the wearing of the suit. Tagged a vintage Courreges 00

Jacket
Shoulders: 12" across
Bust: 16.5" flat across the back from seam to seam
Waist: 14.5" flat across the back from seam to seam
Length: 18" from neck to hem

Skirt
Waist: 12" flat across the back from seam to seam
Hips: 17" flat across the back from seam to seam
Length: 22.5" from waist to hem

Modern Sizing equivalent: XXS-XS

Item# DD1091

Reference photo: Andre Courreges Haute Couture Spring 1973

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 remarkable example of Courreges and the work that Andre was doing during that time period. I know we often associate his work with very mod and short pieces but he also did many dramatic pieces in fabrics like this. It is a highly glossed, thicker weight, smooth finish cotton. At the time this would have been extremely experimental. I love that this one takes the shape that we so closely associate with him and extends and exaggerates it to full length. This dress would not have half the impact it has if it was shorter. I am sometimes more excited to find these bolder and more unusual pieces from him then the more common mod feeling ones. A version of this one was also photoed for Vogue that spring making it even more special.

This beautiful dress is made out of a coated cotton that has been dyed to a brilliant orange. This was a signature colour for Courreges and it 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 has a more bare and fitted feel through the upper bodice and then flares and widens out very dramatically to the hem. The fabric is light in weight but has enough weight to it to hold the shape. The exterior has a coating that gives it a slight sheen and then inside it is self backed with a white finish. It has 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 of it combined with the absolutely superb seaming details give the dress a rich, luxurious feel. All of the seams are set vertically to help add to the feeling of length and the bust is cleverly shaped by a horizontal seam running under it. It then has two darts worked in for shape. The neckline is scooped high on the chest and the sides curve for the arms. Straps extend out from the side and the top of the halter neck and then each strap buttons into place along the sides of the back. All of the buttons are functional and original. The two top ones cross over each other and the one below crossed the back in a horizontal line. Extremely collectible and rare. It looks to have never been worn or worn very little. Excellent condition.

Unlined with a self backing in white as described above. It zips to close at the back and each end of the straps button into place. Tagged a Courreges 0. In its original length and appears to have been worn very little if at all. 

Bust: will fit to 17" flat across the back from seam to seam with approx an A-B cup
Seam under the bust with straps taken into account: will fit to 15.5" flat across from seam to seam 
Waist where the back strap is: to 14" flat across from seam to seam
Hips: open 
Bodice: approx 13" from shoulder to seam under the bust
Skirt: 45.5" from seam under the bust to hem

Modern Sizing Equivalent: XS-SML (it should fit a MED if you are narrow and small through the bust)

Item# DD3710

Reference Photo: US Vogue, March 1970.

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

Sant' Angelo was the winner of two Coty Awards and two Council of Fashion Designers of America honors and was known for his innovation and pioneering use of stretch fabrics. He has had an entire museum exhibit dedicated to his work and career and is firmly entrenched as one of the great designers. His work captured a moment in fashion history and his love of color and strong lines will forever be collectible. Pieces reside in museums worldwide including The Met where there is a black sleeved jumpsuit in their collection. This one is actually better and has more impact even!

This is an amazing and rare jumpsuit that is made out of a black stretch jersey. The fabric choice makes it extremely comfortable to wear and it drapes and falls incredibly on the body. When you put it on it stretches and conforms to your body in the most comfortable of ways. It is all one easy piece and you just slip it on to wear. I love how the back straps are knotted at their ends and have been slipped through loops at the side. This is all that holds the halter in place and yet it is perfectly stable and stays on. The front has two panels of fabric that come out from the waist and this creates a deep and wide plunge. The fabric curves up and around then neck and then crosses over itself to run through the loops at the side. The entire back and sides are left bare. Once past the bareness of the top, the jumpsuit skims over the waist and hips to long pant legs. The pants are extraordinary. As they reach the bottom hem they widen out and then are cinched back in with a tie that runs through the seam at the bottom. This lets you cinch them in to create a balloon / harem effect that is just fantastic. It is extraordinarily well done and very sexy yet so easy and comfortable to wear. Just a once in a life time find. Excellent condition. 

The bodice is lined in a second layer of the same fabric and the pants are unlined. It slips on to wear. The back straps are knotted through side loops. Ties through the bottom hem of each pant. The fabric has some stretch and the measurements are the comfortable range laying flat. 

Bust: approx 15.5-17.5" flat across from side seam to side seam 
Waist: 11-15" flat across from side seam to side seam
Hips: 17-22" flat across from side seam to side seam
Length: approx 58" from neck to bottom of pants
Inseam: 30.5"

Modern Sizing Equivalent: XS-MED

Item# DD3703

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

I have dated this gorgeous Bill Blass dress by the shot of Lauren Hutton who was photographed in a shorter version of this dress for Vogue in 1972. This longer version has the same open back feature as that one has and it also has a beautiful organza skirt that snaps into place over the silk taffeta dress underneath. If you loved the look of the Vogue shot you could even add your own flower to the base of the back and recreate it. 

By 1972 Blass was only two years into running his own company after buying Maurice Rentner Ltd in 1970 and relaunching the label under his own name. Even then you could see just how strong a designer he was. The dress is  gorgeous and is made from combining a black silk taffeta base with a silk organza skirt that attaches over the inner dress. The fabric choices keeps the dress light in weight but it still helps to hold the shape and volume that you see and gives the dress some structure and shape. The front bodice has a more formal feel to it with a high neckline that is slightly scooped across the front and set wide. The sleeves are attached with a slight bit of volume at the tops of each shoulder and then narrow down to a ruffle finish at each cuff. Set along the neckline is a high ruffle that adds beautiful detailing. The ruffle then curves back and over each shoulder and extends down your back to completely frame the open cut out that leaves your back bare. I love this unexpected bare skin moment that is in stark contrast to the coverage at the front. The skirt deserves it own moment. The inner skirt is a part of the main dress and it is made out of the same silk taffeta as the bodice. It is cut longer at the back and then curves up at the front so that when you walk you see a bit of leg. The entire hem is finish with a wider band of ruffles that picks up on the ruffles at the neck and around the open back. Then there is a second skirt that snaps into place around the waist line. This layer is made out of a black silk organza and adds a beautiful light fullness to the skirts. It floats over the inner silk taffeta skirt of the dress with more ruffled edges that curve around and follow the hem. The photos on the dress form do not come close to doing it justice. This is a dress that needs an actual body in it and then it really comes to life. When you walk the organza layer catches the air and creates this stunning billowing effect and when you turn to leave you have that flash of bare skin. It is utterly amazing. Excellent condition

The bodice is lined in a layer of silk taffeta. The dress closes with a low set zipper at the back. There are zippers at each cuff. The organza skirt layer snaps into place around the waist. Hand finished throughout.

Sleeves: 25" including the 3" ruffle
Shoulders: 15"
Bust: 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of shoulder to waist
Skirt in the dress: 43" from the waist to the back hem and 30" at the front
Detachable skirt: 46" from the waist to the back hem and 43.5" at the front 

Modern Sizing Equivalent: XS-SML

Item# DD2990

Reference Photo: Lauren Hutton in Bill Blass, by Irving Penn. Vogue US, January 1972.

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

This exquisite 1920s dress is made from a mix of an actual metallic gold thread has been woven together with a deep burgundy coloured silk. These early lame's were mainly being made in France and were extremely expensive to make because of the gold thread. You just do not see its equivalent in modern fabric ever which makes these early piece that much more coveted. To give you an idea of value, pieces made from this gold lame were often in and around the $100 mark or more and in the 1920s you could buy a car for $600 dollars. This one dates to the late twenties and you can see the influence of the 1930s in its design. Women were still wearing very little under their garments at this period of time and this dress simply drapes over the body and is extremely sensual in feel. It is so hard to find pieces at this level from this period anymore and this one is extraordinary.

The mix of a the deep burgundy and the gold is very beautiful. When you see the dress in person the gold is the more predominant colour and the entire dress shimmers in the light. There is a floral pattern that is worked through the silk and this runs over the dress from shoulder to hem. The cut is kept simple and reflects the time period perfectly. Wide straps extend out from the halter cut of the bodice and curve over the shoulders and down the low cut back. The front dips into a deep plunge. It crosses over itself slightly where it meets the waist so that it stays in place when you have it on. At the back it dips just as low and ends in a pretty curve at the base of the plunge. From just under the bust to the top of the hips the fabric is gathered and wrapped around to follow the curve of the body. The gathers meet down the centre on both sides in an elaborate panel made of the same fabric. The panel is set into the dress and has been gathered with ruching so that it catches the light differently and creates a bit of a break in the design. Below this the skirt falls to the floor in a series of soft pleats that wrap all the way around the hips. It curves up in a slit at the front so that you get a bit of leg showing when you move. The dress is entirely cut on the bias and drapes beautifully once on the body. The lightness and fluidity of the fabric make it move around you like liquid. It is a remarkable example of the work being done during this time period. The colour is still vivid and the fabric is strong & wearable. The part I love the best - because the gold thread is actual metal when you first put the dress on it is cool to the touch and then it warms to your body temperature as you wear it. Remarkable. Excellent condition with a note below

Unlined and slips on to wear with a row of hand set snaps down the side to close it. Hand finishes throughout. There are a couple of small areas of darkening to the lame and I have photos the darkest spot. This is a natural occurrence to this type of fabric as the metal oxides over time. I do not consider this to be a flaw and any tiny areas only add to the patina of this outstanding dress. There is a small area of thinning of the fabric in the skirt that is just off from the side the front middle seam. It appears stable and I chose to leave it as it gets lost in the folds once the dress is on. There is a small repair to the hem of the skirt. Please review the last three photos provided. The fabric does have some stretch since it is all cut on the bias but the under bust measurement is fixed with no give.

Seam under bust: 13.75" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Seam just above hips: to 18.5" flat across from side seam to side seam
Hips under the lowest seam: open
Bodice: 13" from top of shoulder to the seam under the bust, approx 23" from shoulder to seam just above the hips
Length: 60" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# E655

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

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

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks with colour, ornate beading, sequins, daring cut-outs and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. By the eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a killer example of his work during this period and I also have a similar version on the shop in a red if the black one is not bold enough for you. 

This dress is a statement piece that will turn every head when you walk into a room.  It is so bold and dramatic. The bodice is hand draped into soft rounded gathers. It is constructed to follow the curves of the body from the top of the neckline to below the hips. For the body of the dress he has used a black stretch jersey that has a touch of a sheen finish to it. Inside is his signature black strapless underwire bralet that is sewn into the dress for support. The bodice is shaped into a low sweetheart curve and the gathers run horizontally down the body. Vertical hand done seams were then added all the way around to give the gathers a slight scooped feel. This ensures that they don't add bulk tp you but are simply there to emphasize your curves underneath. The low set skirt is made out of a metallic black textured silk that is set over layers of built in under skirting. The fabric of the lower skirt is placed to give the effect that it is wrapped and fanned around you. On each outer side the panels of the skirt lift up and away from the dress. These suggest flames in their shape and the colour. The same fabric and flame-like effect is then used to create a fan of fabric on one side of the bodice and this flares out dramatically up and over the front portion of the shoulder. It is very dramatic and OTT. In person the fabric has a richer and more textured feeling then how it photoed. Excellent condition.

Fully lined in a black silk with a built in bra though the bodice that hooks to close separately. It closes at the back with a painted metal and nylon zipper. The interior bodice is boned. Layers of tulle and silk underskirts under the low set skirt. The flame/fan detailing on the bodice has wire inside to hold it up. It would be easy to add additional wire or stiffening inside if you wanted it to really hold even taller then it does now. Hand finished throughout

Bust: to 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam and the inner waist stay hooks slightly smaller then that
Hips: to 17" flat across from side seam to side seam
Length: 52" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD3680

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 Balmain transformation from what it was originally to what it is today began when they hired Christophe Decarnin. He was the designer that gave it its edgy feel that has continued to the present day under Olivier Rousteing, the label's current Creative Director. When the Fall 2008 collection showed Vogue's Nicole Phelps said in part: 'And as promised, Spring's haute hippie feathers, fringe, and tie-dye were replaced by an all-Billy Idol soundtrack and enough leopard-print chain mail, python-pattern denim, and crystal-embroidered lightning bolts to make you wonder if there was anything at all left on the shelves at Trash and Vaudeville. To be fair, Decarnin's creations are much finer than the East Village emporium's, but they appeal to a similar kind of chick, one with a killer body and an active nightlife.' The twin of this dress closed the show and it is perhaps one of the most memorable and significant pieces that Decarnin designed for the label. It was produced in very limited quantities and instantly sold out world wide despite a very hefty retail price. 

The dress is incredible and the skirts are all still their original lengths. I note that as I have only ever seen one other of these for sale and it had its skirts shortened at some point. The length is integral to the design in many ways. The skirt panels are incredibly long and light in weight so that when you move they float and billow around you as you can see in the runway footage. Above the skirts it is extremely fitted long curving bodice that is constructed to highlight your every curve. On the interior of the bodice there is a full boned corset with built in cups. The corset is cut to run from the bust to the top of the hips so that you are molded and shaped into place. On the outside the silk is hand draped and placed into position to form soft gathers that run around you. A huge zig zag bolt runs down the front. It is densely covered in crystals and it separates the prints on either side of you. The silk on one side is zebra and the silk used for this is a light scarf weight silk. The other side is finished in a black and white leopard print. On that side the silk is more of a silk faille and slightly heavier in weight then the zebra printed silk is. This change in weights of the silk is genius because it means that the way the silk moves in the skirts changes and you get more movement. The crystal covered panel that divides the two printed sides curves over just one shoulder and then runs down the front in the dramatic zig zag that you see. At the back it extends just past the shoulder and curves to the side. To close the dress Decarnin  has used one of the signature chunky Balmain zippers to divide the two prints. The zipper is set on a curve that follows the curve of your body and it becomes an incredible design detail in itself. The dress is fitted to the top of the hips and then the skirts flare out into long trains of fabric. The predominant part of the skirt is made from the leopard print and this is set on a curve at the hem that extends out to the side and to the back. There is a smaller panel at the front that is made out of the zebra print silk that also extends out and back. Where the two fabrics meet at the front side, they are only attached at the to and not together. This means that an opening is created that goes right up to the top of the thigh. When you move your entire legs shows. We have included the runway footage for reference so that you can see just how incredible it is when it is on and you walk. Excellent condition with a minor note below.

The inner bodice has a fully built in boned corset made from a nude colored lingerie stretch corseting nylon fabric that has built in cups and is finished by hand. The fabric is hand draped over this and the crystals and lightening bolt have been attached by hand. It closes with a curved set zipper that allows the form fitting construction of the dress. Tagged a 40. There are a couple of small repairs along the hem of the trained skirts. Some tiny pulls in the silk of the bodice. Please see the photos after the label shot. Hand finished throughout. The inner foundation garment does have some stretch. You might be able to squeeze out a bit more room when on a real body.

Bust: 15-17" flat across from side seam to side seam
Waist: 11.5-12.5" flat across from side seam to side seam
Hips: 16.5-17.5" flat across from side seam to side seam
Bodice: 33" from top of shoulder to bottom of inner foundation garment
Skirt: 28.5" from bottom of inner foundation garment to shortest hem, 53" to the longest hem

Modern Sizing Equivalent: XS-MED

Item# DD3115

Reference Photos: F/W 2008 Balmain Runway, Final Look.

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 would have originally been a lingerie piece and meant to be worn under another dress. But in our modern world you could easily wear this out as a super sexy dress. What makes it possible for the dress to be worn outside of your house is the lining that they used. It is a lingerie weight opaque nude stretch jersey that sits under the top layer of black machine lace. There are built in cups that have under-wiring and the front laces up from the waist to the curving centre of the bodice. On each side of the top there is a panel of stretch netting that has a touch of transparency to it. The skirt falls in a simple pencil like shape with just a touch of volume created by the way it is set into the top part. It is super easy to wear and finding vintage lingerie that you could potentially wear as a dress is hard to do so it is a great find. Overall great condition with a couple of small notes below.  

Fully lined in nude stretch jersey and the cups have under wiring as described above. It closes with a side zipper. I see a couple of small repairs on the netting that runs on either side of the bust and a small repair in the lace at the front that you see more from the interior then the exterior. A small repair to the interior lining (not photoed). Please see the last three photos. There is a little give on the waist and bust measurements due to the lace front 

Bust: to 16" flat across from side seam to side seam
Waist: to 12" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 43" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# D627

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

Nettie Rosenstein was based out of New York City. She started a small home based dressmaking business in 1913 after getting married to Saul Rosenstein, who manufactured and made women's underwear. By 1919 her pieces were in such high demand that I. Magnin asked her to start selling to them. By 1921 her business had a workforce of 50 and she was on her way. In the early days her work was sold only under the department store labels and it was only word of mouth that the work was actually hers. By 1937 Life Magazine called her one of the most important American Designers. By 1940 she was in 92 shops across America and her dress cost up to $500 (just over $9000 in modern dollars). Her work was widely copied and she was particularly known for her 'little black dresses'. She designed until 1961. 

This is an incredible dress and it is gorgeous. It is made out of a black silk taffeta that holds the shape of the dress wonderfully. The skirt is very full and it is very flattering on the body. The volume that you see in the photos has been created by the way that the skirt is cut and set into the waist with beautiful wide pleats of fabric. There are tulle layers under the skirt but I did not add any extra crinolines. You could add more if you wanted an even fuller look. The bodice is fitted and the waist nips in. At the waist there is a large wide silk taffeta belt that cinches you in even more. Just the way the silk slides through the buckle is a detail in itself. The neckline is very unusual. The black part of it is draped across the neckline to sit off of the shoulder and leave your collarbones bare. This is then lined with a pretty sky blue silk taffeta. Inside the upper part of the dress, that straps that curve over each shoulder are done in that same sky blue silk. They are set so that they sit wide on the shoulders. The two fabric create a little gap between themselves. The closer you are to the person wearing it the more you see the blue.  It is just wonderful. I love when silk taffeta is used for these cocktail dresses from this era. It adds the weight needed to hold the shape and fullness but keeps them light and easy to wear. The dress is very pretty and romantic. Excellent condition with one tiny note below. 

Unlined and closes with a back painted metal zipper. There are two layers of tulle inside the skirt. The belt closes with a slip buckle. Hand finished interior seam as per the detail shot I have included here. There are tiny pin marks on one shoulder where the owner must have worn a pin. Please see the photo after the label shot. It otherwise looks to have been worn very little. 

Bust: to 17.5 " flat across from side seam to side seam
Waist: 12.25" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 29" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3642

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 gorgeous twenties flapper coat that is not 100% perfect but too dreamy to not give it a second life. It is made out of a beautiful caramel wool that is soft and light. This is accented with light taupe collar this is finished in what looks like a faux broadtail. The coat has a beautiful drape and ease. It falls to just past the knees and has a loose and easy cut so can be thrown on over just about anything. The upper portion of the coat has soft rounded shoulders and these curve gracefully into the sleeves. Each sleeve is quite special with a huge turned up cuff that ends in two angled points. More detail is added to the cuffs with four lovely curving scalloped designs that run up the length of each cuff. These same scalloped edges are used along the seams of the front and at the back. The collar is equally special with a wide soft cut that sits up a bit from the shoulders and at the back it angles down into a point. The button to close it at the front is a large hand carved bakelite button. I love the folds of fabric under the button that fall to look like a ribbon to the hem. At some point someone has removed the entire interior lining and the seams have bits of that and the ribbon that secured it here and there. I see a small repair that is hidden when you close the coat. It is so lovely that I feel that these things that you don't see when it is one are entirely forgivable. Excellent condition other then the items noted. Please read the full description below

The lining has been removed and you can see parts of it here and there at the edges. It closes with the button at the front. I see a repair to the wool on the front under where it crosses over. This is hidden when the coat is closed. There is a residue under on arm at the seam that shows through and a repair on the loop that closes the coat. Please see the last three photos. Sold as found. The loose and open cut will fit a range of sizes. For its age it is still sound and wearable.

Sleeves: 23" from the slightly drop shoulder
Shoulders: 15"
Bust: 20" flat across from inner side seam to side seam
Waist: 19" flat across from inner side seam to side seam
Hips: 20" flat across from inner side seam to side seam
Length: 40" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# C566

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

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

This is an exceptional twenties flapper coat that is made of a beautiful and fine deep brown wool and is accented with a thick and curly sheepskin at the collar, cuffs and the hem. I love that is almost is a play on gender as it has a touch of the feel of what men were wearing in this time period but at the same time still feels decidedly female. It falls to just past the knees and has a loose and easy cut so can be thrown on over just about anything. The upper portion of the coat has soft rounded shoulders and these curve gracefully into the sleeves. Each sleeve is spectacular with long and extensive sheepskin cuffs. The cuffs circle the lower portion of the sleeve and then trail up and around the back of the elbow. The collar is equally as special and is exaggerated in size. It extends well out past the shoulders  and curves around the back. It then dips down to the waist with a touch of a men's evening coat feel to it. Another panel of sheepskin was added all around the hem in a very wide panel. I love how the top of the bottom panel is finished with a soft curving scalloped edge. Just above that are topstitched pin tuck seams that follow the scalloping of the sheepskin. These are done in stacked row and are set all the way around the lower part of the coat. More top stitched seams are done under the back collar even though most are hidden. The inside of the coat has been lined with a matching silk satin with a striped texture to it much like men's suiting. It closes low and to one side with a huge carved bakelite button. I love the wide and easy swing cut through the body. Excellent condition with notes below

Fully lined in a matching brown silk. It closes with the button at the front and silk ribbons inside that snap around a loop. One tiny hidden pocket along the inner seam of the opening. The loose and open cut should fit a range of sizes. There is some wear and loss of silk under the interior of each arm and around the collar. For its age I still rate this as excellent. 

Sleeves: 23" from the slightly drop shoulder
Shoulders: 15"
Bust-hips: 19" flat across from inner side seam to side seam
Length: 39" from neck to hem

Modern Sizing Equivalent: XS-Med

Item# C567

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

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

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. His work has a high fantasy element to it and he was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection. Every piece I bring into the shop is very special and I love this one especially as it truly shows the range of his work. This set is a little extra special because its twin resides in the permanent collection of the Victoria & Albert Museum. They dated it with a general reference to the 1960s but I feel that it has more the feel of the 1977 collection after finding the reference photo of a piece with similar details on it. Bill Gibb's work is extremely rare to find and knowing that this one is important enough to have been acquired by a museum is just an added bonus for a collector .

My photos cannot convey how beautiful this dress is on person. The dress is amazing all on its own even without the jacket that goes over it. It has an empire cut with a halter style bodice. It is suspended from the shoulders by two tiny straps. The fabric that the dress is made out of is a fine ivory netting with a lace pattern worked through it made up of a gold metallic thread. This runs over the entire dress from the top of the shoulders to the hem. The gold that makes up the pattern is denser as it nears the hem and really catches the light and makes the entire dress take on a golden tone and shimmer in the light. The skirting of the dress has been meticulously pleated into tiny little micro pleats. The combination of those tiny pleats and the gold is incredibly beautiful and delicate in feel. It has a lining of the palest pink silk that gives the netting just a touch of a pink feel to it in certain lights. It is incredibly beautiful. You can then slip on the jacket which is cut to fall over the full length of the dress. It has long sleeves and is made out of a pale pink silk chiffon that has been embroidered by hand. The jacket is made up of four panels of fabric that are split along the seams between each panel from the hem right up to the waist line of the dress. Having these sit open along the seams like this allows the fabric of the dress to show underneath when you move. The chiffon that he used to make the jacket is a soft dusty pink silk. The embroidery work at the top of the jacket is done in a combination of soft corals, mint and ivory. The tiniest little seed pearls detail parts of the embroidery. All of the edges of the outer jacket are finished with gold lace. It is just stunning. This is a rare and absolutely amazing piece that is even better in person. It would even be a beautiful choice for a bride who is looking for an alternative to the traditional wedding gown. Excellent condition with one tiny note below.

The dress is fully lined in a pale pink silk and closes with a side metal and nylon zipper. The overlay is unlined and slips on to wear with hook and eye at the very top. Note that it was a bit tiny on my dress form and will fall even better on the proper sized girl. Museum quality and appears to have never been worn, or worn very little. There is one small storage spot on the front panel of the chiffon jacket near the lower edge that is shown on the photo after the label shot. The colors in person are softer and more of a true gold and very soft dusty pink.

Dress
Bust: to 16" flat across from side seam to side seam
Waist at seam: 15" flat across from side seam to side seam
Hips at inner lining: 19.5" flat across from side seam to side seam
Bodice: 13" from top of straps to empire waist seam
Skirt: 44" from waist seam to hem

Overlay
Sleeves: 19"
Shoulders: 14"
Bust: to 17" flat across from side seam to side seam
Waist- hips: open
Length: 52" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3079

Reference Photos: (1) Tree Allen in Bill Gibb by Barry Lategan, 1977.  /  (2) Bill Gibb Set from the V&A Online 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.

Paco Rabanne was a Spanish designer who became known as "l'enfant terrible (unruly child) of the 1960s French fashion world. He began making jewellery in unusual materials for many of the French couturiers and in 1964 at the age of 30 presented his first collection. In 1966 he had his breakout show: 'Twelve Unwearable Dresses in Contemporary Materials.' and it was with this show that he found his calling. He was quoted as saying 'sewing is a bondage,' and made his dresses out of paper, plastic and metal, which were pieced together with wire and glue. By 1968 some of the most famous women in the world were wearing his pieces and along with André Courrèges and Pierre Cardin, he helped to create the 1960s Space Age movement. Dating his pieces can be incredibly difficult but I did find a 1967 photo of Actress Noele Noblecourt wearing a dress that used strips of mirrors and a similar bead technique where they linked. Based on the information given to me by my client I believe that this dress was made in and around this time period. 

The dress is absolutely incredible. The main part of the dress is made up of mirrored triangles. These are hand linked together one by one to create the shape and form that you see. The work and hours that would have went into pre-planning thee shape and figuring out how to lay out the pieces, drilling each hole and linking them together, is mind boggling. As you look closer you realize that the dress is made out of grouping of the triangles and that there is a pattern within the pattern. Each of these shaped sections are made from six triangles that have been linked together. At the centre where they all meet there is a huge crystal tear drop that has been suspended from a metal loop. He then took one of the triangles within each these six triangle clusters and wrapped a length of clear faceted beads over it. The beads have been twisted and curved over the top of that single triangle so gives the dress an even greater 3D feel that is already has. You can see on the back of the triangles that that beadwork was added with silver wire that was hand wrapped around its triangle to secure it into place. The six triangle cluster were then all linked together to form the shape of the dress that you see. To create the shoulder straps he used a linked metal chain set with large glass rhinestones. Each one is prong set within its own casement and then these are linked together by wire. The rhinestone straps are set so that they lie across the top of the front bodice, curve over the shoulders and then lie across the back. The dress skims over the body and ends in an ultra short mini length that shows miles of legs. At the back it closes with Rabanne's signature metal clips that are set to organically down the back, hidden between the triangle clusters, so that there is no apparent line down the back to break the eye. The dress comes with a matching bag that is made out of the exact same technique and has a matching rhinestone chain as its strap. Both piece are very heavy. The dress and bag combined weigh just over ten pounds. The way that this dress catches the light and the soft sound it makes when you move is extraordinary. With your slightest movement the tears drop beads move and the mirrors reflect the light. Most examples from this time period are a monochromatic silver chainmail and it is unusual and rare to find such an ornate example like this, never mind one that still has its matching bag. It is incredible and easily one of the best pieces I have ever seen in all my years doing vintage. Early examples of Rabanne's work are held mainly in museums around the globe and really ornate pieces like this rarely come to market. It is exceptional and appears to have been worn very little if at all. Excellent condition

Slips on to wear with metal clamping hinge hooks at the back. The linked together pieces give it an almost bias cut feel as far as the way it sits on the body. It is in incredible condition and appears to have never been worn or worn very little. Completely assembled by hand

Dress
Bust: approx 15-16.5" flat across from side to side
Waist: approx to 15" flat across from side to side
Hip: approx 16-18" flat across from side to side
Length: 31" from shoulder to hem

Bag
6"H x 9"W and linked flat together, It expands out because of the links. The rhinestone strap adds another 6.5" to the height of the bag

Modern Sizing Equivalent: XXS-SML

Item# DD3630

Reference Photo: Noele Noblecourt in Paco Rabanne, February 1967.

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 think our modern world forgets just how important Oleg Cassini was as a designer in his heyday. From his first film in 1941 he was responsible for many of the best looks on film, dressing stars like Rita Hayworth, Gene Tierney (who he married), Audrey Hepburn, Marilyn Monroe, Lana Turner and the list goes on and on. In 1952, he opened his own fashion house on Seventh Avenue. By 1961 he was appointed by Jacqueline Kennedy as her exclusive couturier. Some of his early works especially, were more on par with couture, using the same techniques and high fashion fabrics as the French couture houses. This is a later example of his work and yet it still shows the care and meticulous detailing that he put into his work.

The dress is amazing in person. It is made of a black silk chiffon that has been extensively covered with gunmetal silver glass tube beads. The dress is extremely heavy because of the bead work. It weights about 4 pounds and it is gorgeous. The bodice of the dress is suspended by beaded straps and then scoops down with shaping at the front and a lower set line at the back. It has a wide band of beadwork following the top seam and then is shaped by a series of vertically set rows of beads that go all the way around the bodice and end in little jagged ends. It is fitted to the bodice and then nips it in at the waist. The skirt skims over the hips into a pencil shape and then onto that are curved vertical panels that start just under the waist and go to just above the hem. These give the illusion that the skirt is tiered but that ruffled effect is actually created by the panels dropping and layering over each other. I did a photo of it laid out flat so you can get an idea of how much volume is actually in the skirt. When you move the movement this creates is fantastic. Each is finished along the curved edge with a series of stacked rows of beadwork. More vertical bead circle the hips and these are done to pick up that same jagged finish design as on the bodice. The hem is then finished with a wide band of yet more beading. Excellent condition

Fully lined in a black muslin through the bodice and black silk through the skirt. It closes with a back zipper. Hand work throughout. Light boning in the bodice. It looks to have never been worn. Perhaps the occasional bead missing but no bare areas that I could see. 

Bust: 16" flat across from side seam to side seam
Waist: 11.5-12" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 42" from shoulder to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3629

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 such a pretty Pucci print. It combines little flowers with a pretty twirling and curving ribbon that ties boughs of stylized leafs together. It is even prettier in its combination of pinks that have been used. Pucci chose to do the majority of his dresses in these silk jerseys because of the ease they have to wear and because the colour takes to the fabric wonderfully. Even after all of these years it is still bright and crisp. The cut of this dress is very feminine. The collar is gently scooped and cut into a low angled square across the neck. It skims over the bust and drops to a low seam just above the hips. From there the skirt falls to the floor, gently widening out just a touch as it nears the hem. A slit runs up one side of the skirt so you get a bit of leg showing as you walk. Each sleeve is cut to be full and to balloon out over its cuff. The curves and swirls of the main print are contrasted by the secondary print that borders the collar, cuffs and runs around the hem of the skirt as part of the design. At the back that same contrasting print is set in a wide panel that runs up the back of the skirt. It is simple in cut but striking because of the print and that wonderful colour combination. I love it. Excellent condition

Unlined and closes at the back with a hidden set, painted metal zipper. Each cuff closes with hidden set fabric covered snaps and they can be moved if you needed more room. Tagged a vintage Pucci 8. The fabric does have stretch. Hand finished throughout. I see a couple very faint spots that I have photoed- these are minor and get lost in the print. Please see the photos after the label shot. The scarf has hand rolled edges and is in excellent condition 

Sleeves: 28" but will come up when on
Shoulders: no defined seam
Bust: 16-18" flat across from side seam to side seam
Waist: 12-14" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 55" from top of shoulder hem
Slit: 21" up from the hem

Scarf: 34" x 34"

Modern Sizing Equivalent: XS-SML

Item# DD3625

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

Yves play on the tuxedo and 'Le Smoking' suit is one of his most famous hallmarks. He first presented the now famous suit in 1966. His play on traditional menswear is lauded by many as 'having empowered women by giving them the option to wear clothes that were normally worn by men with influence and power'. This is a stunning example from the Rive Gauche collection of 1992. It was captured on Beverly Peele backstage at the show and you can see in that photo how stunning this is on.

This one has a full length skirt in a rich silk that beautifully balances the cut of the jacket. Yves did variations of this suit every season for both his Couture and Rive Gauche presentations and mixed the play on a men's tuxedo jacket with skirts and pants of varying lengths and cuts. They were shaped and tweaked by Yves to be immensely flattering on the female body. I love this more formal full length skirt version and the fact that you can mix and match the pieces. That combined with the sequins on the jacket make the suit feel so bold and yet still elegant and refined in feel. The jacket is tailored with a sleek cut that follows the curves of the body. It has his signature matte satin tuxedo collar. Yves produced many versions of this suit over the years but what I find remarkable is that each version is distinct in how it closes at the front and the way that the collar is shaped. This one has one over-sized faceted and glossy jet button below that amazing collar. Two flap pockets are top set on the hips and the shoulders are sharp and perfectly padded. The entire jacket except for the collar was then covered in a dense application of glossy black sequins. This catches the light and is fabulous in person. The skirt is cut in a long column of the same silk used for the collar of the jacket. It falls to the floor in a long and lean line and there are pockets hidden on each hip. His suits change the way we approach woman's wear and any example of the Le Smoking version is collectible. They are a particularly wonderful example of how strong his tailoring was and vision for a woman's place in the world. This is an important piece of fashion history. Excellent condition

Both pieces are lined in a black silk. The jacket has a single button at the front to close. The skirt has a zipper and hook & eye at the waist with pockets on each hip. Two pockets on the jacket that still have most of their original tacking to keep them closed. Padding in each shoulder It looks to have been worn very little if at all. The jacket is tagged a 36 and the skirt has no size tag present.

Jacket
Sleeves: 24"
Padded shoulders: 16"
Bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 23" from neck to hem at the front, 22 at the back

Skirt
Waist: 12.5" flat across from side seam to side seam
Hips: open
Length: 43.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3624

Reference Photo: Beverly Peele wearing Yves Saint Laurent. Photo by Roxanne Lowit, 1992. (As seen in the book "Roxanne Lowit Photographs Yves Saint Laurent".

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

Arnold Scaasi was born Arnold Isaacs in Montreal and the name Scassi is simply his own surname in reverse. He studied in Montreal and in Paris, apprenticed at the house of Paquin and then worked with the legendary Charles James. In 1964 he opened own couture salon. He dressed Hollywood stars like Lauren Bacall, Diahann Carroll and Elizabeth Taylor. He dressed several first ladies including Mamie Eisenhower, Hillary Clinton and both the Bush first ladies. He even once bragged that he refused to give Jackie clothes for free. He was the man behind the scandalous 1969 Barbra Streisand sheer trouser outfit that she collected her Oscar in, and he was presented with the Council of Fashion Designers of America Lifetime Achievement Award in 1996. 

This dress is especially interesting for two reasons. The first is that a very similar version that was done completely in silver was done for Elizabeth Taylor. She wore the dress to the 20th annual Fifi Awards in 1992 and I have dated this one based on that dress. Shortly after her death in 2011, her all silver 'Platinum' version was sold through Christies as part of the 'Collection of Elizabeth Taylor' auction. Due to the association with her name it realized a incredible $72,000USD hammer price. The second interesting thing of note about this dress is that when I posted a preview of the fabric of skirt in my instagram stories I had many people think that the dress was actually the 2016 Balenciaga dress that I have included a photo of here. I ended up getting into a discussion with fashion journalist Alexander Fury about it and he suspects that both fabrics were done by the Jakob Schlaepfer company who has been creating fabrics for the most prestigious fashion brands in the industry for over 100 years. The Balenciaga team most likely selected the archive fabric that the Scassi dress was originally made out of and then had it recreated and tweaked for the Balenciaga dress. This is a common occurrence with the older more prestigious fabric houses and it is fascinating to see such a clear line of the progression between one dress to another. All of this makes this dress a very historically interesting piece. The dress is from his main label and these were made to couture standards.

The dress is a showstopper. The skirt is made out of the silver embroidered and sequinned fabric that you see and the dense application of the embroidered work along with the underlying structure gives it a definitive and structured shape. That shape is all achieved by the inner structure and built in skirting and I did not add any additional underpinnings. The bodice is made out of a deep green silk velvet. It is shaped and fitted to the body. The waist is cut to nip in sharply. I love how the silver embroidery on the skirt is set on a sharp upward angled point at the front and then the neckline angles down towards that in its own sharp point. The sleeves are amazing. Each is set high on the shoulder and explode outward in hand gathered high poufed silhouette to create maximum volume. They are wonderfully dramatic and full with inner built in layers of silk and tulle to hold the volume. The inner construction of this dress is as amazing as the exterior. The very inner skirt is made from a fine deep green silk with a broad band of horsehair taping inside the bottom hem. Between that and the outer layer of silk are layers of stiffened white netted tulle. The sleeves are equally incredible and are shaped to have that gorgeous fullness to them. Each has an inner finish of tulle netting to hold the shape. The bodice is corseted and boned. The inside is exquisitely constructed and it is all hand finished. This is a stunning dress and the history associated with it makes it that much more fascinating. Excellent  condition with a minor note below

Fully lined in a fine deep green silk. The skirt is finished with attached inner skirts as described above. The sleeves are finished with tulle inside the lining. It closes with a hand set back metal zipper. The bodice is boned and shaped all the way around. Finished to couture standards by hand. At some point a repair was done to the edge of the inner tulle of the skirt. Otherwise looks to have been worn very little if at all. 

Bust: to 15.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Length: 58" from top of shoulder to hem with approx another 4' turned under the hem

Modern Sizing Equivalent: XXS-XS

Item# DD3614

Reference Photos: (1) Elizabeth Taylor wearing Arnold Scaasi at the 20th annual Fifi Awards, 1992.  /  (2-4) 1990s Arnold Scaasi Dress from The Collection of Elizabeth Taylor's Auction for Christie's.  /  (5-8) F/W 2016 Balenciaga 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.

The twin of this dress was shown on the Fall runway for 2006. In Vogue's review of the collection journalist Nicole Phelps said in part; 'While other designers flit from one influence to another, Oscar de la Renta has made a four-decade-long career of staying true to his brand of ladylike elegance'. On the runway the dress was styled with long gloves and a wide expanse of black silk tulle wrapped around the neck. Once those styling elements are stripped away you really see how beautiful the lines of the dress are. 2006 was an important year in Oscar's history. This is the same year that Parsons awarded him with the Lifetime Achievement Award at their 58th Annual Benefit and Fashion Show.

This Oscar de la Renta dress is absolutely gorgeous. It is red carpet worthy and would even make an amazing wedding piece for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. It is in fabulous condition. The dress is covered with a dense application of muted gold sequins and silver paillettes in various shapes and sizes. These are densely set onto the entire dress and even overlap each other for the majority of the application of them. I love how the are so tightly spaced to cover the top of the dress and then as they run past the hips and down the skirt they start to be spaced further apart so that you get more of a sense of the black netting underneath. It gives it this amazing fairy tale quality and makes you think of stars and the night sky. Running around the the neckline is a dense band of large gold toned beadwork and crystals. A smaller band of the same bead and crystal work runs around the opening for each arm. The dress is made up of four layers. Under the top appliquéd layer are three other layers of black silk tulle netting. All of the sequins and beads have been applied to the very top outer layer. The use of various sizes and shapes for the sequins that cover the dress cause the light to catch the dress in a slightly different ways as you move and it creates the most amazing effect and they also highlight the shape of the dress. The dress is sleeveless and cut to be fitted tot he body to below the hip. At this point the lower skirt flares out dramatically. It is cut longer at the back for a beautiful sweeping line and suggestion of a train. It is very well made and absolutely stunning in person. It appears to have been worn very little if at all. Excellent condition.

The black netting serves as the inner lining through the bodice and fitted parts. Below that the skirt is constructed from four layers of silk tulle as described above. It closes at the back with a metal and nylon zipper and there is an inner grosgrain waist stay that hooks to close. There are couple areas where the netting shows through a little more then others. Please see the photos after the label shot. Tagged a size 2. It does close completely at the back on the proper sized person.

Bust: 15.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Length: 62" from shoulder to front hem, 72" to back hem

Modern Sizing Equivalent: XXS-SML

Item# DD3613

Reference Photos: Fall 2006 Oscar De La Renta Runway Collection, Look 62. Model: Emina Cunmulaj.

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 dress that was sent to me by my couture client and this one was one that she had custom made for her for to attend an event in 1998. It is made out of a fine silk satin that has a slight sheen to it that goes perfectly with its icy blue tone. The colour is wonderful and in real life has a touch more depth and vibrancy to it. The photos are very close but it is even better in person. The dress is strapless and made to hug the bodice. It is completely boned and shaped inside and then the interior work is finished with a panel of the same fabric so that it is very comfortable to wear. The waist nips in and then the skirts very full and is cut so that the back is longer then the front for a grand, slightly trained, ball gown effect. The way that it is made is extraordinary. The silk has been set in seamed horizontal rows. Two for the bodice and four for the skirt. Within each of the rows the silk has been meticulously folded into wide set angled pleated lines that create a fascinating effect that runs over the entire dress. The skirt has several layers of attached underskirts that give the dress the shape that you see. I did not add any additional crinolines under the dress. The volume is all built in and it is fantastic. There is a spray of bead work done in silver thread and rhinestones at the waist for the perfect pretty finish. This would make an amazing bridal piece for someone not wanting to wear traditional white or as an alternate dress for an extended wedding weekend event. Excellent condition with a minor note below

Fully lined through the nodule and has full boning all the way around. It closes with a back zipper and the inner waist star hooks to close. There are multiple layers of skirting built in. Two silk layers finished with a stiffened label around the hem and then a multi-layer of tule between those. Some grubbiness to the inner hem only that you can see in the last photo here. It does close properly at the back - it was just a touch small on my dress form 

Bust: 16" flat across from side seam to side seam with room to a B cup
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 10.5" from top of bodice to waist
Skirt: 44.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3590

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

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

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

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

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

Modern Sizing Equivalent: XXS-XS

Item# DD3054

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

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

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

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

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

Bust: to 17.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 64" from top of shoulder to front hem, 74" to the back

Modern Sizing Equivalent: XS-MED

Item# DD3576

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3567

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

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

Isaac Mizrahi presented his first collection through a trunk show at Bergdorf Goodman's in 1987. By 1992 Chanel had bought a stake in the company and Isaac's name was everywhere. He was doing custom work for clients and Hollywood on top of his mainline. In 1995 Isaac was the subject of the movie 'Unzipped' based on his Fall 1994 collection. He is known as much for his personality as he was for his clothing. The Council of Fashion Designers of America (CFDA) recognized him with the Perry Ellis Award (now called the Swarovski Emerging Talent Award) in 1988 and the women's wear designer of the year award in 1989. He loved to experiment and would often change his aesthetics from season to season which was his ultimate downfall. After the fall 1998 show Chanel pulled its stake and the company folded. He did have a couple of subsequent come back attempts, but for collectors these early years are the most important pieces to find.

My client had this dress custom created for herself and worked one on one with Issac on it. It is a dress that really showcases his depth as a designer and it is stunningly beautiful. It is made to demi-couture standards and it looks to have never been worn. The bodice is amazing. It is strapless and is densely covered with large, glossy black beading mixed with large prong set glass crystal rhinestones. These are so heavily applied that you cannot see even a smidge of fabric between them. The size of the beads, combined with the ultra tight spacing of them give it a 3 dimensional effect. The beadwork wraps completely around you to the back. The top of the bodice curves in the most flattering of ways and to is molded to follow the curve of the breast. The dress falls from directly under the bust so that there is no line at the waist to break the beautiful curve of the skirt. The body of the dress is made from a fine black lace and he has set that over a inner nude silk lining. From a distance this gives the effect that you are covered in just a layer of lace. The skirt sweeps down from under that heavily beaded bust, skims past the waist and then starts to flare out from there. It is cut so that by the time it has reached the middle of your legs it flares out tremendously for the lower skirt. This combination of the flared out lower skirt and the black lace give it a touch of a Spanish feel I think. Extra tulle attached to the inner lining help to keep that gorgeous shape that you see. It is even better in person and once on an actual body it really comes to life as the skirts float and swish around you at the slightest movement. It appears to have never been worn or worn very little. Excellent condition

Fully lined in a two layers of a golden nude silk. The innermost layer of the skirt has additional tulle around the hem to help hold the shape. The bodice has a built in inner corset that closes with its own set of lingerie hook and eye. The exterior layer closes over that with a back zipper. Some marks to the inside hems but otherwise it appears to have never been worn or worn very little. 

Bust: 17" flat across from side seam to side seam with an approx A-B cup
Inner waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 56" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3564

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD5556

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD2854

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

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

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

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

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

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

Modern Sizing equivalent: XS-MED

Item# DD1199

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

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD1914

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