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

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

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

Sleeves: 24"
Shoulders: 14.5"
Bust: 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 36" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3481

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD2882

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# S912

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

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

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

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

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

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

Item# DD3473

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

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

This dress is very beautiful and it is so rare to find such a fine example of the work that was being done in this time period. It really is one of the most phenomenal dresses I have ever had and the workmanship is exquisite.

It is constructed from yards and yards of pink woven silk that has an almost iridescent finish to it. There is also a gorgeous floral pattern woven through the silk that is just breathtaking. It is wonderful example of the high end fabrics that was being produced during this period. The dress has no identifying label but the care and meticulous construction tell me that it is definitely a high end piece. There are lots of couture level finishes on this one. The cut is pure Old Hollywood. The bodice is gathered all the way down the center front to the waist. Above that, it is flat pleated into a deep V and it then extends into wide straps that curve up and over the shoulders. The straps thin out as they run down the back. I love how at the back they are set on a slight inwards angle rather then just being set in a straight line down from the shoulder. The dress cinches in at the waist and this tops an expansive, full skirt that is made from yards and yards of the pink silk. The fabric gathers slightly down the front in soft curves, extending the line coming down the middle of the bodice, and the hips pouf out tremendously. The volume through the skirt is achieved both by the stiffened netted crinoline underskirt that comes with it and by the squaring off of the fabric across the top of the hips. I photoed one shot of the skirt with the draped part pulled outwards for you to see how this was done. On the interior corner of that squared off bit, there is a little weight that is encased in fabric. Once on, the squared off part of the skirt drops back inwards on itself and the weight inside is just enough to hold the shape of the skirt so that you get those wonderful side drapes, but the weights are not heavy enough to take away the volume. Incredible. Everything about this dress is beautiful. The interior is interlined with a black silk organza and there are hand done finishes throughout. This is a testament to gowns made in this time period. Excellent condition

Interlined in a black silk organza. It closes with a back painted metal zipper. Hand work throughout. Weights in the interior of the skirt as described above. The netted crinoline underskirt is separate from the dress and will be shipped with the dress. It closes with hook & eye at the waist and it’s net fabric is stiffened slightly for shape. 

Dress
Bust: 15-17" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Hips: open
Bodice: approx 17" from top of shoulder strap to waist
Skirt: 44" from waist to hem

Underskirt
Waist: 13" flat across from side seam to side seam
Hips: open
Length: 39" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# E662

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

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

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

Item# A373

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

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

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

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

Item# A372

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

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

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

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

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

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

Modern Sizing Equivalent: XS-LRG

Item# DD3465

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

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

Item# E680

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

This vintage mini dress or tunic was produced by the Clobber label, a boutique in London that was run by Jeff Banks from 1964-1974. Jeff Banks is one of my personal favorites of the British designers of that time and it is wonderful to have found this great little piece. The cut and silhouette are a great representation of that hippie 'street' fashion movement of the time period. It is made of a white cotton yarn that has been done with a loose open weave that forms a vertical chevron pattern. The neckline is set wide across and the sleeves are long and cut to flare at their ends. It skims over the bust and waist and then flares out at the hem. Hand knit and super cute. Excellent condition.

Unlined and slips over the head to wear. The knit has some stretch and did stretch to fit my US size 6 dress form. There is perhaps the very slightest of wear to the cotton from natural aging

Sleeves: approx 22"
Shoulders: no true defined seam
Bust: 14-16" flat across from side seam to side seam
Waist: 13-15" flat across from side seam to side seam
Hips: 17-19" flat across from side seam to side seam
Length: 30" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# S908

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD3458

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

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

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

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

Bust: 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 10" from top of bodice ruffles to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3460

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD3457

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

Scott Barrie was one of a group of black designers and models based out of New York's Seventh Avenue in the late 1960s. He quickly became known for his work and his pieces were fast sellers. Naomi Sims was a fan and often was spotted wearing his work. His label closed in the early 1980s. He then worked at Krizia, remaining there up to just before his passing in 1993 of brain cancer. This gives us a very small window for finding examples of his work. The earlier pieces especially were produced in very limited amounts. The very early pieces were made by him out of his apartment on a makeshift cutting table and domestic sewing machine. To me this makes each of his found pieces that much more special.

This gorgeous little Scott Barrie dress is made out of a light weight, semi-transparent silk chiffon. This fabric choice gives the dress a lovely light and airy feel to it. The dress is unlined and simply floats over the body. There is a tie that runs through the neckline and you can use it to cinch it on so that the dress sits up and on the shoulders or loosen it as I have so that it becomes an off-shoulder dress. The flutter sleeves have an almost caped feel tot hem and the extend out from the waist. This detail gives it such a feminine feel and makes the dress even prettier. On an actual body it is even better then on my dress form. The waist cinches in with elastic  and you can nip it in further with the original  matching fabric tie belt. It buttons down the front with a series of round dome buttons and fabric loops. The way the buttons are set allows for just a hint of skin to peek through which gives this otherwise innocent feeling dress a bit of a sexy touch. The skirt falls from the waist ins pretty cascade of fabric. It is a really special piece. Excellent condition with a note to review below

Unlined and slips on to wear. Elastic at the waist for an easy fit and buttons down the front. Has its original matching silk chiffon tie belt. There is one area of discoloration on the hem at the side and to the back. There is so much fabric that you don't see it once it is on. In person it is more a clay taupe color. The elastic waist should allow it to fit a range of sizes

Shoulders: no defined seams
Bust: open with no true side seams
Elastic waist: 11-17" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 32" from waist to front hem, 36" to back hem

Modern Sizing Equivalent: XS-MED

Item# DD3452

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item#DD3453

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

I sold a white cotton pique version of this dress last year that ended up being a part of a wedding for my client, Paulina. I have included some of her photos here so you can get a sense of how these dresses look like on the body. This one is slightly different from the white - it is a smooth cotton fabric and the skirt is even all the way around. Because of that you can add a crinoline for a fuller look. They do share a similar sculpted bodice and this one is even more elaborate then the white was.

I love this dress by Thierry Mugler with its sculptural bodice that gives it a sense of high drama. That is in direct contrast to the cotton fabric that it is made of and I think that it is this contrast between the lines of the dress and the fabric choice that make the dress so fabulous. The amazing bright color is an added bonus. In real life that bright orange color is slightly more saturated and richer then how it photoed. It is a wonderful summer piece that still feels fresh and of this season despite its vintage heritage. The bodice is fitted and sculpted with that fabulous curving cut that loops over itself to form a keyhole. The other side curves up and around the shoulder for the perfect one shoulder silhouette. The interior of the bodice is finished with a stiffening fabric to keep its shape. This helps it to mold it to your frame and create shape. The waist is cinched in and then the skirt below is cut to be extremely full with yards and yards of fabric in it and the sweep extends to a full circle skirt. I have shown it without and without a crinoline underneath in the shots here and you can see how full it can get. It is wonderful. Excellent condition

Lined through the bodice with the same fabric and stiffened and molded with the seaming for support. It closes with a series of  snaps offset up the back. Pockets on each hip. Note that it did not close all the way on the mannequin and of course will close properly on the correct sized person. Crinoline not included

Bust: 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: approx 16" from top of shoulder to waist
Skirt: 26" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3446

Reference Photos: Paulina Ortega (@paulinapaige) in Thierry Mugler from Shrimpton Couture.

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

This dress came with an old hang tag that was dated as being from the 1974 season and that makes sense given his heavy use of sequins for that years collections. It is a stunning piece and a wonderful example of his work during this time period.

This beautiful sequin covered dress is absolutely stunning. It is also insanely sexy once on the body and beautifully made. It is entirely covered with glossy black sequins that give the dress an almost liquid feel once it is on the body. Not a single inch of it is left uncovered. Thousands of hand applied, glossy black sequins have been tightly placed side by side to completely cover the surface of the fabric. This gives the fabric the suggestion of liquid and when you move the light catches the sequins and creates the most sensual and magical effect. It curves up and over one shoulder and leaves the other completely bare. It is cut to curve over the body with no seam at the waist to break the line. The bottom follows the same angle as the neckline so that one side is longer then the other. He then finished the entire hem with fringe so that when you move this creates beautiful movement around you. It is extraordinary and really wonderful once on the body. A superb and early Bill Blass that packs a tremendous impact once on. Excellent condition

Fully lined in a black silky rayon and closes with an offset back zipper. Hand set sequins and hand finishes. Maybe the occasional sequin missing. It appears to have been worn very little if at all.

Bust: to 16.6" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 56" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3444

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

For the April issue of Vogue in 1973, Lauren Hutton was photographed in a similar jersey dress by Bill Blass. The one that she wore was done in a black rather then the red that this one is. By 1973, Blass was only three years into running his own company after buying Maurice Rentner Ltd in 1970 and re-labelling it under his own name, making this a wonderful example of his earlier work

The choice of a silk jersey gives the dress a wonderful drape. It also keeps it remarkably light in weight so it is very comfortable to wear once it is on the body. There is a definitive Grecian feel to it created by the addition of that long piped tie. The ties are made from the same fabric as the dress and are meant to be wrapped around the upper body and waist. They are long enough that you could extend that down and over the hips if you wished. The neckline is high and the bodice is seamed horizontally so that you don't get any bunching of the fabric when you tie the ties over it. The waist is defined by a seam and the skirt flows to the floor in a cascade of jersey. I love the sleeves in particular. Each is cut extra long and with a tremendous fullness at the cuff. This gives them a bit of an Old Hollywood feel. It will fully zip up at the back - it is just a little small on my dress form. Excellent condition overall with one small note to review below.

Unlined and closes with a back set zipper. The waist stay inside the waist closes with hook & eye. Elastic at the end of each cuff. The ties can be tied as you wish. There is a faint watermark at the hem and it has photoed darker then it is in real life. Once on this does not detract at all. Hand finished, rolled edges. The red has a slightly more blue undertone in person. The fabric has stretch but the waist measurement is firm

Sleeves: 28"
Shoulders: 15"
Bust: 16-18" flat across from side seam to side seam
Waist:  to 12.5" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 41" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2991

Reference Photo: Lauren Hutton in Bill Blass. Photo by Richard Avedon. Vogue US, April 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 beautiful knit and sequin detailed jacket by Adolfo. Adolfo started his career under Balenciaga and like Halston, was a successful milliner before opening his own fashion house in 1962. He initially focused on hats but in in just a couple of years added a full clothing line. By 1969 he was presented with a special Coty Award for his contribution to design from head to toe. He became know for his Chanel inspired clothing and many of his pieces are on par and perhaps even more relevant in feel then their inspirational equivalents of the time.

This dress is gorgeous. Adolfo often did custom work for his clients who ranged from the Duchess of Windsor, to Jackie Kennedy Onassis, Gloria Vanderbilt and Nancy Reagan and this dress feels like it is done at the quality of one of his custom pieces. I love his work and am very pleased to have this exceptional dress in the shop today. It is made of a jet black knit that has a slight ribbed texture to it. The cut is very simple as it is one long sheath of knit that is suspended from the tiny shoulder straps. The dress is cut to skim over the body, gently widening out as it nears the hem. A slit runs up one leg for a flash of skin. The straps curve around the shoulder and each is finished with a silver lame braiding and silver sequins. The straps are set into the neckline that is cut straight across and has an elastic running through it so that it is very easy to wear and very comfortable on. Onto the dress are four separate and gorgeous sprays of sequins that have a bird of paradise, or perhaps a firework feel, with their brilliant sparkle and combination of color. Each is finished with a a crescent of red rhinestones that give the designs a more 3D feel. It is just gorgeous and even better in person. Excellent condition.

Unlined and slip on to wear. Elastic through the neckline. The fabric has some stretch so should fit a range of sizes. It appears to have been worn very little if at all.

The top of the neckline will stretch from 12" to 18" flat across
Bust: 14-17.5" flat across from side seam to side seam
Waist: 14-16.5" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Length: 56" from top of shoulder to hem
Slit: 22" from hem up

Modern Sizing Equivalent: XS-MED

Item# DD3440

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

Bill 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.

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 and extended and manipulated them to make a new silhouette. I also love how he has combined the Cherry blossoms with Roses on the woven fabric to further emphasize his respectfully combing cultures. The set consists of two pieces. A very long, slim cut skirt and the more voluminous jacket that sits over it. The skirt is very slim and cut in a very linear line from the hip. It has very high slits running up each leg that allow you to walk in it. It is very fitted around the hips and meant to fall in a long straight line. Over this is a more generously cut jacket. The jacket has no front closures and simply slips on. I love how the top of the collar is set so that it kind of flares open at the very top of the neck and how the shoulder seams are set into the neck in a straight line which creates an interesting angle there. The sleeves are long and straight cut and again you have those long lines created. The fabric is a beautiful bright red silk satin with little cherry blossoms woven through it. This runs over both pieces from the top of the shoulders to the hem of the skirt. All of the seams are finished with a flat black fabric that anchors both pieces perfectly.  This is a rare and absolutely amazing set that is even better in person and falls far far better on a real 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. Note that it was a bit tiny on my dress form and will fall even better on the proper sized girl. There is a tiny touch of foxing on the back of the skirt and a tiny pen mark on the jacket. Please review the two 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 up both sides: 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.