This is a fabulous Pucci that I think is a production piece for the shops from the Peter Dundas era at Pucci. It is an absolutely gorgeous dress that is easy to wear and very flattering on. I love that it is a beautiful ivory colour would allow it to be worn by a bride looking for something non-traditional or as part of a extended wedding weekend. Though it would also work for any fabulous occasion. It has an easy to wear caftan feel to it but at the same time there is a clever single seam that runs from just under the arm and down one side of the body that gives the dress just a touch of shape. The silk has been cut on the bias and this lets it move with you as you move. The ivory silk has enough weight to make it flattering as it skims and drapes over you but that is still light enough that it easily moves. The dress has the absolute minimal seaming and it is cut to simply fall from that one single shoulder in a cascade of fabric. The other shoulder is left bare and exposed. On the side that is covered the fabric falls over the arm and down to the floor on a slight angle that keeps it from feeling like too much fabric. Starting from under the one arm and running up and over the other shoulder is a wide band of white tube beads mixed with muted gold beading. These catch the light in a subtle way and add a little bit of extra glamour to the piece. The side that is set on an angle is open beneath that inner set seam that runs to just about the hip area so you get a flash of bare leg when you walk or sit. It a subtle bit of sexiness that is amazing. The dress moves like a dream and feels like it just floats around you as you move. It is just a fantastic dress. Excellent condition with one small note below.

Unlined and slips on to wear with a hidden set zipper under the arm. The easy fit should allows it to work on almost any size. Tagged a IT42 FR38 US8 UK10. In its original uncut supermodel length. I see some minor grubbiness around the hem area

Bust: 17-19" flat across from side seam to that inner seam
Waist: to 19" flat across from side seam to that inner seam
Hips: to 21" flat across from side seam to that inner seam
Length: 65" from top of the shoulder to longest point of the hem

Modern Sizing Equivalent: XS-LRG

Item# DD4695

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This gorgeous dress is from the Spring 2019 Oscar de la Renta collection under the creative direction of Laura Kim and Fernando Garcia. This was a piece that was produced for the shops and it is stunning and easy to wear. It is a definite show stopper and I love it.

The dress is amazing. It is made out of a light weight ivory silk crepe with extensive embroidery work done with a gold medal thread that runs across the entire front of the dress. I love that since it is in this ivory colour that this is a piece that might play double duty and also work for a bride or for an extended wedding weekend. The dress is cut in a long minimalist sheath that widens out softly as it near the hem. The neckline is scooped wide across and the dress is meant to skim over you from bust to hips before it starts to do that soft flare out on the lower skirt. The entire front of the dress from neck to hem has a stunning trailing design that mixes a gold medal thread with tiny gold sequins little gold seed beads. These are set in a curving design that represents leaves and flowers all the way down the front. It is a stunning detail that adds beautiful impact to the dress. The sleeves are the absolute star of the show. Starting at each shoulder a caped sleeve in the same fabric falls over the top of your arm and then widen out to cascade all the way to the hem and slightly past. They are open underneath so this gives them the ability to catch the slightest bit of air in billow out around and behind you when you move. It is the perfect touch of drama that softens the rest of the dress. It is stunning. Excellent condition with a minor note below.

Fully lined in an ivory silk and slips on to wear with a hook & eye above a back keyhole. I see a small mark near the hem and minor grubbiness round the hem. Please see the photo after the label shot. Tagged a modern ODLR Small. The loose and easy cut should fit a range of sizes.

Shoulders: 15.5"
Bust: 18-19.5" flat across from side seam to side seam
Waist: to 20" flat across from side seam to side seam
Hips: to 25.5" flat across from side seam to side seam
Length: 62" from neck to hem and the caped part extends to approx 67"

Modern Sizing Equivalent: SML-LRG

Item# DD4694

Reference Photo: credit unknown.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The twin of this dress walk the runway as Look 22 and I love that this lets you see the dress on a body. In Vogue's review of the collection they proclaimed that "For Fall, he (Alber), walked a knife edge, balanced between rigorously architectural urban simplicity and explosively fierce embellishment". Before his show, Elbaz reeled off the loops he'd put himself through to get there "Women ask for masculine tailoring, but they want to feel fragile. They want daywear, but buy evening. I designed a whole lot of draped things, but then it looked like too much. An overdose of fashion...it began with no-nonsense, clean silhouettes cut from matte stretch materials with a molded structure; dresses and coats were cut roomy in the shoulder, tapering to clutch the hips". This dress is from the part of the show that focused on that architectural simplicity and it is just gorgeous.

The fabric of the dress is part of what helps it to hold the lines that you see. I was glad that we have photos of it on a body because on the dress form, you don't really get the sense that that one side is caped and falls over the shoulder. This leaves your arm exposed and your shoulder covered. It also adds an amazing sense of drama to the dress. The slight weight of the jersey dress adds and provides structure as well and gives it a beautiful billowing effect around you as you move. The fabric is not so light that it loses the shape that he intended but is light enough to feel great on the body. The neckline is a high scoop across the front and one shoulder is zipped at its top so that you can get in and out of the dress. On that zipped side there is no sleeve and another chunky zipper runs down the side of the dress to close it under the opening for the arm. On the other side there is an elaborate panel with a pointed end that sits on the top of the shoulder. The top of your arm is tucked in under the panel and then the rest of your arm is exposed. The dress falls from there to skim over your bust, waist and hips. It gradually widens out a touch as near its hem. The hem has a raw unfinished cut and the dress is in its original supermodel length. The panel that goes over one shoulder is actually an extension that comes out out from the back fabric of the dress.. When you look more closely at the construction of the dress it is actually quite fascinating to see how it is all attached and yet still manages to feel like a separate piece. The cut of dress is quite genius actually. Excellent condition.

Unlined and closes with a zipper at the side and at the top of the shoulder as described above. No size tag present. The fabric does have some stretch and the measurements below are taken flat across with their comfortable range.

Bust: no true side seams but the front panel of fabric covers approximately 16" flat across from side seam to side seam
Waist: 14-18" flat across from side seam to side seam
Hips: 17-21" flat across from side seam to side seam
Total length: 70" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4692

Reference Photos/Video: Fall 2010 Lanvin, Look 22. Model Frida Gustavsson.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is a stunning and beautiful Fall 1999 John Galliano dress that was made for for the shops based on the grouping of red dresses that closed the show. On the runway there were several pieces that were very similar in cut and feel and I have a feeling that this one may have been edited out of the actual show because it certainly could fit right in. This piece has the added provenance of being the dress that Dakota Fanning recently wore for her appearance on the Tonight Show. I love having these photos you can see how spectacular this dress is and it's always nice to have a piece with both historical and modern context. These early pieces are among the most coveted of his work, and this is a beautiful and rare example. The dress is absolutely gorgeous.

This John Galliano dress is incredibly beautiful and it is a stunning example of his work. It is also wonderful to have such an early piece of Galliano. No matter how good you think that this dress looks like in photos and on Dakota it is even better in person and moving. The dress is made out of a deep red silk that has a beautiful secondary pattern woven through the silk. I love how that woven in design catches the light as you move and adds an extra layer of visual interest to the dress. The dress is cut completely on the bias so it just glides over the body. It doesn't even have any closures, it is made to just fall over you in a sweep of bias cut fabric. It is cut to skim over the bust with a draped front that falls in a soft fold. The back is incredible and it is scooped down into a low open V that leaves your back bare. The dress skims over the waist and hips and is cut so that the bias cut of the silk follows your curves and highlights the body underneath without it being too tight and fitted. Galliano was a genius when it came to this cut. Once past the hips the dress flares out as it nears the bottom so that it has beautiful movement when you move. I love the use of the soft velvet ribbon that is used for the straps that crisscross across the back and also highlights the cut of the bodice, adding a pretty and feminine touch. The attached ribbons wrap around to crisscross over your front and then tie at the waist to add the perfect amount of detail to the otherwise perfectly simple dress. This cleverly draws the eye in to add shape but without sacrificing the comfort of the bias cut. It is just amazing.. Excellent condition with a minor note below

Unlined and slips over the head to wear. The measurements given below are the comfortable range when the dress is laying flat. Being bias cut the length may come up a bit once on the body. The very slightest touch of wear on the velvet ribbon here and there. Please see the photo after the label shot. Tagged a vintage Galliano FR38 GB10 US4

Bust: no true side seam but the front covers to approximately 17" flat across from side seam to side seam
Waist: 12-14.5" flat across from side seam to side seam
Hips: 17-19" flat across from side seam to side seam
Total length: 61" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4691

Reference Photos: (1-2) Fall 1999 John Galliano Runway.  /  (3-5) Dakota Fanning in this dress on The Tonight Show with Jimmy Fallon, March 2024.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

Etro has been a long favourite of the jet set and they make some of the best prints in the world. This is a more recent dress from the Spring 2022 collection and its twin walked the runway for Look 38. It must have caught the eye of Nicole Kidman and her stylist because Nicole then wore one to her premiere in December 2021. I love that this gives you the perfect opportunity to see how fantastic this dress is on the body. One thing to note about this dress is that it was incredibly expensive at retail. I found a web page of it at various retailers and it's original price was just over $20,000.

This is an absolutely stunning dress and a testament that there are modern retailers doing things right. I think I also love it because it absolutely has the feel of piece from the 1960s. The base is a pale green crepe silk chiffon and then onto that are hundreds of thousands of the tiniest little sequins I have ever seen. Different hues of green are used to create that phenomenal pattern that runs over the entire dress. It has a nod to the 60s and 70s in the way the design is laid out over the dress and the precision and care where the pattern meets at the seams is something that I appreciate. This is something you mostly see in vintage pieces and not always in modern pieces. The dress itself is simple and easy to wear and very flattering on the body. It has a short capped and simple sleeve and a simple scoop at the neck. It skims over the bust and pass the waist. There is no seam anywhere to break the eye. It continues on a curve over the hips and then falls outwards into an A-line until it reaches the floor. The simplicity of the cut makes it so flattering on and it also allows that amazing design that covers the entire dress to shine. Those thousands of tiny sequins catch the light from every angle. It is really a stunning dress. Excellent condition.

Fully lined in a pale green silk and closes at the back with a hidden set zipper. 

Sleeves: 9" and 11" around the opening
Slightly inset shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Total length: 58" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4689

Reference Photos/Videos: (1-3) Spring 2022 Etro, Look 38. Model Mila van Eeten.  /  (4-7) Nicole Kidman in Etro at the Australian premiere of 'Being The Ricardos', December 2021.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is the actual dress that is in the book on Thea Porter's work that accompanied the exhibit n her work. The photo appears on page 88. The caption in the book notes that this dress is a "Faye dress in ikat silk chiffon, designed by Sandra Munro, with a bodice of Damascus brocade". The Faye dress was named after Faye Dunaway and she made these in various fabrications starting in 1968. It also has a Giorgio Beverly Hills tag where she sold her designs starting in 1969. It was said that when word got out that Thea had new things in the Girorgio boutique, women ran to be able to get a piece for themselves. This print was very well documented and Thea made a small series of pieces from this fabric. Each piece was made specifically so that it was cut to follow the print perfectly. This is the only one I've ever seen made in this length and in this style. Given her extremely limited run on certain pieces it may in fact be the only one that exists. It is truly a very special piece.

The cut of this dress is exceptional and this is a highly recognizable design from Thea. The neckline is scooped and edged in a gold cord that wraps around the neck and then runs down the front. It buttons to close at the front in three groups of buttons. I love how each of the buttons are covered in the same silk as the skirt and sleeves. As noted in the book the fabric of the bodice is a Damascus brocade in a muted gold with pops of turquoise and orange. Thea was known for picking up antique fabrics in her journeys and this is undoubtedly a piece or sample of fabric she sourced on her travels. I love that you feel fully covered but there is a tiny gap between the two sides of the front bodice so depending on how you move you get the tiniest glimpse of bare skin. The sleeves are phenomenal. Each is gathered into the top of the shoulder and then they are a huge balloon sleeve under that. They are made from a single layer of the Ikat printed silk chiffon and the pattern is set horizontally on the sleeves. This makes it feels like it wraps around the arm right down to the elastic cuffs. The waist is finished with a wide horizontal band of that same silk and it is cut with a more generous feel. These Faye dresses were not a true caftan but they did have that easy to wear feel to them that her caftan pieces also have. The skirt has an incredible amount of fabric. Here the Ikat print was set vertically which perfectly contrasts all the other elements of the dress and adds visual length. There is a good amount of fabric in the skirt so it moves beautifully once on the body. This is an exceptional and extremely rare example of her work. Excellent condition with a small note below

Fully lined in a green silk and zips to close at the back. The buttons at the front are functional but meant to be decorative. Each sleeve ends with an elastic. I see a tiny bit of colour change to the lining near one arm and a slight darkening to the brocade on that side as well but it is very minor and to the hem lining. The tiniest bit of a run in the fabric near the base of the zipper. Please see the photos after the label shot. The easy cut should fit a range of sizes

Sleeves: 24.5" and they are very full
Slightly inset shoulders: 14"
Bust: 19.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: open
Bodice: 12.5" from top of shoulder to top of the band at the waist
Total length: 42" from top of shoulder to hem with 1.5" turned under the hem

Modern Sizing Equivalent: SML-LRG

Item# DD4690

Reference Photo: From the book 'Thea Porter: Bohemian Chic' by Laura McLaws Helms and Venetia Porter.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The Shrimpton Couture Archives

• The twin of this dress walked the runway for the Spring 1978 Hanae Mori collection.
• It was made under the creative direction of Hanae Mori
• This set is just absolutely gorgeous and pieces like this from her are getting increasingly hard to find, so it is a true treasure. 
• Hanae was the first woman of Japanese descent to have presented on the Paris and New York runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Her work is exceptional.
• Hanae Mori excelled at creating beautiful prints and they always have a hauntingly organic feel to them as she was constantly inspired by nature.
• This is everything you look for in a piece by Hanae Mori. The inner dress is made from the highest possible quality of silk, and then the cape is made from a feather light silk chiffon. It even comes with its original matching tie belt in a matching silk chiffon.
• All three piece have one of her custom designed prints screened onto the fabrics and the colours used on this one are just outstanding
  
• The inner dress is sleeveless and is suspended from tiny straps that curve over the shoulders and cross over themselves at the back. It is very easy to wear as it is meant to just skim down and over the entire body in a long column of fabric.
• The cut is on the more generous size through the waist and hips, and then it flares out as near the hem with a slit up the back for added movement.
• The ties go through little loops along the sides of the back. If you wanted to wear it completely open at the back, you could take them out of the little loops and just tie the tie at the back of the neck. The base of the scoop has a touch of elastic in it to hold it closer to the body so that it doesn't gape.
• Once it is on you get a glimpse of that bareback through the transparency of the outer cape piece.
• The caped piece that goes over this is spectacular. It is made out of a feather light silk chiffon that is done in the same brilliant pink and coral print. It slips over the head to wear and the neckline is set in a wide slit across the top. It is shaped to be two long, rectangles attached across the top on either side of the neck opening and when this is on this, it lets the sides drape down longer around you. 
• The top of each shoulder has a gathered portion with chiffon ties running through the loops. This then extends out to where you slip your arms through. You can also choose to wear it with your arms completely inside the cape for a more covered feel.
• There is no true front or back so you can choose to wear it on whatever side you wish.
• When on that top layer gives the dress a more caftan feel and you really get the sense of the sunset and floral print because of the sheer expanse of fabric that it has.
• The set comes with a matching silk chiffon belt that you can use to add shape to either piece or wear over both. It's quite long and fairly wide, so it could also be tied around the neck or head.
• As with the best of Hanae's dresses, the effect of having the same print on the top layer and the inner layer gives the design added dimension and depth as they float over each other.
• The movement and drama this creates is extraordinary. This is a piece that you slip on and feel completely comfortable when wearing it and yet it has as much drama and impact as you could ask for. It is a stunning example of her work and beautifully made. I love it.
• The cape is unlined and the dress is lined in a red silk chiffon with an added red jersey piece on the inside front bodice. The dress slipped over the head to wear and then ties at the back. There are little snapped straps on the inside of each shoulder of the over to hold the dress straps in place. The edges of the cape have been hand rolled and there is hand stitching throughout. The piece is unlabeled and verified by the runway photo.
• There is no size tag present so please go by the measurements listed below.
• Excellent condition

Dress
Bust: covers to 15" flat across from side to side with no true side seams
Waist: to 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Total length: 56" from top of shoulder to hem

Cape overlay
Width: approx 59" from side to side at the widest point
Length: 54" and falls to approx 57" to longest point when on
The tie belt is 8" wide x 76" long

Modern Sizing Equivalent: XS-MED

Reference Photo: Spring 1978 Hanae Mori Runway.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is from the debut collection of Anthony Vaccarello for the Saint Laurent label. It was Look 43 on the runway. Vogue's Sarah Mower said of the collection in her review:  Vaccarello’s new position is an opportunity for which he closed his own line, to concentrate on the responsibility of reimagining whom the Saint Laurent girl might be. “She’s certainly not bourgeois or classic,” said Vaccarello. “She has a huge respect for Saint Laurent, but not in the first degree. So I thought of her taking a vintage dress and cutting into it....In particular, that dress was a puffed-shouldered number from an Yves Saint Laurent collection of 1982, and a black leather version of it opened this show.... Embracing the ’80s isn’t a stylistic stretch for Vaccarello, either; his own sexy looks have always stuck to that kind of glamor. He played on it with plunging bustier tops in leather or velvet, pelmet skirts and boyfriend jeans, a section devoted to draped gold lamé, iterations of skinny smoking suits, and variations on one-sleeved dresses."

This is one of those one shoulder pieces that formed the basis of the collection and certainly one of the more avant garde ones The body of the dress is a fine, lightweight black stretch wool fabric that falls perfectly on the body in a sleek sheath with low set pockets set on each hip. To this rather austere base, he has then added a deconstructed puffed drop sleeve. It is a daring design made out of a black lace that starts with that incredible sleeve and ends slanting down the chest. The lace is purposely finished to appear ripped and partially destroyed but the open holes are cleverly placed and planned for that perfect rock and roll defiance. The dress can be worn as shown on the runway with the lace exposing the front of the chest, however I just slightly adjusted it once on and belted it to sit a bit higher and it was fine. A nude undergarment would allow you to wear it either way. Or not if you dare. Never worn and still has part of the original tag still attached. The original retail on this was $3800USD. Excellent condition

Fully lined in silk and closes with a hidden set side zipper. Tagged a FR40. The pockets at the front are still temp sewn shut as they would have been from the original store.

Sleeve: dropped and cut extra long at 29"
Bust: 17" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 34" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3091

Reference Photos: (1) S/S 2017 Saint Laurent Runway, Look 43. Model: Chiharu Okunugi.  /  (2) Cherie, Owner of Shrimpton Couture, by Erin Leydon. 

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

This suit is instantly recognizable as an Alexander McQueen piece and it is stunning. The spring 2008 collection was called 'La Dame Bleue' and was a tribute to his mentor and friend Isabella Blow who had committed suicide on May of 2007 after a long bout of illness. His statement of the show was this; 'Isabella flew. The collection is exuberant and excessive. It's about her way of thinking and that way of thinking brought light into fashion. Even when she was down she was up with what she wore. I had the best times with Isabella. I remember going to Mauritius with her and I'd come back from scuba diving and it would be 100 degrees and she'd be standing on the beach head to toxin McQueen with a Philip Treacy Hat on. Or we'd be sitting around the pool and she'd still be head to toe in McQueen with a Philip Treacy hat on. I've though a lot about why she would wear things like that and she wore them because it made her feel like a diva. She was a diva in what she wore. She pulled it off. I never blinked at what she wore. It just seemed normal. So this was a collection about Isabella ad about wearing clothes that transform you." The entire show was a beautiful testament to someone he loved dearly. In Vogue's review of the collection they said; 'All terrible emotions apart, McQueen, like every other designer, can only be judged in the unsparing light of the general arena of fashion. To put it bluntly, this collection—after an off season last time—was going to stand or fall based on whether his clothes were any good....It stood. McQueen mustered the clarity to dispense with smoke and mirrors and show his capabilities in cut, drape, and feathered flourish to an audience near enough to inspect every detail. He stepped up to the plate by running through all his archived knowledge—Savile Row tailoring in Prince of Wales menswear check jackets and strict, strong-shouldered suiting, combined with the legacy of his couture experience in fan-pleated chiffon, goddess-y drape, and hand-crafted drama. The theme of birds—particularly symbolic of Blow—held the show together through a reprise of all the highlights of McQueen's career... In all, McQueen honored his mentor by striving to bring out the best in himself.' This was the fifth last collection of his career and these last collections are considered to be some of his most brilliant. 

The suit is identical to the one that walked the show with the addition of the wide black patent belt. Very few of these would have been produced and it is amazing to have such an wonderful piece of his work in the shop and to have the full suit with both its detachable feather collar and belt. This one has the extra added provenance of having been lent by me and worn by Sofia Carson for the Unicef 75th Anniversary Luncheon. Its twin was also worn by none other then Michelle Obama for her Ebony Magazine cover

A piece like this truly showcases McQueen’s strong tailoring background and master cutting abilities. The suit is made from a light black wool suiting fabric and gives a nod to his heritage and strong tailoring roots. The jacket is also cut with sharply tailored lines and then he has added that spectacular feather collar and brought in the waist with the belt to create a more feminine shape. The belt slips through slits on either side of the back. I love that it still feels very refined despite its avant garde details and cut. The shoulders are squared off and padded to hold their shape. Each sleeve is cut on a slight curve in the proper manner of tailoring a sleeve and ends in 4 buttons at each cuff. The body of the jacket is shaped with a female body in mind and is cut in at the waist for shape. It closes with a single button there. I am obsessed with the collar. The neckline is edged in a black patent that curves around the neck and narrows down to a point where it then meets the button at the waist. The feather collar is detachable and is made by a thick overlapping of red dyed feathers with black painted edges. It buttons into place along the inside of the collar and is set to stand up and frame the neck. This gives it a very unusual detailing and plays into the avian theme the show had. Under the waist the jacket skims over the hips and it is slightly cropped. Slant pockets sit on each hip and they still have their original tacking. At the back it is cut to flare out a touch. The skirt has been kept very simple so that it is the jacket that shines. It is cut with a flat front and is fitted into a short pencil silhouette. You really need to watch the runway clip to see just how stunning it in on and moving. I also photoed it in all its variations so you can see it with and without the belt and feather collar. The workmanship is meticulous and it is an absolutely beautiful and a rare piece of his work. Excellent condition with a minor note below. 

Both piece are fully lined in a black silk. The jacket closes with a single button at the front. The skirt closes with a hidden set zipper. The feather collar buttons into place and the belt closes with hidden snaps. The jacket is tagged a size 40, the skirt a 42 and the belt is a 38. Padding on the shoulders and the pockets on the jacket have their original tacking to close them. It looks like the sides of the skirt were taken in a touch at some point and when it was lent to Sofia it was taken in a little more with a temporary alteration and you can see a bit of the stitch lines on the inner lining. A bit of crinkling on the belt but it is where it sits under the jacket when on so is not seen when worn

Jacket
Sleeves: 24.5"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 24" from neck to longest point of hem

Skirt
Waist: to 13.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 21" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3870

Reference Photos/Video: (1-4) Spring 2008 Alexander McQueen Runway Collection, Look 26. Model: Raquel Zimmermann.  /  (5) Sofia Carson at the Unicef 75th Anniversary Luncheon, Dec 2021.  /  (6) Michelle Obama in Alexander McQueen, Ebony, September 2008.  /  (7) From the book “Alexander McQueen” edited by Claire Wilcox.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The colours for the Fall 2016 Valentino show were muted dusty pinks, greys, neutrals and blacks. The theme of the Valentino show was all about the ballet and modern dance. Maria told Vogue that “We always think fashion is cultural, not just about delivering clothes. We want this show to be about living your moments, feeling each moment uniquely. I really love fashion. This job we do is a good opportunity to describe the time we’re in.” The twin of the dress walk the runway for Look 26 and it is an incredibly easy to wear and flattering piece once on the body.

This is a thoroughly Valentino feeling dress. The dress is made from a single layer of a feather light weight silk chiffon in the prettiest possible pale dusty pink. Think scarf weight. This is what lets it move so beautifully over the body once it is on. When you walk the fabric of the dress catches the air and billows out around you. The front is cut high to frame the neck and then falls from there, extending out from the neckline to the floor. The dress is incredibly full by the time it reaches the hem with the skirt widening out quite a bit. The dress has an amazing amount of fabric in it and it floats and moves beautifully around you. You can see the amount of fabric just by the way it falls in the photos and in the video we have added. The silk has a beautiful geometric pattern that covers the entire dress. A seam run down the centre and you can see the care that has been taken to match up the pattern on the seams there and elsewhere on the dress. The sleeves are long and the pattern continues to be matched up there. The precision in cut to have this all match and still move so beautifully should not be underestimated. It is an utterly beautiful dress and will take your breath away in person. Excellent overall condition with a note below.

Fully lined in a matching pale, dusty pink silk chiffon and closes with a hidden set back zipper. In it's original uncut length. There are some very faint watermarks near the collar, the waist of the dress and some small areas on the hem. Please see the photos after the label shot. Tagged a Valentino 8. The easy and generous cut should fit a range of sizes as long as the shoulders work.

Neck: 16" around
Sleeves: 22.5" and 13" around the upper arm
Shoulders: 15"
Bust: 21" flat across from side seam to side seam
Waist: 22.5" flat across from side seam to side seam
Hips: open
Total length: 59" from top of the shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4684

Reference Photos/Video: (1-5) Fall 2016 Valentino, Look 26. Model Allyson Chalmers.  /  (6) Fall 2016 Valentino Ad Campaign by Steven Meisel.

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The Shrimpton Couture Archives

• Spring 1993 runway
• Under the creative direction of YSL
• Wide set neck line
• Easy fit bodice and generous waist
• Comes with its original matching tie belt to cinch in the waist
• A slightly raised reptile print worked through the fabric
• Gathered up into the hip on one side and the waist on the opposite side
• Slit up one side
• Unlined
• Tagged a vintage YSL 44
• Perhaps the slightest bit of darkening to the edges of the fabric here in there but I am being very picky

Bust: to 20" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 16" from top of shoulder to waist
Total length: 57" from top of shoulder to hem
Slit: 25.5

Modern Sizing Equivalent: SML-MED

Reference Photo: Spring 1993 Yves Saint Laurent.

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This dress has come to me direct from one of my avid Couture and Chanel collectors. It is an exceptional piece for the collector and is extremely special. Two versions of the dress were shown on the runway and then this dress was produced for the shops in this length that falls between them in length. This one has the extra added provenance that a version was also shot on Kate Moss that season.

The dress is a work of art and the silk chiffon used to make it is some of the finest, lightest chiffon I have seen. The fabric is notoriously difficult to work with and with all the intricate detailing putting this together with the lace would have taken a ton of man hours especially at this level of workmanship. It is just spectacular. The silk has a slight texture to it which adds to the interest of the dress. It is covered in various renditions of the Chanel logo and most have an almost graffiti like feel to them. I love the pops of pink and blue that this adds. The tiny cap sleeves have a layer of lace over them and sit on the top of your shoulder. The neckline scoops down at the front and the silk is gathered up into a knot at the base of the scoop. A wide panel of lace wraps around the waist and at the back the lace extends from the sleeves all the way down to the back seam where the zipper starts. There is a open slit from the top of the neck to where the zipper begins. The skirt falls from under that band of lace at the waist and falls in a swoop of feather light silk chiffon to a raw hem. Another wide band of lace circles around the skirt just above the hem. This beautifully ties the whole dress together. The movement this dress has once on is incredible. Excellent condition  with a minor note below.

The dress is lined with the same fabric through the bodice and a black silk chiffon for the skirt. It closes at the back with hidden set zipper and a hook and eye at the top of the neck. There is the tiniest bit if grubbiness near the edge of the arms. Please see the photo after the label shot. Tagged a modern Chanel 40

Bust: to 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Inner hips: to 19" flat across from side seam to side seam
Bodice: 15" from top of shoulder to waist
Total length: 45.5" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4680

Reference Photos/Videos: (1-4) Cruise 2007 Chanel, Look 26 & 30.  /  (5-6) Kate Moss by Bruce Weber for Vogue, November 2006.

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This dress was the final look on the runway and it is absolutely stunning. The pieces from this collection feel to me like they have an extra bit of sentiment to them. As Vogue noted in their review. "Pre-Fall 2015 was the last collection he (Oscar de la Renta) had a hand in designing. The house's new creative director, Peter Copping, advised the studio a bit on how to finish it after de la Renta's death in October but this wasn't his debut. Copping sat in the front row taking it all in as a bystander." They continue the review saying, "How does one review a collection like this—one that operates not as a swan song, not as an homage, but as a coda to a great career, now definitively over? On its merits, of course. And though these clothes didn't serve to turn the fashion dial in any way, they manifested the soigné de la Renta signature in spades....It spoke loudest in the collection's clutch of cocktail frocks and gowns, particularly the champagne-toned finale gowns with allover gold or silver embellishment." This is one of those dresses and it is very beautiful.

This is truly a beautiful piece and it might even make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. The dress is made from a fine ivory net that is covered in beautiful curving appliques that form flowers and pretty patterns. Each applique has a pale muted silver gold lame fabric sewn inside the design. The lame has a tiny bit of a vertical ribbing in it and this adds a beautiful texture. I love how the appliques catch the light in a subtle way from every angle and how the neckline follows the curves of the appliques across the front. It also makes the dress feel more gold in person then how it photographed here. it sits wide across the front, and the straps are sent to the edge of the shoulder. The bodice curves up and over your shoulders and then at the back it falls in a V for a bit of bare skin to show. There is a lining inside the bodice that has a sweetheart neckline and then the netting has a touch of transparency above that. It skims over you from there, past the waist to the seam that sits at the top of the hip. From there the skirt explodes outwards in two tiers. Underneath each tier is a layer of tulle and then another layer of netting under that. This second layer has a stiffened edge to help hold the shape of the skirts. Inside the skirt there is a built in underskirt that has rows of that same stiffened fabric so it holds the volume that you see in the photos. I have added no extra crinolines underneath for this one. All of the volume that you see is all built into the dress. The dress is shorter at the front and then the back is cut long so that it trails out behind you past the floor. The lightness of the tulle and netting allows the dress to billow out around you when you walk. This is dress that feels like a fairy tale come true once it is on the body. It appears to have never been worn or worn very little. Excellent condition.

The skirt is fully lined in layers of tulle and netting as described above. The bodice has an inner layer of silk and netting. The dress closes with a hidden set back zipper. Tagged a modern OLDR US2

Bust: to 16.5" flat across from side seam to side seam with room at the front for at least a B cup
Waist: 13" flat across from side seam to side seam
Seam at the top of the hips: 18" flat across from side seam to side seam
Natural hips: open
Bodice: 19" from top of the shoulder to the seam at the top of the hip
Total length: 49" from top of the shoulder to the front hem, 80" to the back

Modern Sizing Equivalent: XS-MED

Item# DD4673

Reference Photos: Pre-Fall 2015 Oscar de la Renta, Look 36.

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This is a stunning dress from the Alexander McQueen label and it is also a very early example of the work that Sarah Burton was doing for the house once she took over the label after Lee's passing. I have a friend who worked for the McQueen bridal division and had her look at it. She also shared it with some other colleagues at McQueen and we all agree that it is from the Spring/Resort 2012 season. If you look at those two collections you can see that this type of gold lace was prevalent in her designs during that time period. That date also fits in what little I know of the dress. It is stunningly beautiful and the photos do not do it full justice. It is beyond gorgeous and would be a stunning choice for a bride.

This is a stunning dress. The impact that the gold lace has is gorgeous and it is like something out of a fairy tale. It has a beautiful and simple design that really allows that gold lace to take central stage. Wide straps sit to the outsides of the top of your shoulders and there is a shallow V at the front. Another V is at the back that sits a little bit deeper then the front one. The straps are wide and I love how the lace has been placed along the edge of the neckline so you get that pretty lace finish against the skin. It skims down over the bust, curves in at the waist and then curves back out to the seam at the top of the hips. At the back it dips down on the slight angle and the dress has a row of buttons and loops over a hidden set zipper. The lace netting is applied over top of the bodice and the lace is laid out to highlight the curves of the dress. The flowers within the design of the lace trail across the pale gold netting behind them for the prettiest effect. From there the skirt falls to the floor and the skirt is stunning. It expands outward from that seam at the top of the hips and it gets very full by the time it reaches the hem. The lace trails down over it and the pattern becomes more dense all around the hem. Built-in underneath the skirt are five layers of tulle, then an inner net layer that has a wire ruffled finish and finally an innermost silk layer under that. I have not added any additional underskirts. All the volume that you see is from the built in underskirts that the gown has. I think that you could even add an additional underskirt if you wanted even more volume. The way this moves around you is magical. The layers are all feather light and it is just stunning to see in person. The back has a sweeping train that extends out past the hem to create a bit of a train and there is extra fullness at the back. It is really a wonderful dress and so romantic feeling. Excellent condition

Fully lined an ivory silk with seaming and soft boning inside the bodice to create shape. It closes with a back zipper and then the exterior layer of lace buttons to close over that. The skirt is lined as described above. I do not see any heavy evidence of alterations but I feel like the zipper may have been replaced at some time so I think there might have been some small alterations done to originally fit the dress. Hand finishes. 

Bust: to 16.5-17" flat across from side seam to side seam with an A-B cup
Waist: 13" flat across from side seam to side seam
Seam at the top of the hips: 17" flat across from side seam to side seam
Hips: open
Bodice: 18.5" from top of the shoulder to the seam at the top of the hips
Total length: 56" from the top of the bodice to the front hem, 72" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4678

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This is a phenomenal Hanae Mori coat. An example using a brocade in the same feel is held in the Met Museum's permanent collection and I believe this is from that same collection. Mori was the first woman of Japanese descent to have presented on both the Paris and New York runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Her work is exceptional. I have only ever seen a couple of her brocade pieces for sale outside of seeing one in a museum. When I find pieces like this one that is so stunningly beautiful I am very happy.

The fabric on this coat is amazing. A gold thread woven through an ivory and black black background creates that stunning design that you see. The pattern on the coat is divided into hexagon medallions that are done with either the ivory or black backing. Then each design within that is a striking flower or cluster of flowers. The flowers are done in pale pinks, white, turquoise and a bright coral red. The final effect of all that colour with the gold thread mixed in is absolutely beautiful to see. The cut is classic and the fabric has a bit of weight to it. It is not so heavy that it is unwieldy but it has enough of a weight that once on the body the shape that you see is held perfectly. Each sleeve is cut to just below the elbow and they are cut straight and wide. You can flip the end of the sleeves over and when you do that you see that band of black silk satin. We followed it with the sleeves flipped, but you could also wear them straight and then the pattern just continues to the end of the sleeve. I love that.the black band perfectly pick up the black silk satin covered buttons down the front to perfectly tie all the elements together. The collar is simple and frames the neck. The shoulders are soft, and have a slight sloping cut. From there the coat flares out to a slight A-line and we took a photo of it laying flat so you can see the shape. It is just spectacular and the simplicity of the cut only further highlights the drama of that rich bold fabric. It is very couture in feel and one of the best vintage coats I have ever seen. Excellent condition

Fully lined in a pale yellow silk and closes at the front with black silk covered buttons. I see some foxing and marks to the inner lining. Tag a vintage Hanae Mori 8. It appears to have been worn very little if at all. The colours and metallic feel of it are even better in person.

Sleeves: approx 17" with the cuffs flipped up and 19 if they are not flipped. 14" around the upper arm.
Shoulders: no true defined seam
Bust: to 21" flat across from side seam to side seam
Waist: to 22" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 38" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4675

Reference Photo: Fall 1974/75 Hanae Mori Brocade Coat in The MET Collection.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The Shrimpton Couture Archives

• This is a very recognizable and highly documented Halston from the Resort 1976 collection that is very rare and very special. 
• It was made under the creative direction of Roy Halston.
• Cheryl Tiegs was shot in its twin for Harper's Bazaar that season. That same photo also makes an appearance in the book on his work titled 'Halston' by Phiadon.
• Its twin is held in The Met Museum's collection (though they have their dated as being earlier which based on the Harper's photo appears to be inaccurate). 
• At this point in his career, pieces would have been made in very limited made-to-order quantities. It is an incredible example of his work from this time period.  
• The jumpsuit has a soft and flowing feel to it and yet when you wrap the sash around you at the waist it still gives you shape.
• It is made of an ivory silk chiffon with a ribbon effect that is fused directly into the silk. This gives the fabric the double texture that you see and it really plays on it transparent feel.
• Where the jumpsuit is unlined through the upper bodice and sleeves you really see how you get a glimpse of the skin under the silk. The main part of the bodice and the pants are hand lined in a nude silk chiffon so that the jumpsuit is not completely transparent.
• The bodice is cut to blouse softly over the waist and it closes with a series of hook & eye down the front. In the iconic Harper's shot it was left fully open and that is how I photoed it for most of these shots but also show it fully closed.
• The waist has an elastic through it and it is cut to sit loose and easy in the body. You can cinch in the waist as much as you wish with the matching sash belt.
• From the waist the pants flow to the floor. They skim over the hips and then fall in a very full and open wide cut pant. The pants are on their original length
•  It is very well made and finished by hand and even better in person and on an actual body where the fabric can really move and flow as it was meant to. This would be a crowning pinnacle to someone's Halston collection or a beautiful part of a wedding event.
• The body and pants are lined in a nude silk chiffon. Hand finished throughout. It close with a series of hooks and snaps down the front. It has its original long matching sash. I see the occasional little scuff on the satin ribbon parts which is normal vintage patina. The ivory is slightly paler in person. It otherwise looks to have been worn very little if at all. It is a very rare and amazing example of his work. 
• There is no size tag so please go by the measurements below. The softness of it should allow it to work and drape on a range of sizes. 
• Excellent condition

Sleeves: 14" to the shortest point and 22" to the longest. The upper arms are full and open.
Shoulders: no true defined seam 
Bust: Approx to 17" flat across but there are no true side seams because of the way the sleeves are set in 
Elastic waist: 14-17" flat across from side seam to side seam and you can cinch it in with the sash as much as you wish
Hips: to 20"" flat across from side seam to side seam
Bodice: 14.5" from neck to waist
Pants: 44" from waist to hem with approx .5" turned under
Inseam: 32.5"
Back neck to inner seam: 29" 

Modern Sizing Equivalent: XS-MED

Reference Photos: (1) Halston Resort 1976. Model: Pat Cleveland.  /  (2) Cheryl Tiegs, original photo from Harper's Bazaar, January 1976. Photo by Bill King. From the book 'Halston' by Phiadon.  /  (3) Halston ensemble from The MET Online Collection.  /  (4) International Premiere of fashion designer Halston's Olympic Collection for the U.S. Olympic team on October 27, 1975 in Washington, D.C.

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The Shrimpton Couture Archives

• This was Look 61 in the show and was the final look for the Fall 2003 Emanuel Ungaro runway collection
• Made under the creative direction of Giambattista Valli
  
• The details on this dress are amazing and it is a dress that really needs to be on the body to fully come to life
• The fabric is a printed stretch silk jersey combined with a silk chiffon. The print is done in soft pastel blues, purples and pinks on an ivory backdrop. Onto that are little gold glitter leafs. Gold thread is woven through the chiffon parts and then there are also added coloured rhinestones fused over the body of the dress.
• The entire dress is a stretch fabric so it does have give
• The sleeves are long and made to sit off the shoulder. They are gathered at the their tops and the ends are dramatically flared and very wide.
• The bust is gathered and then the body of the dress underneath is all gathered into the sides
• The skirt is set so that one side is completely open to the top of the hip. It wraps around and is attached underneath itself a bit so doesn't feel as open once on, but it does create a very high slit on that side that shows your leg when walking. The hem of the skirt on the other side is split so the bottom chiffon panels move freely and create a ton of movement when you are walking.
• The upper portion of the dress is lined in a stretch nylon for added support around the body and it closes with a hidden set side zipper
• There is no size tag so please review the measurements below. Because of the stretch, I have given the comfortable range of measurements when the dress is laying flat. The length will come up a bit once on the body because of the bias cut
• Excellent condition

Sleeves: 24" from their tops to ends, and the upper arm is 11-13" around
Bust: 13-16" flat across from side seam to side seam
Waist: 11-14.5" flat across from side seam to side seam
Hips: 15-19" flat across from side seam to side seam
Total length: 59" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Reference Photos: (1-7) Fall 2003 Emanuel Ungaro, Look 61 (Final Look). Model Dewi Driegen.  /  (8) Caroline Winberg for Fall 2003 Ungaro, Vogue, September 2003.

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This suit is from the debut collection of Bill Gibb for the Fall 1972. In the book, Bill Gibb: Fashion and Fantasy, they note that the theme of the collection was the natural world and you can see that in this suit. As the book describes what was presented in the runway, they specifically mentioned that "there were also a lizard trim cream wool suit" which is of course this set. The book quotes fashion journalist, Suzy Menkes saying that "this is Bill Gibbs great day... for the first time showing a collection all his own. It marks the beginning of his career as a designer of the jet set." Twiggy said to Gibbs backstage "they were incredible, I loved every one, I want them all... is it possible to have one to wear tonight?". At this moment in Bill Gibbs history he was the star of fashion set. The suit is spectacular and I love that a version in black is held in the permanent collection of the Aberdeen Art Gallery and Museum. The twin of this suit was also photoed for British Vogue that season and this gives you a chance to see how fantastic it is once on. This is an incredibly important suit in terms of British Fashion history.

The suit is fantastic. The jacket has an incredible cut to it. It is cropped to the top of the hip and this adds a pretty shape. The collar is rounded and wide. Onto the collar Gibb added an amazing hand cut lizard detailing on either side which perfectly fits into his nature theme of the show. He also added snakeskin strips over the seams and this detailing of the seams like this went on to become a signature for him. It is also a clever way to highlight the cut of the jacket. I love the way the front of the jacket curves down at the front. Snakeskin straps buckles across the front and then the back has another set of buckles. We also see that same detailing over the seams there as well. The sleeves are phenomenal. They begin just above the waist and at the shoulder they are gathered in and capped. This gathering lets them sit up and off of the shoulder. They are extremely wide through the upper arm and then they narrow down to those fantastic cuffs. The cuffs have that same beautiful rounding curve to them and they are split up the middle to meet two metal buttons at the top of the snakeskin detailing. The skirt is equally as fabulous. It has a small band around the waist and then skims over the hips to flare out to be quite full by the time it reaches the hem. This skirt is made by eight panels that have been sewn together. Each panel is rounded at the bottoms and this creates that beautiful scalloped effect that you see. We took one photo with the skirt laid out flat so you could see the remarkable shape that it has. The skirt is also detailed with snakeskin that runs over the top portion of each seam where the panels are joined. A third hand cut out lizard sits across the front of the skirt to tie it all together. Hand work throughout and it is just a phenomenal piece of fashion history. It also fits in perfectly with the couture cowboy core movement we are seeing. I love that you can wear the pieces together or mix and match with things you already have. Excellent condition with a tiny note below.

Both pieces are fully lined in a white silky rayon. The jacket buckles to close at the front and the skirt zips to close under a hook and eye on the waistband. Hand finishing throughout. I see two tiny pin sized marks on one shoulder and some of the snake skin shows very minor peeling here and there that is natural to aging.

Jacket
Sleeves: 25" and 20" around the upper arm
Slightly inset shoulders: 14"
Bust: approx 18" flat across from side seam to side seam
Waist: 15-16" flat across from side seam to side seam
Length: 22" from neck to the longest point of the front hem, 18" to the back

Skirt
Waist: 13-14" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 38" waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4668

Reference Photos: (1) Model in Bill Gibb, Vogue UK, 1972.  /  (2) 1972 Bill Gibb Suit in the Collection of the Aberdeen Art Gallery & Museums.

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Vogue said of this collection that "On the evidence of this showing, she (Phoebe Philo) remains committed to building an iconic wardrobe, and there's little doubt that in the short time she's been at the French luxury goods house, she's designed some iconic pieces." This entire collection was hailed by the press and the twin of this suit was shown for a Look 23. It was a standout piece of the colletion. Pheobe herself chose to to wear a black version of it to the 2011 CFDA Fashion Awards. I love it

On the runway this suit was shown belted. Once it hit the shops the belts were sold separately but you can easily add any belt of your choice to get that same look. Phoebe is known for her attention to detail and this suit is the perfect showcase for that. It is made from a crisp white fabric that is light in weight and it was backed so that it is not fully transparent. The jacket is gorgeous. Sleeves are cut long and simple and the shoulders are soft with the smallest amount of padding inside to hold the shape. The front lapel is done in a muted ivory silk satin. It comes down the front in a tuxedo reminiscent shape. I love that the outer edge of the pants also pick up on that tux feel with a line of the same silk satin running down their length. The jacket has an easy and open shape that expands out a touch as it nears the hem. There are no closures and the front is cut so that it overlaps one side over the other. There are small open slits on the side seams of the jacket and this is where you can slip a belt through to add some shape at the front if you wanted or belt it all the way around yourself for even more shape. Four slit pockets are edged in the same silk satin as the collar to continue that nod to a tux. The pants also play on a classic men's tuxedo. They have a flat front with a banded waist that is done in that same satin finish as the label. They are cut to sit slightly low on the hip. There is a sharp fold running down the front and back of the pants. The pants narrow down as they reach the hem and they will sit slightly cropped depending on your height. I love that you can wear these together or break the set up and mix and match with pieces in your existing wardrobe. The jacket has a slightly oversized fit and I love that contrast to the peg leg pants. Original tags attached still in the pants. Excellent condition.

The jacket is lined in a white silk and the pants are unlined. The jacket has no closures but do have slits on the side seam to add a belt. The pants zip to close and then have a hidden button and hook and eye at the band of the waist. You can see a bit of the inner structure where it shows through on the front of the jacket, the inner seams throughout and around the pockets on both pieces. This is intentional but I am pointing it out for your reference. I see the faintest of a mark on the back of one shoulder. Please see the photo after the label shot. Tagged a Celine 38. It has its original tag still attached inside the pants and a packet with an extra button.

Jacket
Sleeves: 25" and 12.5" around the upper arm
Slightly dropped shoulders: 16"
Bust: to 20.5" flat across from side seam to side seam
Waist-hips: open to
Length: 27.5 from neck to front hem, 22.5" to back hem

Pant
Waist: 16" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 37" waist to hem
Inseam: 27" from inner seam to hem
Rise: 16" from back waist to inner seam

Modern Sizing Equivalent: SML-MED

Item# DD4667

Reference Photos: (1) Resort 2011 Celine Runway, Look 23.  /  (2) Phoebe Philo, in Celine, at the 2011 CFDA Fashion Awards.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is such an interesting dress because it is a re-issue of the original and iconic 1965 dress that is so well documented and associated with the Valentino label. The original debuted in the Spring 1965 Haute Couture collection and it is remarkable how forward feeling that design was for its time. It has grazed the cover of the Valentino book, was worn by Linda Evangelista in an editorial that looked back at the label in 1992. It was originally seen on the likes of Verushka and Virna Lisi. Recently Gwyneth Paltrow wore the again and it is a beloved museum piece. On the Spring 2000 Haute Couture catwalk it was shown in a pink on Esther Canadas and then Elizabeth Hurley wore one to the American Fashion Awards. This dress is a re-issue of the original that released to shops that year under the main label. From what I understand they were done in limited quantities and only available at select locations. It is an incredible piece that is instantly recognizable and very special.

This is fashion history. The dress is beautiful. It is strapless with built in moulded and padded cups at the front that top an interior boned corseted panel. The fabric is draped over that inner construction and the cups curve up and over each breast.I love how each side sits up and there is eternal wiring and boning to keep the shape. They are slit down the front in the middle for a little slice of skin to show and then a panel loops over between the cups and falls down the front all the way to the hem. There is a tiny burst of flat peaks plats under one cup, and then that panel wraps underneath the other panel. It skins over the waist and hips falling to the floor in a beautiful column of the red silk crepe. A high open slit is hidden under the overlapping of the skirt where it sweeps up under that front panel and when you walk or sit you get a fantastic length of bare leg. You can see this in the video that we've included here. This is fantastic dress and a very special piece. Excellent condition

The bust has built in moulded, padded cups and then there is a boned half corset under that inside. The inner corset zips with its own zipper and then the dress zippers to close over that with a hidden set zipper. The skirt is unlined. I see a touch stress to the fabric on the inner part of the hem. This does not show when on but mentioned for accuracy.

Bust: 14-16" flat across from side seam to side seam with a A-B cup
Seam under the bust: 12-13.5" flat across from side seam to side seam
Inner waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 5.5" from top of bodice to seam under the bust at the middle
Total length: 49" from top of bodice to front hem, 51" to the back hem

Modern Sizing Equivalent: XS-SML

Item# DD4666

Reference Photos/Video: (1-2) Spring 1965 Valentino Couture.  /  (3) Virna Lisi Virna in Valentino's signature red evening ensemble of chiffon gown with long satin coat covered in ostrich feathers, photo by Angelo Frontoni, 1965.  /  (4) Virna Lisi in the Valentino Atelier, 1965.  /  (5)  Veruschka in Valentino Couture 1965. Photo by Henry Clarke.  /   (6-7) Linda Evangelista in 1965 Valentino, W Magazine, September 1992.  /  (8) Valentino Book Cover.  /  (9) Katarina Scola in Fall 1965 Valentino Couture. Photo by James Moore for Valentino's Red Book, 2000. From the book "A Grand Italian Epic: Valentino Garavani" by Taschen.  /  (10) 1965 Valentino Haute Couture Dress from the Valentino Garavani Online Museum.  /  (11-13) Spring 2000 Valentino Haute Couture. Model Esther Canadas. /  (14-15) Elizabeth Hurley in Valentino at the American Fashion Awards, 2000.  /  (16) Erin O'Connor on The Sunday Telegraph Magazine, April 2003.  /  (17) Gwyneth Paltrow in Vintage Valentino at the British Fashion Awards, December 2023.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The book Givenchy Catwalk says of this collection that "Hubert de Givenchy presented a collection made up of soft lines with dresses that suddenly highlighted the shape of the body before the pleated skirts flared out towards the bottom." It is interesting to note that some of the looser more flowing designs from this collection were a part of the November 28 1973 presentation at the Royal Opera at the Palace of Versailles as part of the fashion show that later became to know become known as the "Battle of Versailles". The book notes that "Givenchy took part in the evening event to raise money for the château restoration, presenting his dresses alongside designers by four other Persian Couture houses competing against five American design designers". I have found nothing that suggests that this dress was a part of that show but it definitely has the feel of what went. This dress was shot that year both for Vogue Paris and British Vogue and I love having those reference shots for you to see just how amazing this dress is on the body.

This is an amazing true Haute Couture Givenchy dress that is a very rare and special find. It is entirely cut on the bias and then the silk has been pleated into perfectly matched knife pleats. The cut is tremendously flattering to the body and it feels a little bit sexy with the way the top sits on the bodice. The fabric is a beautiful and very light red crepe silk chiffon that moves and drapes fantastically. The bodice is done with its own panel that wraps around to the back. It is set wide and open at the front and then the pleats wrap on a slight curve to follow the shape of the halter to the back where it is set with a wedge of open space between the two sides. Silk straps come out from the peak of the front and then curve over your shoulders to connect to the back. The skirt flares out from there and it has a ton of movement when you move. It is spectacular. The silk is very fine and light and it is cut on the bias and then pleated in long vertical lines. There are yards of it in the skirt and that and the lightness of the skirt picks up the air when you move so that it moves fantastically around you as you walk. This is a very beautiful example of Givenchy from this time period. It is easy to see why his work is the subject of so many books and retrospective shows at museums worldwide. It also comes with a matching curved shawl in the same fabric. Excellent overall condition with notes below.

The dress is fully lined in a matching hand set red silk. It zips to close at the back and then an inner wider waist stay hooks to close at the inner waist. Light. boning through the inner built-in corset. Hand finished throughout to couture standards. I see some wear and patching on the straps. A small repair at the top of one peak and and some repairs/ small shattering to the inner lining near the arms. A small thinned spot near the zipper and a mark here and there and also near the hem.  Presents wonderfully but these are mentioned for accuracy. Proper couture tag and numbered tape present.

Bust: 15.5-18" flat across from side seam to side seam
Seam under the bust: 14-15.5" flat across from side seam to side seam
Inner waist: 13" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Bodice: approx 12" from top of straps to seam under the bust
Total length: 61" from top of straps to hem

Modern Sizing Equivalent: XS-MED

Item# DD4664

Reference Photos: (1) Photos by Guy Bourdin for Vogue Paris Special Collections Issue, 1973.  /  (2) Susan Moncur in Givenchy by David Bailey for British Vogue 1973.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This dress is an incredible piece of Halston history. Its twin walked the runway for the Resort 1979 show and the original sketch appears in one of the Halston books and it has the added provenance of the dress that was lent to and worn by Emmanuelle Chriqui in 2002. This is classic Halston from his main label couture line. It is incredibly chic and sexy and one of two important Halston pieces I have for you today. This is an incredible example of his work from this time period. 

This is an amazing couture Halston dress that is a very rare and special find. It is entirely cut on the bias and utilizes his signature minimal seaming. Halston defined how woman dressed in the 1970s and these jersey dresses that he did were tremendously flattering to the body. It is also insanely sexy with the cut out at the front that leaves your stomach bare. The fabric is a beautiful and very light black silk jersey that moves and drapes fantastically. The neckline is scooped with a piped edge that extends up and behind the neck where it hooks into place. On either side of the scoop at the front the fabric extends into panels that create a halter shape. The panels curve down on an angle and secure into the sides of the waist. This leaves the middle part of the stomach bare and open. The panels are then gathered into the piping at the top and wrap around the back in a low curve. The entire back is completely bare and exposed and it is so sexy. The skirt flares out from there and it has a ton of movement when you move. It is spectacular. The jersey is very fine and light and it is cut on the bias and there are yards of it in the skirt. I love that he cut the sides of the skirt slightly longer then the front so you get a bit of a sweeping feel around you. This also helps the skirt to pick up the air when you move so that it billows around you as you walk. Inside the skirt there is an inner layer of silk chiffon and that helps to soften out any bumps underneath the top layer and helps to make it very flattering to wear. This is a very rare example of Halston at the top of his game. It is easy to see why his work is the subject of so many books and retrospective shows at museums worldwide. Excellent condition with a tiny note below.

The bodice is made from two layers of the silk jersey and the skirt has an inner silk chiffon lining. The dress hooks to close with two set so of hooks and then it snaps and hooks below the back of the waist. Hand finished. I see some tiny, snags and pin holes along the hem here and there. The fabric has some stretch but the waist has no give.

Bust: The front halter should accommodate a variety of cup sizes. It is approximately 14 to 17" flat across the front
Waist: 12"
Hips: open
Bodice: approx 15" from neck to waist
Total length: approx 50" from shoulder to longest points of the hem 

Modern Sizing Equivalent: XXS-SML

Item#  DD4661

Reference Photos: (1-3) Resort 1979 Halston Runway.  /  (4) Vogue US December 1978.  /  (5) Sketches from Halston.  /  (6) Emmanuelle Chriqui in this dress at the 2022 Environmental Media Association Awards Gala, October 2022.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This dress is a stunning and rare piece of Halston history. Its twin walked the runway for the Spring 1973 show and you can see how spectacular this is on the body. This is classic Halston from his main label couture line. It is incredibly chic and sexy and one of two important Halston pieces I have for you today. This is an incredible example of his work from this time period. 

This is an amazing couture Halston dress that is a very rare and special find. It is entirely cut on the bias and utilizes his signature minimal seaming. Halston defined how woman dressed in the 1970s and these jersey dresses that he did were tremendously flattering to the body. It is also insanely sexy with the side cut outs that wrap all the way around the back leaving your back completely bare except for that one strap that goes across and hooks to close. It also eaves almost your entire stomach and your sides completely bare. The fabric is a beautiful black silk jersey that is heavy enough to be opaque and the dress is backed in a second attached layer of the same silk jersey. The use of this fabric allows the dress to move and drape fantastically. The neckline is high and scooped around the neck and it hooks to close at the back. Then this extends down into the front panel that has straps that come out from the sides to hook at the back. From there it creates a upward curve that meets the downward curve of the top of the skirt in the middle centre of your front bodice. I love the way that the panels curve and create these cut outs on either side of your middle. At the back the top of the skirt curves down and it can sit quite low depending on the shape of your body. It also leaves the top of your hip exposed at the sides and it is so sexy. The skirt flares out to the floor from there in a sleek column of silk jersey that flares outward as it nears the hem. It is spectacular. The jersey is cut on the bias and there are yards of it in the skirt. The second layer of silk jersey is attached all the way around the hem and having the second layer helps to soften out any bumps underneath the top layer and helps to make it very flattering to wear. This is a very rare example of Halston at the top of his game. It really showcases how he use the absolute minimal amount of seaming to create these absolutely stunning pieces. It is easy to see why his work is the subject of so many books and retrospective shows at museums worldwide. Excellent condition with a tiny note below.

The entire dress is made from two layers of the silk jersey. The dress hooks to close behind the neck and then again at the strap that wraps around the back. Hand finished. At some point the ham appears to have been let down but it's well finished along the edge so I've left it as isThere is darkening along the original edge and I see a small area on the front that looks a tiny bit darker than the rest of the dress, but it wouldn't photo well and I'm being pretty picky. If you find that the neck seems to sit high you could add a little extension to the back where it hooks to close if you needed a little more length and have it sit a little lower.

Neck:  14-15" around from hook to hook
Bust: The front halter should accommodate a variety of cup sizes. From end to end of where it hooks to close around the back it is 32 to 36 inches total in length
Opening of the skirt: 13-18" flat across from side seam to side seam
Total length: approx 67" from neck to hem 

Modern Sizing Equivalent: XS-MED

Item# DD4663

Reference Photo: Spring 1973 Halston Runway.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is a phenomenal dress from the resort 1982 Halston collection. This is from his main line and is done to Couture level. All of those fringes have been individually placed by hand and the movement that they create is spectacular. We found a photos of the dress on the runway for you to view she can see how it looks like on the body. And I also wanted to share some photos of two similar pieces from that same collection… A cardigan that was worn for the runway presentation and a custom piece that was done for Marisa Berenson that she wore to the Met Gala in 1981. The twin of the dress is also a part of the permanent collection of the met museum

I also included a video of the dress on the dress that is moving so you can see how fantastic the movement is on this dress. It has weight to it as all of those fringes are glass! Its amazing. I don't think any of the fringes are missing and it appears that the dress was worn very little, if at all. Excellent condition.

Unlined and closes with a back set zipper. All of the bead work is done by hand, and the dress appears to have been worn very little if at all. Tagged a vintage Halston 10

Bust: to 17" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Total length: 45" from top of the shoulder to front hem, 57" to the back

Reference Photos: (1-3) Resort 1982 Halston Runway.  /  (4) Marisa Berenson at the MET, December 8 1981. From the book "Halston: An American Original".  /  (5) Halston dress in The MET Collection.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This fantastic cape is from the Fall 1976 collection and it is the second one from this collection I have had in the shop this week. Several versions of it were produced that season including this and the longer and slightly more elaborate deep purple one I listed earlier this week. We have included photos from the runway pieces here and we also found an ad campaign shot with its twin and have included that for you to see. I personally have several versions of his capes myself and have worn them countless times. It is literally the perfect thing to pop over a dress at night time. It is a very versatile and so easy to wear piece.

The cape is in a very beautiful pale taupe combined with a black flat braided edging. The fabric is a high end wool that has a little bit of weight just due to the sheer amount of it in the cape but is still comfortable and easy-to-wear. This is one of those effortless pieces that is easy to make a part of your wardrobe. You just slip it over your shoulders and it drapes in place. A slightly oversized hood extends out from the neck and this added addition of the hood adds the perfect amount of detail and drama. A flat blue braided rope finished all the edges and I love the elaborate braided knots that closes it in place at the neck. A long fringed tassel sits on either side of that closure for added drama. I love the bit of movement these create when you move. There is a ton of fabric in the body of the cape so that when you move you get wonderful movement as it floats and billows around you. The cut is impeccable and it is a great piece of YSL's fashion history. Excellent condition

Unlined and drapes over the shoulder to wear with a knot closure at the neck as seen. The occasional graze to the surface. The easy open cut should allow fit just about any size

Length: 50" from shoulder to hem

Modern Sizing Equivalent: OSFA

Item# DD4658

Reference Photos: Fall 1976 Yves Saint Laurent.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

A version of this 1973 coat in a different pattern is featured in one of the Biba books and you can see the same shape through the shoulder and sleeve. I have had this for many years now and it is a very hard piece to let go of. It really showcases her love for all things Art Deco and the cut of this coat is phenomenal. 1973 marked the year that the Big Biba store opened in a seven-story building on Kensington High Street. Every floor had its own theme with floors and millions of people visited.

This coat is absolutely wonderful. It has those fabulous Art Deco lines that Barbara Hulanicki excelled at and that so many of the best of her pieces reference. It is made out of a woven wool that creates a giant houndstooth pattern. The neutral colour combination of the taupe and black is so easy to mix and match with everything. The coat has some weight to it but feels balanced once on the body. I love that you can see the actual weave of the wool. This adds extra texture and dimension to the pattern. The coat falls beautifully once on. It has a single large flat metal hook at the front and then swings open under that. There is no collar, and it simply falls into a V to that hook and then carries on to the hem. It is more fitted through the shoulders and then falls outwards with all of the volume created by the way the fabric has been cut and pieced together. The shoulders and sleeves are spectacular. Each shoulder is set with a high capped and rounded cut. This was something that Hulanicki became known for and pieces with this cut are among the most coveted. The sleeves are equally as fabulous. They are cut wide and full and then the ends flip over to create that huge 7" cuff. Hidden set pockets along one of the more inner vertical seams is the perfect finish. It is just exceptional and I think it is one of the best Biba coats I've ever personally seen. Excellent condition 

Fully lined in black silk. It has one hook to close at the front. Light padding in each shoulder. Pockets on each hip. I see some light water marks / marks over the inner lining. The open should fit a variety of sizes as long as the upper shoulders fit.

Sleeves: 21" and 14" around the upper arm
Shoulder: 17.5" flat across the exterior of the entire upper shoulder
Bust: to 18" flat across from side seam to side seam
Waist-hips: open
Length: 43" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4659

Reference Photo: Photo feature of the first Autumn collection at Big Biba in 1973 from the book “Welcome To Big Biba” by Steven Thomas and Alwyn W Turner. 

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This beautiful cape is from the Fall 1988 collection and several versions of it were shown on the runway that season. It was an integral piece to the direction of the show and we have included several photos from the runway. I personally have several versions of his capes myself and have worn them countless times. It is literally the perfect thing to pop over a dress at night time. It is a very versatile and easy-to-wear piece that is the perfect neutral that will work with everything.

The cape is in a very beautiful soft taupe and it is made from a high end wool that has a little bit of weight just due to the sheer amount of it in the cape but is still still comfortable and easy side to wear. The cape itself is effortless to make a part of your wardrobe. You just slip it over your shoulders and it drapes in place. The long and simple lines of it are perfect for a very minimalist feel while the sheer length and amount of fabric in it add all the drama of a cape. A stitched border highlights, the lines and seams of the coat and I love that the stitches are the perfect match to the colour so it really keeps within that minimalist feel. It has no collar and closes with one perfect colour matched button at the nape of the neck. There is a ton of fabric in the body of the cape so that when you move you get wonderful movement as it floats and billows around you. The cut is impeccable and it is a great piece of YSL's fashion history. Excellent condition

Unlined and has a button at the neck with no other closures. Tagged a 38 but there are no true defined shoulder seams and that combined with the open fit endure that will fit pretty much anyone. It even has an extra button sewn into the inner hem

Length: 57" from shoulder to hem

Modern Sizing Equivalent: OSFA

Item# DD4660

Reference Photos/Videos: Fall 1988 Yves Saint Laurent Runway. 

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

This is the actual dress that is in the book on Thea Porter's work and appears on page 111. The book notes that this dress has "Two prints based on Persian paintings, designed by Sheila Hudson, combined on the dress. One on the bodice with polo players, while on the sleeves and skirt is a single horseman with Persian style calligraphy at the hem of the skirt." We've also included photos of a jumpsuit with the same print that appeared at the July 1971 press view and several other versions of the dress from editorials from that time period. A Version of the dress was also part of the Thea Porter exhibit. This print was very well documented and Thea made a small series of pieces from this fabric. Each piece was made specifically so that it was cut to follow the print perfectly. This is the only one I've ever seen made in this length and in this style. Given her extremely limited run on certain pieces, it may in fact be the only one that exists. It is truly a very special piece.

The cut of this dress is exceptional. It has a small neat collar and the collar hooks at the front. It is then slit to the waist with one single hook just under the halfway point to hold it in place. This leaves a large slice of skin showing when it is on the body. The bodice is unlined and has a single layer of the printed silk cotton gauze which gives it a touch of transparency. Horsemen romp over the bodice with dogs following in pursuit through flowers and trees. The sleeves are phenomenal. Each is gathered into the top of the shoulder and then are a huge balloon sleeves under that. More horseman sit at the top of each sleeve and then you have the calligraphy mentioned above wrapping around the gathered cuffs. The waist is elastic and this make the dress extremely easy-to-wear and comfortable on the body. Under that, the skirt has an incredible amount of fabric and here again we see horsemen wrapping all the way around the dress and then the bottom displays more calligraphy, flowers all in those beautiful colours of blue. There is an incredible amount of fabric in the skirt so it moves beautifully once on the body. This is an exceptional and extremely rare example of her work. Excellent condition with a small note below

Unlined and slips onto wear. There are hook and eye at the top of the neck and then another just under the halfway point of the slit down the front. The waist is elastic. I see some darkening to the inside of the collar and slight darkening on the exterior collar near where it hooks to close at the neck. Please see the photo after the label shot.

Sleeves: 24.5"
Shoulders are really inset so no true seams
Bust: 15-17.5" flat across from side seam to side seam
Elastic waist: 10-16" flat across from side seam to side seam
Hips: open
Bodice: 14" from top of shoulder to waist
Total length: 42" from top of shoulder to hem with 1.5" turned under the hem

Modern Sizing Equivalent: XXS-SML

Item# DD4657

Reference Photos: (1) Model in Thea Porter, Flair Magazine, 1971.  /  (2) Marina Schiano in Thea Porter's Persian miniature inspired print dress. Photo by Bill King for Harper's Bazaar, March 1972.  /  (3)  Model in Thea Porter, Vogue UK, 1971.  /  (4) Thea Porter Press Viewing, July 1971.  /  (5) 1971 Thea Porter Cotton dress, Textile by Sheila Hudson, Collection of Susanne Deeken. Shown on display at the Thea Porter 70s Bohemian Chic Exhibit at the Fashion and Textile Museum.  /  (6-8) This dress shown in the book "Thea Porter: Bohemian Chic" by Laura McLaws Helms and Venetia Porter.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This pretty Chanel dress is very well documented. Not only was it's twin presented on the Spring 2011 Chanel runway for Look 48 that season, but it was featured in the ad campaign that year and Anna Wintour has worn hers several times. Lydia Hearst wore a shortened version of it and Sarah Chapman wore one. In Vogue's review of the show, Tim Blanks said in part; "Karl Lagerfeld gets a lot of his inspiration from dreams, but he didn't need any  help from them today, because he already had Last Year at Marienbad, that hallucinatory slice of avant-garde celluloid from the early sixties, on his mind. Some would say that, despite its storied reputation, it's the most boring movie ever made, but for Lagerfeld—and Chanel—it inspired a breathtakingly surreal setting: a monochrome ornamental garden, complete with fountains, which mirrored one of the film's most famous scenes."  It is so pretty and a very easy-to-wear dress

This dress is one of the prettiest I have seen from Chanel. The quality of the silk can only be appreciated when you have it in hand. The top is sleeveless and this makes it easy to wear on its own or under a  jacket or sweater. It is cut to skim over the body and has a beautiful romantic and feminine feel. The bodice is vertically pleated in these perfect little pleats that have top stitching which is a subtle extra little detail . I also love how the pleating makes the floral print feel more interesting to see. The waist is defined with band of matching silk but its cut is a touch more on the generous side. This gives it that easy feel to it that many Chanel pieces have. Pleats circle around the hips and then they open up from there so that when you move the skirt moves and floats around you. Last, but certainly not least, is the fact that the famous double C logo is worked all through the print of the dress making it impossible to not know that you are wearing Chanel. It has never been worn and still has its original tag and Chanel packet. Excellent condition

The dress is lined through the bodice in a black silk chiffon and the skirt is unlined. It closes with a hidden set back zipper and a Chanel logo button at the back of the neck. It is tagged a Chanel 38 and has its original tag and Chanel packet. Current Chanel day dresses start at $5500 and range up to $8500USD + for similar pieces.

Bust: 16-18" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 12" from top of shoulder to top of band at the waist
Total length: 42" from top of shoulder to hem 

Modern Sizing Equivalent: XS-MED

Item# DD4497

Reference Photos/Video: (1-2) Spring 2011 Chanel, Look 48, Model Lisanne De Jong.  /  (3) Spring 2011 Chanel Ad Campaign. Photographed by Karl Lagerfeld.  /  (4-5) Anna Wintour in Chanel at the 2011 Tribeca Film Festival.  /  (6) Anna Wintour, June 2011.  /  (7) Anna Wintour attending the Fall 2011 Chanel Fashion Show.  /  (8) Lydia Hearst attends CHANEL and Liz Goldwyn Celebrate "Chanel: Her Life" By Justine Picardie, September 2011.  /  (9) Sarah Chapman in Chanel, 2015.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

Jean Paul Gaultier's illustrious career spans decades. His first show was in 1976 and his avant garde designs quickly gained him the reputation of being fashion's 'l'enfant terrible'. His designs mixed cultures with abandon, gender norms were blurred through his pieces and the body was presented encased in ways unimaginable prior to his brilliant vision. In 1997 he entered the sanctified world of Haute Couture and for just over two decades produced stunning work cumulating with his final show for Spring 2020. His pieces of couture rarely come to market and I am very pleased to have this unbelievably beautiful ensemble. This was look 33 for the Fall 2001 Haute Couture presentation entitled 'China and Spain'. For this season Gaultier combined elements from those two countries in a beautiful homage. Pieces from this collection were featured in the The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk exhibit of 2013 and to have a piece available for purchase is almost as rare as being able to have bought it as a couture client in the first place. After the show Gaultier said of this collection “I wanted to do something more sensual than sexy. The idea was to bring together everything that you imagine when you think of China and Spain—theater, movement, color, history and richness.” The twin of this look was worn by Alec Wek on the runway with a huge red bib neckpiece over the top. We believe that this may have been the only piece ever produced beyond the runway set. 

It is extraordinary to think that Jean Paul Gaultier has only produced a Haute Couture line for two short decades given his long career. Like most Haute Couture, this is a set that only truly comes to life when it is on an actual body and the reference photos and video show you just how amazing it is on. The pants are a work of art. They are heavy and densely beaded with glass tube beads in tightly spaced rows to cover every inch of the pants. Worked in and among the sequins are brilliantly coloured hand embroidered flowers. These trail over the pants and wrap around the legs. The work to place each of these beads individually and do the embroidery would have taken hundreds of hours to complete. They are cut with a flat front and straight leg that gets a touch wider by the hem. When you the light catches the beads and the colours of the embroidered flowers is fantastic. The top is made out of a fine black silk jersey. It closes with a complex mix of a hidden zipper front and two separate areas of silk covered snaps and hooks. It wraps around the body and drapes down one side. The collar is high and you can see the nod to China within its shape. Each sleeve is incredibly long and they are meant to be pushed up to create a row of rounded gathers forming around the entire lower part of the arm. I love the long trailing panel of the silk jersey set on one hip. It falls over that pant on that side to the floor. It is meant to have a nod to the trade de luces cape, which is part of the traditional clothing that Spanish bullfighters wear. It is a brilliant piece of Haute Couture and is everything you want to see in a Haute Couture piece. It appears to have never been worn or worn very little. Excellent condition. 

The upper portion of the top is lined in silk and it zips to close at the inside front. A jersey panel wraps over this and closes with a series of silk covered snaps and hook & eye along the side near the neck. More hook & eye sits along the waist and hip area on that same side. The pants are fully lined in a silk and close with a hand set zipper. Made by hand to Haute Couture standards. Proper Couture tags on both pieces.

Top
Sleeves: 45.5" and push up to wear
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Interior waist: to 13" flat across from side seam to side seam, inner waist stay hooks at 14"
Hips: open
Length: 29" from neck to shortest point of the front side, 37" to longest point of the back
Hip swag: 47" from waist to longest point of the hem

Pant
Waist: 13" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 42" from top of bodice to waist
Inseam: 30" from inner seam to hem

Modern Sizing Equivalent: SML-MED

Item# DD3581

Reference Photos/Video: Alek Wek for Fall 2001 Jean Paul Gaultier Haute Couture Collection.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

I have two of these in the shop today and this one is the smaller one that is a FR38/US6 in size. The twin of this dress in a different colour walked the runway as Look 47 for the 2018 resort season. The show was held in the remote Upper Las Virgenes Canyon Open Space Preserve in Calabasas, California and Rihanna, Charlize Theron and Solange Knowles were there alongside the fashion pack. The inspiration for the show came from the archives and Chiuri said 'she went to the archives, where she came across the house founder’s Lascaux collection of 1951, inspired by the ancient cave paintings discovered in southwestern France a decade earlier.' The twin of it with the front tacked closed a bit was also worn by Kate Mara in 2017 which shows you how it looks when you do close the plunge a bit. It is also interesting because a very similar dress was shown for the Resort 2008 collection and you can see that progression from the Dior archives to this piece. 

This is a dress that is insanely sexy and bare feeling. I love its bright joyful yellow colour and minimal lines. The dress is a made out of a feather light silk chiffon that tops inner layers of silk tulle and silk. This fabric combination makes it very light and easy to wear and it feels like a dream once on the body. The lightness of it lets it move and float around you beautifully as you walk and move. The front plunges low to the seam at the slightly empire set to the waist. It crosses over itself a touch at the front and the seam under the bust is detailed with a tiny little ruffle in the same silk. The shoulders twist as they curve over your shoulders and then it falls into another deep V at the back. The panels there sit a wider apart where it meets the waist so you get a more open back feel. The sides are equally as dramatic as the plunge in long Vs to the waist. Under that the skirt flows to the floor and widens out as it nears the hem. There is a tremendous amount of fabric in the skirt and this lets the skirt billow out around you as you move. The top layer of the skirt is a silk chiffon that has a touch of texture to it. There are two layers of silk tulle under that and a final inner layer of silk that acts as the lining. The effect all of these layers have once it is on and moving around you is fantastic. It is fabulous on the body. It appears to have been worn very little if at all. Excellent condition

Lined as described above and closes with a back hidden set zipper. Tagged a FR38, UK10, IT42, US6.

Bust: no true side seams but each triangle will cover 7-8" across
Waist: 13.5" flat across from side seam to side seam
Innermost hips: to 21" flat across from side seam to side seam, the outer layers are full and open
Bodice: 14" from top of shoulder to waist
Total length: 57" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4655

Reference Photos/Video: (1-2) Resort 2018 Christian Dior Runway, Look 47. Model Cara Taylor.  /  (3-4) Kate Mara in Dior at the 2017 Guggenheim International Gala.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

I have two of these in the shop today and this one is the larger one and it is a FR42/US10 in size. The twin of this dress in a different colour walked the runway as Look 47 for the 2018 resort season. The show was held in the remote Upper Las Virgenes Canyon Open Space Preserve in Calabasas, California and Rihanna, Charlize Theron and Solange Knowles were there alongside the fashion pack. The inspiration for the show came from the archives and Chiuri said 'she went to the archives, where she came across the house founder’s Lascaux collection of 1951, inspired by the ancient cave paintings discovered in southwestern France a decade earlier.' The twin of it with the front tacked closed a bit was also worn by Kate Mara in 2017 which shows you how it looks when you do close the plunge a bit. It is also interesting because a very similar dress was shown for the Resort 2008 collection and you can see that progression from the Dior archives to this piece. 

This is a dress that is insanely sexy and bare feeling. I love its bright joyful yellow colour and minimal lines. The dress is a made out of a feather light silk chiffon that tops inner layers of silk tulle and silk. This fabric combination makes it very light and easy to wear and it feels like a dream once on the body. The lightness of it lets it move and float around you beautifully as you walk and move. The front plunges low to the seam at the slightly empire set to the waist. It crosses over itself a touch at the front and the seam under the bust is detailed with a tiny little ruffle in the same silk. The shoulders twist as they curve over your shoulders and then it falls into another deep V at the back. The panels there sit a wider apart where it meets the waist so you get a more open back feel. The sides are equally as dramatic as the plunge in long Vs to the waist. Under that the skirt flows to the floor and widens out as it nears the hem. There is a tremendous amount of fabric in the skirt and this lets the skirt billow out around you as you move. The top layer of the skirt is a silk chiffon that has a touch of texture to it. There are two layers of silk tulle under that and a final inner layer of silk that acts as the lining. The effect all of these layers have once it is on and moving around you is fantastic. It is fabulous on the body. It appears to have been worn very little if at all. Excellent condition

Lined as described above and closes with a back hidden set zipper. Tagged a FR42, UK14, IT46, US10. A tiny pinhole in the lining of the bust. The easy cut should work on a range of sizes.

Bust: no true side seams but each triangle will cover 7-9" across
Waist: 15" flat across from side seam to side seam
Innermost hips: to 24" flat across from side seam to side seam, the outer layers are full and open
Bodice: 14" from top of shoulder to waist
Total length: 56" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4653

Reference Photos/Video: (1-2) Resort 2018 Christian Dior Runway, Look 47. Model Cara Taylor.  /  (3-4) Kate Mara in Dior at the 2017 Guggenheim International Gala.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The Spring 2005 Prada show is one of the label's most iconic and recognizable of the Prada collections. I have had a one shoulder dress in the same fabric with the same beading from the show in the past and I was excited to have this jacket come in. The twin of the.jacket was shown in blue for the runway presentation and a longer, more coat feeling version in this same colour was also presented. The blue version was featured in the ad campaign that year. I love that you can see how versatile this jacket is and how you can change the look of it by belting it.

These embellished pieces were some of my personal favourites presented that season. The.colour of this jacket is amazing and when Vogue reviewed the show, they referred to it as being 'a brown-ochre-rust colour' and that perfectly describes it. The silk shantung that it is made out of has a slight metallic finish that adds a very subtle touch of glamour to the jacket. The cut of the jacket is simple. It has no collar and opens down the front with hidden hook and eye if you wish to close it. The shoulders are soft and slightly slope down which gives it an easy feel. The sleeves are long and the cut through the body is meant to just skim over you and it has a slight box shape. Starting around the collar and going down the front and curving around partway to the back is a band of heavily embellishments that mix large paillettes, large beads and colourful crystals. These are all set on a lighter coloured silk ribbon with a black silk netting behind the various clusters. Bands of that same elaborate detailing run around each cuff. We took lots of close-ups so you can see just how beautiful the work is . It is very well made and this is classically beautiful Prada. Excellent condition

Fully lined in a brown silk and closes down the front with hidden set hook and eye. Tagged a modern Prada 40

Sleeves: 21" and 11.75" around the upper arm
Shoulders: 15"
Bust: 17" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 20.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4652

Reference Photos/Videos: (1-2) Spring 2005 Prada, Look 44. Model Kristen McMenamy.  /  (2-3) Spring 2005 Prada, Look 46. Model Jessica Stam.  /  (4) Karen Elson for Spring 2005 Prada Ad Campaign.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This jacket is extremely well documented. Its twin walked the Spring 2011 Chanel runway for Look 48. It was featured in the ad campaign that year and Anna Wintour owns one. In Vogue's review of the show, Tim Blanks said in part; "Karl Lagerfeld gets a lot of his inspiration from dreams, but he didn't need any  help from them today, because he already had Last Year at Marienbad, that hallucinatory slice of avant-garde celluloid from the early sixties, on his mind. Some would say that, despite its storied reputation, it's the most boring movie ever made, but for Lagerfeld—and Chanel—it inspired a breathtakingly surreal setting: a monochrome ornamental garden, complete with fountains, which mirrored one of the film's most famous scenes." Karl himself said that new fabrics were one of his touchstones for the collection, but "he distressed them with selvedge, ragged edges, and a lattice of perforations. That chaotic quality persisted in dégradé chiffon florals or a monochrome tweed patchwork.... It loaned an enthralling urgency, and the fierce young spirit in the collection could be read as a swingeing riposte to the cutesiness that sometimes overtakes Chanel's ready-to-wear." The jacket is fantastic.

This amazing little jacket is made from a butter soft black leather. I love how Karl used  that floral printed silk to weave through the open perforated cut outs on the leather. This creates a gorgeous lattice effect that adds a wonderful and unusual detail to the jacket. The collar is done with the same technique and then he ran it down the front of the jacket in a wide panel. The most dramatic usage of it is how he has replaced the entire lower parts of the sleeves with this silk and leather detailing. This lets you see glimpses of your bare arms through the cut outs or see what you choose to wear underneath the jacket. More of that silk is wrapped all the way around the hem as well. The impact of the pink and ivory silk against the black is so pretty and softens the jacket for a bit of a romantic and whimsical feel. The jacket is beautifully cut with a notched collar and long straight sleeves. It skims over the body with the waist brought in just a touch for shape. It is beautifully tailored and finished. It closes at the front with a series of large flat metal hook & eye. A simple zipped pockets sits on each hip and each one has a perfect little double Cs on the zipper pull. Excellent condition

The jacket hooks to close at the front with a series of flat metal hook & eye. It is lined in a black Chanel logo embossed silk. Tagged a modern Chanel 40

Sleeves: 25" and 14" around the upper arm
Shoulders: 14.5"
Bust: 17.5" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 26" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4650

Reference Photos/Video: (1-2) Spring 2011 Chanel, Look 48, Model Lisanne De Jong.  /  (3) Spring 2011 Chanel Ad Campaign. Photographed by Karl Lagerfeld.  /  (4-5) Anna Wintour in Chanel at the 2011 Tribeca Film Festival.  /  (6) Anna Wintour attending the Fall 2011 Chanel Fashion Show. 

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This fantastic little jumpsuit is from the 2021 Fendi holiday special capsule collection. This was the second collection released by Kim Jones for Fendi and it built on what we saw for his debut couture collection for Fall 2021. The twin of the jumpsuit was used for the advertising campaign where it was featured prominently and I love that this gives you the chance to see it on the body. It is fantastic and an amazing piece of the brand recent history.

The jumpsuit has never been worn and it comes with its original tags. It is made from a stunning gold metallic lurex that catches the light from every angle. It is the perfect piece to just slip on and go. The bodice is scooped at the neck and the neckline is detailed with a thick twisted piping in the same fabric. This scoops up and around the sides of the neck and down the back. The fabric is gathered into that piping on both the front and back and this creates little gathers that skim over to the waist. Between the back of the neck and the waist it is an open slit so you get a tiny flash of skin. The waist is seamed and detailed with a black piping. It is cut more on the loose and easy side though so feels great on the body. From there the jumpsuit skims over the hips and then the legs are cut a touch fuller so that they blouse out a bit over the elastic cuff that sits at the end of each leg. They have more volume at the top of the leg and then they narrow down just slightly as they reach the cuffs. Black piping runs down the outside of each leg for a nod to a tuxedo pant. I love that there are pockets on each hip. The fabric is a bright gold that catches the light from every angle. It is a piece that is incredibly easy to wear. It can go from entertaining at home with flats to full on evening glamour. Adding layers under or over it can change up its look completely. It is just amazing. Excellent condition

Unlined and snaps at the back of the neck and then has a hidden set zipper set below the waist. Tagged a modern Fendi 38. original hang tags attached

Bust: 16-19" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 15.5" from top of the shoulder to waist
Pant: 41" from waist to hem
Inseam: 28.5"
Rise: 32 from top of the shoulder to inner seam
Gusset: 16" from the waist to inner seam

Modern Sizing Equivalent: XS-SML

Item# DD4648

Reference Photos/Video: Fendi Roma 2021 Holiday Collection Ad Campaign.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

"It's a very happy collection," said a relaxed Oscar de la Renta as he greeted guests filing into 583 Park Avenue, a venue that had been transformed by Stefan Beckman into a sort of minty-fresh aqua and white garden." is how the Vogue review of this collection started. They went on to say that "it was evening that was at the heart of this show. There was everything from a chocolate-box assortment of L.B.D.'s to sleek hammered-silk columns to a finale of massive, meringue like ball gowns." This is one of those gowns mentioned and the twin of this gorgeous dress walked the runway for Look 59 as part of the closing looks of the show. It is so pretty and has fantastic movement. I love it.

The dress is made of a washed floral print silk taffeta that hold the colours beautifully. The print is an explosion of flowers that cover the entire dress from the top of the bodice to the bottom of the skirt. It is like wearing a full field of flowers and that dreamy romantic washed watercolour effect makes it even prettier. The bodice is strapless and is cut to be fitted to the body and hug you right down to the waist. Under the waist it the skirt that explodes out to the floor in a cascade of silk. There are yards and yards of silk that have gone into the construction of that skirt. It is gathered in and around the waist in a series of tiny pleats and then these open out to create that billowing skirt that you see. At the hem it is caught up and under itself to give it volume. Inside the skirt you can feel that there has been added layers of tulle all around the edge to hold the volume and create shape. The skirt is cut slightly above the floor at the front and then it is cut longer at the back so that you get a beautiful sweeping feel behind you. The lightness of the silk and the way that it has been cut combined with the tulle inside creates this stunning billowing effect when you move and walk. The silk on the bodice has been tightly gathered into tiny little soft pleats that run all the way around to the back. I love how he has left a ruffle of fabric on either side of the zipper at the back. This hides the zipper and also adds that extra little detail there that is just lovely to see. It is that perfect mix of elegance, femininity, romance and fantasy that Oscar excelled at. Excellent condition

Fully lined in a pale orange silk and has an attached inner corset as shown that is cupped and lightly boned. The inner corset zips to close and has a hooked waist stay and then the outer dress zips to close over that. Tagged a recent Oscar de la Renta 10

Bust:to 17-18" flat across from side seam to side seam with a A-B cup
Waist: 15.5" flat across from side seam to side seam
Hips: open
Bodice: 10.5" from top of bodice to waist seam
Total length: 47" from top of bodice to shortest point of the front.hem, 58" to the back hem

Modern Sizing Equivalent: MED-LRG

Item# DD4646

Reference Photos/Video: Resort 2009 Oscar de la Renta, Look 59. Model: Han Jin.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The twin of the dress and the twin of the jacket both walked the runway in separate looks and then the set together was featured in the ad campaign that year. I love that it this shows you both the provenance of the set and also the versatility of it. You can mix and match the pieces with things from your existing wardrobe or wear them together for the full impact.

This set is one of those pieces that just stops you in your tracks. It is insanely cut and tailored to a master level. Both pieces are made from a rich purple silk that has a tiny ribbed effect to it and a slightly heavier weight. Which is how it holds its shape. It is then detailed with the same silk but in a black and white to make the design that you see. The colour in person are even better than how it photoed and it is a richer feeling purple. The lighting has added a touch of a pink here and there to the photos but in person there is no change of colour at all. The jacket is tailored with a sleek cut that has some fullness through the upper body. There is no collar and the neckline is edged with that fabulous black and white silk. It is all stitched into place and the white parts have an added white sol cording that follows the curves of the design. The pattern is set in an unusual curving design around the neck and then that continues all the way down the front of the jacket. From there it wraps around the hem of the jacket to the back. The shoulders are lightly padded for shape and the sleeves are set into the jacket with soft gathers to add a touch of a capped feel. Each sleeve is cut slightly wider at the top near the shoulder and is cut on a slight curve to follow the arm. As each sleeve narrows down to its hem you see that same B&W pattern detailing you see on the front of the jacket. The dress is simple in shape but has its own wow factor. Straps curve up and over each shoulder. The bodice is equally simple and skims down to the low waist seam. That same gorgeous detail with the black and white wraps around the top edge all the way around to the back. The skirt is gathered into the low set seam for volume below. Inside there is a thick banding of fabric all the way around you  that follows that seam and this gives the skirt support to sit up and away from the hip to create that little shelf effect that you see. It is amazing. The skirt is full and that same edging runs one last time around the hem. Hidden pockets sit on each hip. This is a particularly wonderful example of how he combined strong tailoring with full on glamour and extraordinary detailing. Excellent condition with a minor note below

Both pieces are lined in a purple silk. The jacket closes with the six buttons at the front. The dress zips to close at the side. Pockets on the each hip of the dress. Light padding in the shoulders. A tiny darkening to the fabric here and there but so minor. The jacket is tagged a vintage YSL 36 and the dress a 40.

Jacket
Sleeves: 22" and 14" around the upper arm
Slightly inset shoulders: 14"
Bust: to 17" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Bottom hem: to 17.5" flat across from side seam to side seam
Length: 19" from neck to hem

Dress
Bust: to 16" flat across from side seam to side seam
Natural waist: to 15" flat across from side seam to side seam
Seam at top of hip: 17" flat across from side seam to side seam
Bodice: 18" from top of the shoulder to seam at the top of the hip
Total length: 40" from top of the shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4643

Reference Photos: Spring 1980 Yves Saint Laurent.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The twin of this dress walked the Spring 2012 runway for Look 48. It is also the actual dress that Momona Tamada recently wore for her Airbender Premiere. I love having these photos for you to see how fantastic it is on an actual body. On the runway it was styled with a belt which was sold separately and if you preferred that look it would be easy to add a belt in any colour and change the look of the dress. I think it looks equally as gorgeous without one though which is how Momona wore it.

This is a gorgeous dress that has that intricate construction that Westwood is so known for. The bodice especially shows that eye for detail that she has. It closes at the front with a hidden set side seam. Once you open that up open you see the beautiful interior construction.  There is one of her fully built in intricate corsets inside and it has stretch netting and elastic at the sides so that it fits the body perfectly once on. That stretch allows it some give once it's on the body and is what makes her pieces so comfortable to wear despite their heavily boned structuring. There is an inner waist stay as well and this keeps you perfectly in place inside the dress. The extensive boning in the corset pushes the breast up and brings the waist in. On the outside of the bodice there is a pointed peak on one side that you could wear folded down and tucked for a more true strapless look as we have shot it here or up and out depending on your preference. The back dips down and is gathered down the centre to expose the back of the corset a touch. It skims over the waist and flares out to the top of the hips. The skirt is inset in these beautiful curving scalloped details and then the skirt itself is made of layers of red tulle. Each tier has two layers of tulle and there are three tiers altogether that are all cut on a pretty curve. The back hem is cut longer so that it trails out behind you a bit. It is fantastically beautiful and you can see how fantastic it is on the body. I love this dress. Great condition with some small notes below.

The dress is fully lined in a red silk and the inner corset zips to close. The corset has side elastic and stretch netting so that it has some give and stretch once on the body. An inner waist stay hooks to close and then the dress zips over that with a hidden set zipper fallowing a side seam. I see some snags in the tulle on the front of the dress especially near the zipper and there has been a couple of tiny repairs to the tulle. This was worn on the red carpet exactly as is so you can see it is fine once on. The bottom hem is raw cut and there is perhaps a tiny tear in the netting here and there. With the raw hem meant to look a bit deconstructed this actually just adds to the beauty of the dress. The inner corset has been stitched in a touch on each side and I've left it as is. These could be un-stitched if needed. Please see the photo after the label shot. Tagged a modern Westwood UK8, US4, FR36, IT38.

Bust: 13-15, maybe 16" flat across from side seam to side seam
Waist: 10-12.5" flat across from side seam to side seam
Hips: open
Total length: 49" from top of bodice to front hem, 57" to the back hem

Modern Sizing Equivalent: XXS-XS

Item# DD4640

Reference Photos/Video: (1-5) Spring 2012 Vivienne Westwood, Look 48.  /  (6-8) Momona Tamada in this dress at the "Avatar: The Last Airbender" Premiere, Feb 2024.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

I acquired this dress many years ago from the estate of a model who worked for Dior in the 1970s and was often paid in clothing. Somewhere along the way this one lost it's Dior tag and only has the hand written model tag. We did source the editorial photo of it from 1977 which I have included here so you can get an idea of how great it is on the body. It is beautifully made to Haute Couture standards and a gorgeous little dress that is easy to wear.

The dress is made from a red silk jersey that has a wonderful drape once on the body. The cut is loose and easy and meant to skim over the body. It is so easy to wear and flattering. If you did want more shape you could easily add a belt to get an entirely different look. It has a little cap sleeves and the shoulders are soft. The neckline has a bit of a draped cowl feel to it at the front and this is achieved with a triangle of fabric set by hand at the neckline. The bodice is cut to skim over you and the low slung waist is seamed but has a generous cut. It sits more on the top of the hips so that the top blouses over it a bit. You could also wear it straighter and longer depending on how it sits on you. The skirt falls from there and widen out a touch as it nears the hem. There are pockets on each hip for the perfect slouchy cool feel. At the back it buttons to close with matching silk jersey covered buttons and then zips under that. The skirt is in set through that easy cut waist with tiny gathers so you have a little bit of extra fullness. It is just one of those perfectly easy to wear, slip on and go, dresses and the fact that it is couture and completely made by hand is just added bonus. Great overall condition with small notes below.

Unlined and closes with the buttons at the back. It has a numbered tag in the interior. There is a scattering of light marks here and there and a light graze to the fabric. A couple of lighter areas on the fabric on the back and across the top of the shoulders where the colour has faded a touch. All these are apparent when laid out flat, but once on most disappear or are forgivable. Please see the photo after the label shot

Shoulders: no defined seam
Bust: 18-22" flat across from side seam to side seam
Waist: 16-17" flat across from side seam to side seam
Hips: open
Bodice: 21" from top of the shoulder to top of the band at the waist
Total length: 55" from top of the shoulder to hem with 2" turned under

Modern Sizing Equivalent: SML-MED

Item# DD4639

Reference Photo: Christian Dior dress, L'officiel de la mode n°630, 1977

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This dress has come to me direct from one of my avid Couture and Chanel collectors. It is an exceptional piece for the collector and is extremely special. This dress is from the Chanel 2010 Cruise show that was set on the boardwalk of the Venice Lido at dusk. "Coco at Lido" is how Karl Lagerfeld described this cruise collection. Vogue described the scene as Karl "reinstating the long-lost leisurely sensation of a fashion show as an exceptional one-off experience. The 350 guests reclining on sun beds in the famous white tented cabanas certainly felt privileged to be witnessing the extreme glamour of the designer's learned-but-light invocation of an important part of Coco Chanel's biography." The location was "one of Coco Chanel's favourite summer haunts—she visited Venice for almost ten years beginning in 1919 and met Diaghilev here". The inspiration was the twenties and thirties and you can see that in the lines of this dress. The twin of this dress walked the runway for Look 33 with a jacket over it that was sold separately in the shops. It is so easy to wear and just gorgeous on the body. 

The dress is a work of art and the silk netting used to make it is some of the prettiest I have seen. The fabric is very light and is notoriously difficult to work with and yet it all falls into place perfectly once on the body. It is just spectacular. The dress is covered in the most beautiful floral print in dusky pastels done in a way that makes then look like they have been hand painted directly onto the fabric. The base colour is a deep blue-purple and the colour combination of everything together is stunning. It is sleeveless and the upper portion of the bodice is a single layer of the silk so that it has a touch of transparency. This gives it a very feminine feel and gives it that nod to the thirties. It skims over the bodice and down to the waist where a wide soft panel of the same fabric goes around your waist and hooks into place at the back. This eliminates the seam there by covering it and softens the dress. The dress falls from there in a swoop of that feather light silk net to a the hem that widens out as it near the floor. The back feels slightly fuller than the front so you get this pretty billowing effect around you when you walk. This is a signature Karl silhouette to give the dress as much movement as possible and you can see that in the reference photos here. The skirt of the dress is constructed from a single layer of the printed silk and then it has a solid deep blue silk layer underneath. The movement this dress has once on is incredible. Last, but certainly not least, is the fact that the famous double C logo is worked all through the print of the dress making it impossible to not know that you are wearing Chanel. The dress appears to have been worn very little if at all. Excellent condition

The dress is lined with the same fabric through the bodice and then a layer of a deep blue silk as described above acts as the lining through the skirt. It closes at the back with hidden set zipper and has a hook and eye at the back of the neck with a keyhole between the two. Current Chanel silk chiffon dresses with this level of detailing are retailing for $9000USD and over. Tagged a modern Chanel 42

Bust: to 18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Inner hips: to 25" flat across from side seam to side seam
Bodice: 15.5" from top of shoulder to seam under the bust
Total Length: 60" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4638

Reference Photos/Video: Resort 2010 Chanel, Look 33.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This fantastic cape is from the Fall 1976 collection and several versions of it were produced that season including this deep purple one. We have included photos from the runway pieces here and we also found an ad campaign shot with its twin in what looks to be a lighter colour and included that for you to see as well. I personally have several versions of his capes myself and have worn them countless times. It is literally the perfect thing to pop over a dress at night time. It is a very versatile and so easy to wear piece.

The cape is in a very beautiful deep purple combined with a more maroon coloured edging. The fabric is a high end wool that has a little bit of weight just due to the sheer amount of it in the cape but is still comfortable and easy-to-wear. This is one of those effortless pieces that is easy to make a part of your wardrobe. You just slip it over your shoulders and it drapes in place. A slightly oversized hood extends out from the neck and this added addition of the hood adds the perfect amount of detail and drama. A flat blue braided rope finished all the edges and I love the elaborate braided knot that closes it in place at the neck. A long fringed tassel sits on either side of that closure for added drama and an even longer tassel dangles down from the hood at the back. I love the bit of movement these create when you move. There is a ton of fabric in the body of the cape so that when you move you get wonderful movement as it floats and billows around you. The cut is impeccable and it is a great piece of YSL's fashion history. Excellent condition with a small note below

Unlined and drapes over the shoulder to wear with a knot closure at the neck as seen. The occasional graze to the surface. The easy open cut should allow fit just about any size

Length: 58" from shoulder to hem

Modern Sizing Equivalent: OSFA

Item# DD4637

Reference Photos: Fall 1976 Yves Saint Laurent.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This dress is from the Cruise 2006 collection and it is extraordinary. For this show Karl Lagerfeld invited his guess to the Place de la Concorde. He had a fleet of green vintage buses adorned with Chanel logos and these transported his guests on a ride through Paris. Models paraded down the aisle among the passengers and at scheduled stops they would switch buses so that everyone saw the entire collection. Karl said at the time that he 'used to love riding the bus in Paris as a school boy' and that was the inspiration behind the idea of the show. Lagerfeld wanted the collection to be lighthearted and easy and to be a tribute to Paris. I love it.

The dress is feather light which almost feels like a surprise when you pick it up given the sheer amount of detailing on it. It is covered in hundreds of large iridescent disc sequins that appear to be the thinnest possible slices that have been painted to have that unusual finish. They are also feather light and the dress feels like you are wearing a cloud of silk once it is on the body. The silk tulle netting base is so light and so fine that it feels like magic. The tulle is a deep blue colour that is almost a black. The dress is made out of two layers of the tulle with an inner silk chiffon layer under those. It falls from the shoulders with straps that curve up and over the shoulders. It is scooped at the front and at the back. At the waist a panel of the sequins are placed horizontally and stacked so that they overlap all around your waist. That same denser sequin application runs around the neckline, the straps and also around each arm. It skims over the bust, past the waist and then skims over the hips. from there, it falls to the floor, widening out as it reaches the hem. In the lower part of the skirt there are built in long triangle shaped insets of the tulle that are set all the way around the skirt. I love this nod to the old Hollywood dresses of the 1930s. The insets also give the lower part of the dress tremendous movement and volume when you move. The muted sequins that cover the dress are striking. The colours of them range from pastel gold to soft pinks. They cover the entire upper part of the dress bodice and trail down onto the skirt between the added panels. The dress came with a matching shawl made of the same silk tulle. Its huge size lets you wear it almost like a cape over your shoulders. It is so light in weight and fine that you could also wrap it around your neck, use it as a head scarf, or as a turban. This is a phenomenal piece of Chanel. It is even more incredible in person. Excellent condition

Fully lined in a blue silk chiffon and it closes with a back hidden set zipper. It appears to have been worn very little if at all.  The bias cut should allow it to fit a bit of range in sizes. Current Chanel silk chiffon dresses with this level of added embellishments and detailing are retailing for $15000USD and over. Tagged a Chanel 40

Bust: 16-18" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 60" from top of shoulder to hem
Scarf: 68" x 74"

Modern Sizing Equivalent: SML-MED

Item# DD4385

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This fantastic Christian Dior by John Galliano set was recently worn by Alix Earle and I love that I have photos and video of it on so that you can see just how amazing it is on the body. These laced up pieces were integral to the Dior look during this time period and we included pics of Elizabeth Hurley in another piece that has the same lacing detail on the skirt and back from the same collection for you to see. This is an exceptional set. It is amazing on the body as you can see in the photos here of Alix wearing it. I also have a video on my instagram that shows Alix getting ready in this that night.

I love that this is made up of the two separate pieces. It gives it that added versatility of being able to be worn together so that it feels like you are wearing a dress, or to be able to mix and match the pieces with other existing things in your wardrobe. Both the top and the skirt are made from two layers of a bias cut black silk chiffon that have been stacked on top of each other to make it opaque enough to wear. The top slips on to wear and then you adjust the lacing at the front and the back for the perfect fit on you. It falls from the halter neckline, and I love the little silk chiffon ruffle that follows the edge of that neckline. The actual border of the neckline is a cotton strap that has metal grommets worked into it and then the laces all go through the grommets to adjust and tighten the fit on you. Both the strap edging and the laces have a slight faded feel that is purposeful. It is cut so that it flares out slightly at the bottom and over the top of the skirt below. You could also tuck it into the skirt and belt it if you wished. The skirt is meant to sit a little lower on the hip and the bias cut allows it to swirl around you. On the skirt the laces start at the back and wrap around the hips and then curve down the front. Long ties dangle from the bottom of where they lace up and there is that same ruffled silk chiffon detail that follows the design. Once past where the paces stop the lower skirt opens up and those ruffles run to the very bottom of the skirt. The skirt is meant to curve around the hips and then flares out dramatically for the lower portion of the skirt. This creates incredible movement as you move and is truly fantastic. It is a really exceptional set extremely sexy on the body. I love it. Excellent condition

Both pieces are a double layer of the same black bias cut silk chiffon. The top adjusts with the laces and the skirt closes with a zipper that is hidden along the edge of the angled seam towards one side at the back. The top is tagged a US10, GB14, FR42 and the skirt has no size tag. The bias cut gives it lots of movement and will allow it to fit a range of sizes. We have given the comfortable range of the pieces below.

Top
Bust: Approx 15-17" flat across from side seam to side seam and you can go up or down a bit from there by adjusting the laces
Bottom hem: to 18" flat across from side seam to side seam
Length: 21.5" from neck to hem

Skirt
Waist: 13-14" flat across from side seam to side seam
Hips: 15-18" flat across from side seam to side seam
Length: 45" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD4623

Reference Photos: (1-4) Alix Earle, in this set, at Michael Rubin's Fanatics Super Bowl Party, February 2024.  /  (5-6) Elizabeth Hurley in Dior at "Fashion Rocks", October 2003.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This dress is extraordinary. It is from the Winter 1954 Haute Couture collection and is impeccable. A more elaborate black version of the dress is held in The Metropolitan Museum's permanent archives and we found photos of a white version from one of the Balenciaga books. Balenciaga designed 193 looks for the Winter 1954 show and there was a full series of evening pieces that featured the silk lace netting embroidered with the dots that you see on the bodice of this dress. Cristobal Balenciaga was known for his fine tailoring and sculptural approach to design and the restrained and refined lines of this dress showcase that aesthetic. Dior declared Balenciaga "the Master of us all" and Balenciaga's impact on fashion cannot be underestimated. This is an extraordinary rare and wonderful find.

This dress is a beauty. The photos do not do it full justice and it is only when you see it in person that you realize just how beautiful it is and the workmanship that has gone into the dress. The body of the dress is that fine 1950s silk that you seemed to only see in garments from this time period. I think it is some of the best silk that was ever made. It has a slight sheen to the finish and it has a touch of weight to it that allows it to hold the shape that Cristobal intended while still feeling light and beautiful once on the body. The bodice is strapless and it is meant to be fitted. It has its own built-in corset that is lightly boned and shaped to hold the dress in place around you. The inner corset is made out of two layers of silk. The inner corset is made out of a slightly lighter weight silk as the dress for the side that sits between you and the dress and the interior it is lined with a textured silk chiffon. There is an inner waist stay that wraps and hooks around the waist to hold the dress firmly in place. Covering the top five inches of the bodice is a gathered black silk netting that has little dots woven and embroidered into the silk. Onto that are added little dots of chenille that run in vertical rows over the bodice all the way around you. This softens the bodice and adds a little unexpected detail. The dress is seamed vertically to the waist so that it curves in for shaping. A seam sits just below the waist to join the skirt to the upper bodice and the seam runs with a slight curve across the front and then it dips down into a more apparent curve at the back. Where it curves at the back is especially beautiful in the way that he has connected and matched the vertical seams that dart and shape the bodice with the seams below that allow for the volume of the skirt. The skirt is extremely full under that and I did not add an additional crinoline under it for these photos. You definitely could add one if you wanted to and if you wanted a true full skirt feel. The volume that you see was all created by seaming and cut alone. It is cut to be full and curved over the hips and then it widens out even more as it nears the hem. There is only one seam down the front that lines up perfectly with the seam that runs up the bodice and then two darts on either side of that seam. At the back there are four panels of silk with additional darting at the top of the skirt to create the extra fullness there that you see. It is incredible. The inner construction of this dress is as good as the exterior and it is made using perfect Haute Couture techniques and craft. All of the inseams have been finished by hand and everything looks to be original and perfect. This is a truly stunning and rare dress. It appears to have been worn very little if at all. Excellent condition

Unlined through the skirt with an added inner lightly boned bodice as described above. It closes with a side painted fine metal zipper and the inner bodice hooks so close down the side. The inner way stay hooks to close. Perhaps the slightest bit of press marks near the seams on the skirt. Hand finished throughout to Haute Couture standards. Proper numbered tape under the label shot.

Bust: 16" flat across from side seam to side seam
Inner waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 11.5" from top of bodice to waist
Total length: 37" from top of bodice to front hem, 40" to the back hem

Modern Sizing Equivalent: XS-SML

Item# DD4615

Reference Photos: (1) 1954-55 Balenciaga Couture, Model: Elinor.  /  (2) 1954-55 Balenciaga Couture.  /  (3) 1955 Balenciaga Evening Ensemble in the MET Collection. 

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is the second of this dress I have had in the shop and I was surprised to find another so soon after having the first. Its twin walked the Fall 1989 show and I love that we have the reference photo for you to see how it looks on the body. The runway look was styled with a metal belt and I love that it shows you that with a simple switch of what you choose to wear around the waist you can give the dress a different feel. Bob Mackie became a household name when he started dressing Cher. He started off his career freelancing for costumers Edith Head and Jean Louis and it was while there that he sketched the design for Marilyn Monroe's famous 'Happy Birthday, Mr. President' dress. He met fellow costume designer Ray Aghayan who eventually became his life partner. Together they designed costumes for Hollywood and created a made to order line of RTW. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years and the launch of his own label. His work helped to define an entire era of high glamour on the small screen and beyond.

The dress is made out of a stunning ombre deep dusky pink and taupe silk chiffon. Then under the top layer of the silk is a second layer of silk chiffon that has these incredible gold and silver thread leafs worked through the silk. These shimmer through under the top layer and create a beautiful depth and unexpected glimmer when you move and as they catch the light. It is a combination that is stunning to see together. The bodice is strapless and it has an inner shaped corset that is boned and shaped for support and to stay perfectly in place. The top of the bodice is peaked at the sides and then it is slightly rounded as it dips down and into the centre. Onto the bodice the silk chiffon has been gathered and softly draped so that it follows the curve of the bust and then slightly overlaps at the front. It does the same at the back where it meets at the centre set zipper. The waist cinches in and the dress comes with its original matching silk sash that you can tie and style around the waist or the neck. The skirt flows out from under there and it is made up of yards and yards of feather light silk chiffon. There are two layers of the bias cut silk stacked on top of each other and then an inner silk layer that sits next to the body. The top two layers of chiffon are feather light and the movement they create as they float over each other as you move is just incredible. It is incredible to see in person and the colour has a touch softer feel to it then how it photoed. That little bit of added glamour and drama from the gold and silver under that top layer of chiffon elevates the dress that much more. I love it. Excellent condition

The bodice of the dress is fully lined in a copper brown silk. The skirt has an inner nude layer of silk under the top two layers of bias cut silk chiffon as described above. The bodice is shaped and boned inside and has an inner waist stay that hooks to close. A tiny touch of wear at the top off each peak, tiny nicks near the zipper opening and a small darkening to the skirt that gets lost int he folds of the skirt. Please see the photo after the label shot. It closes with a back zipper. Hand finishes.

Bust: to 17" flat across from side seam to side seam with room for at least a C cup at the front
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 12" from top of the tallest point of the bodice to waist
Total length: 56" from tallest point of the bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD4612

Reference Photos: Fall 1989 Bob Mackie Runway.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is a gorgeous Valentino dress whose twin in the opposite colour way of this one walked the Spring 2006 runway for Look 63. I actually prefer the pink with yellow accent over the show piece. I think its even more romantic in feel. It is beautifully made and a wonderful example of Valentino's main label and the work that he was doing during this time period. In their review of the collection Vogue noted that Mr. Valentino was looking for a replacement and this is indeed one of his final few shows. He definetly was not resting on his laurels. The entire collection was stunning. Vogue noted the floral pieces in particular saying 'Valentino gave equal play to gorgeous color, which appeared in rose prints, and rich floral embroideries that captured the season's feel for Asian motifs....when it comes to jet-set elegance, Valentino has no rivals.' Indeed

The dress has this perfect easy to wear feel and at the same time is utterly and perfectly beautiful. It is made out of layers of a beautiful silk chiffon that has been cut on the bias. The bias cut and soft floating feel of the chiffon are used to create beautiful movement through the skirt when you move. You can see in the attached runway reference video how spectacular this is when on and moving. I absolutely love the colour. It is a soft romantic dusty pink and the that is highlighted with a pastel dusky yellow tone underneath. Over both of those is a rose print that covers every inch of the dress. The color in person is even better then how it photoed and that soft pastel pink is very flattering on most skin tones. The bodice of the dress is set high and wraps around the bust like a bandeau. On one side it is gathered up and into a soft wide strap that curves up and over the shoulder. Under the bandeau the dress falls in a sheath of silk that skims over your waist and hips and widens out as it nears the hem. The entire front of the dress is a separate panel that wraps from the opposite side of the shoulder and then is caught up at the base of the strap on the other side. This then becomes a ruffle that cascades all the way down the one side. The underlayer of that front panel is the yellow so that when you walk or sit you see that flash of color. The dress is also lined in that same yellow and that touch of colour peeking through the pink is just perfection. The back is slightly longer for that perfect sweep of fabric and floating affect around you when you move. It is just stunning on the body. Every detail is perfect. It has its original tag and was never worn. Excellent condition

Fully lined in silk chiffon as described above and It closes with a hidden set side zipper. Original hang tag present. Tagged a vintage Valentino 8

Bust: 17.5" across from side seam to side seam
Seam under the bust: 15.5" across from side seam to side seam
Natural waist: 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: approx 12.5" from top of the shoulder to seam under the bust. The bodice itself is 4" wide
Skirt: 51" from seam under the bust to front hem, 55" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4339

Reference Photo/Video: Spring 2006 Valentino Runway, Look 63. Model Julia Stegner.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

A dress in a silk taffeta and a jumpsuit in this same fabric walked the runway for .the Spring 2020 show. This dress was made for the shops in that same stripe and when we looked for documentation on this one we also found a street style shot of Sharon Elongue wearing its twin. I love that we have that reference photo so that you can see how great it is on the body. Vogue's review said that said the collection was "Lovely, utterly lovely . . . gentle and shrewd and worthy of investment.... there were endless dresses—printed, appliquéd, embroidered, crystal-ed, filigreed—in which lace, raffia, jacquard, silk, and tulle were layered and interwoven to create thoroughly wonderful, artisanal items. The sustainability piece that Chiuri offers at Dior is precious handwork married to real design in ready-to-wear. These are buy-now-wear-forever dresses; they should take root in one’s closet and grow in emotional value over time." I absolutely love this dress. It is gorgeous.

I think this dress is the best version of the three pieces I have shown here and it is wonderfully easy to wear. When you add in that spectacular soft striped print that covers the entire dress it is just a joy. The dress is made from a fine and very light weight cotton that has a touch of transparency to it. This is then layered over an inner silk slip in a neutral nude colour. The lightness of the cotton is what lets it move so beautifully over the body once it is on. When you walk the fabric of the skirt catches the air and floats out around you. The entire dress has been finished to look like it was hand painted. The body of the dress is done in soft muted stripes that fade into each other where the edges meet. The colours are like a sunset and vary in warm beautiful tones to cover the entire dress. The neckline is notched at the front for a touch of skin to show and you can leave it open or tie it with the ties that extend out from the neckline. It skims over the bust to the waist. The seam at the waist is cut wide and generous so that the dress has an easy feel. The skirt falls from under there to the floor in a sweeping expanse of fabric to the floor. The skirt is cut beautifully and gradually widens out as it nears the hem. The sleeves are wonderful. Each is a different colour that picks up on the graduation of the colours in the dress and fall down the arm to a buttoned cuff. It appears to have never been worn or worn very little. Excellent condition

The separate nude silk chiffon slip acts as the lining as the outer dress is not lined. The dress closes with a hidden set zipper at the side. The inner slip is tagged a 40.

Outer dress
Sleeves: approx 25"
Shoulders: no defined seam
Bust: 18-25"" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 14" from neck to waist
Total length: " from waist to hem

Inner slip
Bust: to 19" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 52" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4606

Reference Photos: (1-2) Spring 2020 Christian Dior, Looks 35 & 37.  /  (3-6) Sharon Elongue in Dior at Paris Fashion Week, Fall 2020.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

The twin of this dress in a darker colour walked the runway for the Fall 1975 show and I have included that runway photo here for you for reference. It also gives you a fabulous idea of how good the dress is one the body. This is an absolutely beautiful and classic Halston from his main label couture line. It is not 100% perfect so is priced at a steal for a Halston at this level but it is completely wearable as it is and its flaw is forgivable. It is an incredible example of his work from this time period and that soft pale pinky neutral beige colour is amazing

This dress is drop dead gorgeous with its yards and yards of bias cut silk chiffon that have been used to create the silhouette that you see. The colour is a pale beige that has a touch a pink to its undertone. It is so flattering on almost every skin tone and is even prettier in real life. The construction on it rivals any of the best Halston pieces I have seen to date. The dress is made of three feather light layers of bias cut silk chiffon stacked on top of each other through the main body of the dress and the added ruffled  is made of two.  Layering the chiffon like this gives it so much more movement than it would have otherwise. Your slightest movement while this is on causes the silk to float and move around you. The layers have just enough weight to stay in place when you are standing still and then when you move they will move with you and the result is gorgeous. This is a fabric that is notoriously difficult to work with and it shows just what a genius he was by the way that he was able to make it flow and sit so beautifully. The majority of work is all done by hand and it would have taken many hours of work to create this dress in this way. The front dress sits high across the neck and the ruffle that curves around the back lays to about just above the waist. I love the movement that this gives it. Your arms sit underneath that ruffle as it curves around to the back and then the dress falls in a loose and easy cut that skims over you to the floor. The bias cut lets it both cling and skim over you at the same time and it's incredibly easy to wear. It simply falls from the neck, skims over the bust, waist and hips , all in an easy to wear way due to that bias cut silk. The back is fantastic. That double layer of social fun that curves around from the front follows the deep V at the back, and this creates a ruffle that starts at the shoulders, and it goes all the way to the hem. You can see the edges of that ruffle from the front and from the side it creates this beautiful silhouette all the way to the floor.  And of course, that they expand skin on the upper back is the perfect amount of sexiness. It is incredible. This is a dress that must be on a body to really come to life. As good as it looks here it is nothing compared to it on and moving. And even as beautiful as it is, it is also a technical masterpiece with all those layers of silk and the way he constructed it. It is very beautiful. Great condition with notes below to review. 

The dress is made from attached layers of the silk chiffon as described above. It has no closures and slips on to wear. Hand finishes. The bias cut should allow it to fit a range of sizes upwards and will just drape more on a smaller size. There is an area of marking to the silk on the front near the knee area, near the hem along with some watermarks on the front panel that were too light to photo and some near that mark at the front. Please see the photos after the label shot. It present well when on since the marks are lower.

Bust: 16-22" flat across from side seam to side seam
Waist: 13-19" flat across from side seam to side seam
Hips: 16-22" flat across from side seam to side seam
Length: 61" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4604

Reference Photos: Fall 1975 Halston Runway.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.