The fall 2008 collection was called 'The Girl Who Lived in a Tree'. My client bought it in that time period and though it is not a piece shown on the runway you can see the same bird and woodland animal references within the silk brocade it is made from. The 2008 collection was inspired by a combination of McQueen's trip to India and a 600 year old elm in his garden and this dress certainly has that element. The birds adorning Look 23 from the runway collection is especially close to the pattern of the birds in this dress. The V&A says of this collection:

McQueen’s Autumn/Winter 2008 collection centred on a fairytale narrative devised by McQueen about a girl who descends from a tree to marry a prince and then become a queen. It was inspired by a 600-year-old elm tree in the garden of the designer’s Sussex home. At the centre of the set stood a giant tree swathed in fabric, inspired by Bulgarian artist Christo, who is renowned for wrapping buildings with material.

The dress is astounding and the work of a master tailor. Rarely does one see this level of workmanship in ready to wear. The fabric is a beautiful silk brocade with a forest of animals romping over its surface. The cut is pure McQueen with a high neckline that is made from numerous, tightly spaced seams that curve and create the ruffled effect that frames the neckline in a graceful swoop of fabric. The sleeves are high and curved under with just a touch of volume.  At the front the bodice is fitted and buttons. I have shown it completely buttoned so you can get the full effect of the intended shape and line but you could wear it more open to show a touch of skin. This fitted upper shoulder, neck and front bodice perfectly balance the enormous volume of fabric that curves out from the waist and then curves in at the hem. At the back this curve originates just under the shoulder with those beautiful seams running down the upper back and then opening to create that amazing silhouette. It is a work of art from one of the great creators of our time. Excellent condition with one note below to review on the interior seams. Appears unworn otherwise.

Fully lined in olive colored silk and closes at the front neck with buttons. There is stress to the inner seam construction that runs under the tag at the back but this of course does not effect the exterior. I have taken a shot of it so you can see the seams all the way down the interior - they are still sound so have been left exactly as found. Tagged a McQueen 40 and otherwise appears unworn.  The cut will allow for a variety of sizes as long as the bust fits.

Shoulders: no defined seam
Bust: 17" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: open
Length: 44" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD2858

Reference photo: Alexander McQueen Fall 2008 for Vogue Runway, Look 23, Model Georgina Stojilkovic

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

Thierry Mugler created his first personal collection in 1973 and by the 1980s he was an international sensation, known as the enfant terrible of French fashion. In 1992 he became an official member of Haute Couture with his first couture collection presented that same year. He was known for his exaggerated, strong lines and his runway presentations were equally as dramatic. 'Mugler saw the fashion show as an opportunity to build new worlds of fantasy, to tell the story of a heroine on an extraordinary adventure each season.'Early pieces are particularly hard to find. This wonderful and very rare dress is from the the Spring 1985 collection. I have included several reference photos from the show of pieces that share similar fabric, pleating techniques and that amazing shell feel of the bust from the runway show that season.

The dress is a masterpiece. This is a design that has been referenced countless times since it was first made but there is nothing out there that can compare to the original. It is made from a lightweight gold lurex that is draped and shaped to cover a fitted inner corset. This inner corset shapes and molds the body, while the exterior of the dress seems to simply glide over your curves. The skirt is cut to be fitted and curves in at the hem. It is so fitted that it has a slit up the back to allow you to walk. The bodice is amazing. Weightless, knife pleated gold lurex is wrapped around the body to meet in the middle. The bottom portion of this extends and curves down and around the hips where it then flares out to exaggerate your curves. Each breast is held in a high set interior cup and the pleats wrap over these, flaring out in the suggestion of having the breasts cupped and held in place by two shells. A small gold fabric strap is suspended between the cups for lift and added support. The pleats then curve around the back to meet in the middle there mimicking the front and adding to that hourglass feel. Gold colored snaps close the back and under those lie hidden interior lingerie hooks to close the corseted portion of the interior. It is a masterpiece and showcases his extraordinary approach to the female form and his tendency to made living sculptures out of his models. Excellent condition with one small note below.

The skirt is fully lined in an ivory silk and the bodice lined in a the same gold lurex used on the exterior. The corset is lightly boned and with formed ad sculpted interior breast cups. Above the waist, the inner corset hooks to close with lingerie hooks at the back and then the exterior fabric snaps to close over that. A zipper is then set below that starting at the waist. There is a small repair along the top of the seam of the back  skirt slit. Tagged a vintage Mugler 42.

Bust: to 17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 10" from top of bodice to interior waist
Skirt: 28" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3057

Reference Photos: (1-5) S/S 1985 Thierry Mugler Runway.  /  (6) Cherie, Owner of Shrimpton Couture, by Erin Leydon. Quote in frist paragraph taken from the FIDM Museum Blog

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

Oscar De la Renta began a partnership with the fashion house of Jane Derby in 1965. Jane Derby died shortly after and in 1966 the first labels that bore only the Oscar de la Renta appeared. This label that had Oscar de la Renta for Jane Derby was the label used in those first early years according to the research done by Kent university. That gives us a precise window in which to date this dress and also means it is from the very beginning of his career - prior to Jane Derby he was working under and for other labels but not doing his own accredited design work. The dress is amazing and I am besotted with it. It is the second time I have had a version in the shop, the first time being a blue and silver dot fabric. This time around the dress is a pretty and feminine soft pink silk satin. I love the shape and the simple cut that although it may be simple, the elements used are so fabulous that it ends up being a piece that could still hold its own today. The fabric is sublime and the perfect shade of baby pink. It contrasts wonderfully with the heavily embellished silver accented neckline, waist and hem. The neckline is cut onto a deep V at the from that plunges right down to the embellished waist. A wide band of silver lurex cording, faux pearls and large crystal rhinestones follow the V of the neck and then circle and wrap around the waist. Oscar also embellished the entire hem with this same silver detailing. The photos do not come close to doing it justice - it is even more spectacular in person. Excellent condition

Fully lined in a blue silk and closes with a side painted metal zipper and hooks to close at the top of one shoulder. Hand finishes. Note that it has a square of fabric that was originally tacked into the base of the V for extra modesty. The original owner removed it but kept it. It will be sent with the dress.

Bust: to 18.5" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 13" from neck to waist
Skirt: 44.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3052

Reference Photo: 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 wonderful Givenchy comes to me from its original owner who unfortunately removed the label from it.The placement of the label itched when she wore it and having a label in the dress did not mean anything  of significance during this time period so out it went. A version of the dress was heavily photoed on Audrey Hepburn that year and another version also appeared in Vogue. My client chose to purchase it in the version made out of a sold colored silk taffeta that did not have the floral embellishments nestled in the folds of the side ruffled detailing.

The dress is wonderful and even better on a real body. The bodice is cut on a one shoulder silhouette and you can see that it is set a little higher up on the chest than you would normally expect. This really allows the beautiful ruffles to frame the face and give you coverage, but still have that flash of skin on the opposite shoulder. The body of the dress hugs your curves with the shape created by the gathers along the sides. The skirt is dropped and set into the body of the dress at the same angle as the shoulder is, sweeping up and creating length and curves. It has quite a bit of volume and this adds to the hour glass feel that dress has. Trailing up one hip is a ruffled detailing topped by silk taffeta rosettes. I love the shape this gives and the dress is stunning in real life. Excellent condition.

Fully lined in a purple silk and closes with a side, hidden set metal and nylon zipper. It appears to have been worn very little, if at all. Hand finished

Bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 58" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3048

Reference Photos: (1) Wanakee Pugh in Givenchy shot by Bill King, Vogue US, April 1982.  /  (2-4) Audrey Hepburn with Givenchy at the exhibition "Givenchy- 30 Years" at the Fashion Institute of Technology, May 10, 1982.  /  (5) Audrey Hepburn photographed by Douglas Kirkland for the publicity of “Love Among Thieves”.  /  (6) Audrey Hepburn with Givenchy.  /  (7) Lynne M Koester for SS 1982 Couture Givenchy. Photo by Rodolphe Haussaire.  /  (8) 1982 Givenchy Couture. Photo by Francesco Scavullo.  /  (9-11) 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 is an interesting dress for several reasons. 2013 marked Oscar's 50th year and of course, we know that we lost him in 2014 making this one of his final collections. It is also the only collection that he had John Galliano come in to work with him on as Galliano made his way back into the fashion world. At the time rumours were swirling that Galliano was being tested to take over the house but that of course did not transpire and thought it was acknowledged that he had worked on the collection he did not make an appearance during the runway presentation. Nicole Phelps said of this collection for her Vogue review: "Oscar de la Renta made headlines last month when he invited John Galliano to be a designer-in-residence at his studio for three weeks. It wasn't long after the news broke that people began wondering if the disgraced former Dior designer would be working on de la Renta's Fall collection. We got our answer tonight. De la Renta came out for his bow, as he always does, but Galliano was in the building. When his PR chief was asked if Galliano had worked on the collection, she demurred, saying, "Well, he is backstage." There was that, and then there were the clothes themselves. Certain looks seemed very much to bear the Englishman's hand, especially the opening jackets with their draped necklines and flaring hips; there was something of Dior's classic Bar silhouette in them."

The dress is made out of a purple silk and is cut with an almost sculptural line and the bodice is shaped to curve over the body to create an hour glass shape. The front and back plunge into a quite low V and the shoulders are cut wide so that the waist appears even smaller.  The fabric is gathered and draped from the rounded shoulders and down into the nipped in waist. Below the waist the hips flare out beautifully. The skirt is set under the top and flows to the floor. It hugs the hips and flares out as it reaches the hem for one final beautiful curve. At the back it flares out and is cut a little longer for a slight trained effect. from the side this creates another set of curves from tip to bottom. No matter what angle you see the dress at all your curves are shown off to the maximum. Excellent condition

Fully lined in a purple silk and closes with a back hidden set zipper. Tagged a modern ODLR 10 but please check measurements as it is cut smaller. It appears to have never been worn. This was priced well over $10,000  new

Bust: 18" flat across from side seam to side seam
Waist: 14.5-15" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Bodice: 14" from shoulder to top seam on waist + 2.75" band
Skirt: 45" from lower seam at waist to front hem, 50" to back hem

Modern Sizing Equivalent: SML-MED

Item# DD2855

Reference Photos: (1) A/W 2013 Oscar De La Renta, Look 43. Model: Codie Young.  /  (2-4) 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.

The quilting technique used on this dress is distinctive and it was this feature that allowed me to find the date of the collection. We tracked down a photo of Karl receiving an award in 1973 and just behind him is a model in a dress from that years collection that uses the same quilting as we see on this example. This matches what I was told about the purchase date form its original owner as well. It is these collections during the years between 1969 and 1975 that we still see heavily influence the modern bohemian feel of Chloe today. Examples of his work during this time period are held in museums around the world and are rare finds.

This dress is wonderful. In person it is even better then how it photoed as you really get the sense of the raised areas of the print and the exceptional treatment to the silk in applying that print overall. The cut is simple but sexy with a wrapped feel to the bodice and a long skirt that falls to the floor. The dress is made from a very fine, light bias cut silk dyed to a pastel turquoise. Onto the silk is a floral design that appears to be hand painted. It depicts beautiful blue blossoms swaying in tall grasses. These circle the entire hem and travel almost up to the hips at the highest points of the design. On the bodice they wrap around the entire dress and detail each side of the collar. The design on the bodice is quilted with a slight padding underneath to give it added dimension. The neckline is dipped into a V at the front and the waist narrows in but is left slight loose and easy. The skirt flows to the floor from there and gradually widens out as it nears the hem, allowing the design to be shows off. It came with its matching, extra long, scarf that has the same print on both ends and is made from a silk chiffon in a shade darker then the dress for a slight contrast. I placed it slung around the neck here but you could wear it a number of ways. The dress is in overall great condition but does have a small note to review below.

Fully lined in a matching pale turquoise silk chiffon through the bodice and a silk through the skirt. It closes with a side painted metal zipper. There is a slight yellowing under each arm and the fabric shows signs of coming away from the seam - on one side this is just a teeny 1/4" area and the other is about 2". Maybe some areas of the tiniest bit of fade here and there on the fabric but the fabric is hand dyed so this could be a natural variation in color. These are so rare that even with these small defects this is a rare find and easily wearable with care. The color is best shown in the closer photos.

Bust: 16" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 14.5" from top of bodice to waist
Skirt: 43.5" from waist to hem
Scarf: 106" x 21"

Modern Sizing Equivalent: XS-SML

Item# DD3047

Reference Photo: Karl Lagerfeld & Models, November 1973 in Krefeld, Germany.

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

This is an incredible dress by Marc Bohan for Christian Dior from the 1978 Fall Haute Couture collection. It is very dramatic with extra long, extended and trained sleeves. Gowns like this really define the fantasy nature of Haute Couture. It has both the dated and numbered couture label from the atelier and  the original hand written tag from Neiman Marcus where it would have been ordered through directly from the atelier in France. That tag identifies it as being Look #54 from the runway and with an original price of $7,975 which converts to $29,434.97 in modern dollars. A sum that would still be well below the price in a modern day couture garment. I have also included editorial reference photos from that year as it was widely documented

The dress is made of a vivid blue, liquid feeling silk satin, reminiscent of the silks used in the 1930s. The fabric drapes exceptionally well, feels almost weightless once on and holds the vibrancy of the color exceptionally well. The neckline is cut square and highlighted with a wide band of the same fabric that is top stitched for contrast. The dress flows from there to the floor in a bias cut column of silk with no defined waist. The sleeves are attached to the top part of the shoulder and they then drape over the arm with the inner edges left open to create a caped effect.  Little open loops lie along the edge near your hands and along the bottom. These allow you to slip a finger through to control the placement of the sleeve if you do not wish them to hang down so much. You can see that in one of the reference photos they have draped the sleeves s an option. The full length of each sleeves from the shoulder to hem is approximately 7 1/2 feet so you have a lot of fabric to play with and style. It is an incredible piece of fashion history. It present as in good condition but does have some notes below to review.

Fully lined through the body in a blue tissue silk and closes with hidden set painted metal zipper at the side and a series of hook & eye just above that. Hand finished to Haute Couture standards. The fabric shows some slight areas of fading and slight discoloration throughout and there is a small area under each arm that shows discoloration (this does not show when on because of the cut of the sleeves) and also yellowing to the fabric here and there, most noticeably at the back. I have photoed the largest area which is about 1/4 the way up the back from the hem. Some darkening/storage marks to the sleeves that are minor. Sold as found and as a final sale

Sleeves: 87" approx.
Shoulders: no defined seam
Bust: 17" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 61" from waist to hem (sleeves add 28" to length)
Slit at the side: 31" from hem to top of slit

Modern Sizing Equivalent: SML-MED

Item# DD2566

Reference Photos: (1) Dior, 1978. Photo by Patrick Bertrand. Hair by Carita.  /  (2) L'Officiel n.645, 1978. Photo by Michel Picard.

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

The woman behind the Maggy Rouff label was Maggy Besançon de Wagner and she started her own label in 1928 after a working at the Haute Couture house of Drecoll. The Maggy Rouf house joined the Chambre de commerce et d'industrie de Paris in 1929 and continued to produce Haute Couture until 1965. Maggy gained early recognition by designing for the some of the Hollywood starlets of the day like Theda Barra, Pola Negri, and Greta Garbo. I found a photo of a garment from 1963 that has a similar, if not the same, fabric treatment from the 1963 collection. 

This is a chic and deceptively simple dress from Maggy Rouff's Haute Couture atelier. The work is exceptional throughout and it is in immaculate condition. It is made of a pale blue silk that is topped by a pale metallic blue net. Onto the net are hand dyed ribbons that are coiled and formed into flowers that are strewn across the surface of the dress. These also have a very slight metallic finish to them and change in color along their lengths from a pale blue to a dark blue. Each is hand placed and set with the slightly curled edges facing up and away form the dress so that the flowers have a 3D feel. It is cut in a long column that skims over the bust and waist and then the skirt flares out as it nears the hem. The shape is created through vertical seaming that curves in from the waist and shapes the dress. The interior is a combination of net and silk and the hem is weighted all the way around. It is a dress made to last a lifetime with classic lines will forever remain in style. Excellent condition.

Fully lined in silk and closes with a fine painted metal zipper at the side. Completely hand made and finished to Haute Couture standards. Weighted hem

Bust: 18" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 52.5" from shoulder strap to hem

Modern Sizing Equivalent: MED-LRG

Item# DD2743

Reference photo: Model in a Maggy Rouf gown, 1963. (credits unknown)

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

The red version of this dress was used for the 1985 ad campaign shot by Helmut Newton and featuring long time muse, Kirat Young. This is one of the iconic pieces of that season and I am very pleased to have found this.

The dress is made from a slinky black silk jersey that has enough weight and drape to it to perfectly fall into the sharp angular lines that Yves wanted it to be shaped in. It perfectly represents this time period with its precisely shaped, strong shoulders and the shape of it that narrows as it reaches the hem. It skims over the body and hooks and snaps to close at the base of that plunge. The extremely low cut V of the front is if course what makes it so edgy. It plunges to the waist and goes as deep on the black version as it did on the red you see Kirat wearing. The gathers at its base and the masterful cut keep it firmly and remarkably in place. Each sleeve is long and slim and cut to mimic the shape of the body of the dress. They are cut wider where they meet the shoulders and then narrow down to the wrist. It is amazing on the body and a rare find. Excellent condition

Unlined and closes at the base of the plunge with a flat hook & eye and snaps under that. Each sleeve zips to close. Padding in each shoulder. Tagged a vintage YSL 40. The fabric does have stretch so will fit a variety of sizes, stretching to accommodate curves and draping well on smaller frames

Sleeves: 25"
Shoulders: to 16" but meant to be slightly exaggerated
Bust: 18-21" flat across from side seam to side seam
Waist: 15-17" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 44" from neck to hem
Plunge: 16" from top to base

Modern Sizing Equivalent: SML-LRG

Item# DD3044

Reference Photos: (1) Kirat Young for Yves Saint Laurent Rive Gauche F/W 1985, shot by Helmut Newton, Vogue US March 1985.  /  (2) Another shot from the same shoot used for other publications that year.

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

My client was a couture client of Ungaro's during this time period and this was one of her few RTW purchases. You can clearly see the reference to the longer version that walked the couture runway that was worn by Iman. I love the shorter version equally as much and the craftsmanship on it is wonderful.

The dress is one of the best Ungaro pieces I have come across. It feels shockingly modern and you can clearly see where many of the modern day designers have gotten their inspiration from the past few seasons. It is made out of a black silk satin that is trimmed in a black lace. Onto that lace are hand applied sequins that give it the perfect little shot of glitz. The shoulders are exaggerated and padded and the sleeves below have tremendous volume until they reach the cuffs. Each cuff is a full XX" ling and are fitted to the arm with a row of metallic thread knot buttons to close. The dress wraps and snaps into place and I love how the lace is set around the waist to draw the eye on and make it appear smaller. The dress is lined but only tot he upper portion of the lace at the hem so that it has a touch of transparency.  Its fabulous. Excellent condition

Fully lined in a black silk and closes with a combination of snaps and hook and eye at the waist. The cuffs button to close. Inner waist stay hooks to close. Padding at each shoulder

Sleeves: 28.5"
Shoulders: 16" but padded and over-sized
Bust: to 17" flat across from side seam to side seam
Inner waist stat: 13.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 22" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3046

Reference Photo: (1) Iman for F/W 1988 Emanuel Ungaro Haute Couture. / (2-4) 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.

For the 1974 Chloe collection, Karl Lagerfeld did flowing silks cut on the bias in a plethora of floral prints. It is these collections during the years between 1969 and 1975 that we still see heavily influence the modern bohemian feel of Chloe today. Examples of his work during this time period are held in museums around the world.

This wonderful little dress is truly exceptional. In person it is far far better then how it photoed on a dress form. It truly needs a moving body in it to really show off the lines and movement that it has. The cut is very simple and easy to wear. The dress is made from two layers of a very fine, light bias cut ivory silk. Onto the top layer and on the matching capelet is a design of delicate flowers that appear to be hand painted. These travel down the length of the dress. Over this is a shawl that has long attached ties. I placed it over the shoulders to give it the effect of the runway photo but you could wear it a number of ways. The body of the dress is cut wide and full and has an almost caftan feel. The top layer of the dress is slit up to almost the arms. This sits over an inner silk layer that has a different pattern circling the hem. The slits along the sides allow you to catch glimpses of this hidden pattern when you move or sit. The neckline is dipped into a V at the front and the back. It flows outwards from there. I love the edging of blue in the print of the top layer of the dress that picks up the ties on the shawl piece. the dress is far better in person then how it photoed. Both pieces are in overall excellent condition with a small note to review below.

The inner layer of the dress acts as the lining and it slips over the head to wear. The shawl piece ties. There is the teeniest hint of yellowing along the edge of the back neckline. It would not even photo. There is a slight faded mark on each tie of the cape piece. The bias cut make the range extremely flexible so will fit a range of sizes. The more room you need through the body the more the length will shorten up as the fabric raises on the bias

Bust: 16-18" flat across from side seam to side seam
Waist - hips: open
Length: 50" from shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD3043

Reference Photo: Chloe Runway, 1974.

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

There are 4 or 5 Burrows dresses that I always look for and this dress is one of those. The dress is made out of a fine, slinky, red jersey. I have seen the top of these cut in a couple of different way and on this one it ties around the neck leaving the shoulders bare. The dress falls to the floor from there in a beautiful bias cut that and ends with an angled, asymmetrical hem that leaves one leg more bare. The edges of the dress are finished in his signature lettuce hem seaming. The front bodice is where all the glitz and glam is and it is finished with a design that is done in sequins, seed beads and tube beads that pop against the red. All of the bead work has been applied by hand. You can clearly see this is the case on the back side of the fabric. Burrows was the first African American fashion designer to really achieve international recognition for his work. He won three Coty awards; in 1973, 1974 and 1977. He was also one of the five American designers to show at Versailles in 1973 when America was pitted against the French couturiers. Excellent condition

Recently, the first major examination of Burrows' work was held and was aptly titled; 'When Fashion Danced'. Here is what the museum said of his work: "Stephen Burrows: When Fashion Danced looks at the period spanning the 1970s when Stephen Burrows’s meteoric rise to fame made him not only the first African-American designer to gain international stature, but a celebrated fashion innovator whose work helped define the look of a generation. With vibrant colors, metallic fabrics, and slinky silhouettes that clung to the body, Burrows’s danceable designs generated a vibrant look that was of a piece with the glamorous, liberated nightlife of the era. Through photographs, drawings, and original garments, the exhibition will trace Burrows’s evolution from creating eclectic looks for his friends in the 1960s to his work with the chic 57th Street retailer Henri Bendel to the floor of Studio 54, as he dressed such 70s style icons as Cher, Liza Minnelli, and Diana Ross."

Unlined and slips over the head with no closures. Tagged a vintage 4 but please check actual measurements. The fabric does have stretch so will accommodate a range of sizes - the comfortable range of that stretch when laying flat is noted in the measurements.

Bust: variable as there are no true side seam
Waist: 15-19" flat across from side seam to side seam
Hips: 19-22" flat across from side seam to side seam
Length: approx 58-60" from top of shoulder to longest point of hem, 40-42" to the shortest part depending on high you tie the neck.

Modern Sizing Equivalent: XS-MED

Item# DD2802

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

I love when I can document a dress and this gorgeous Bill Blass number is not only dated but was used for the ad campaign that year in conjunction with Martha's, a high end boutique of this time period. The dress comes straight from its original owner and was extremely well cared for. It even retains its original snakeskin belt which I have never seen on the very few examples of this dress that I have seen come to market in the past.

This beautiful sequin covered dress is absolutely stunning. It is also insanely sexy once on the body and beautifully made. The base of the dress is a snakeskin printed silk that is backed in a silk chiffon. Onto this are thousands of hand applied clear sequins placed side by side to completely cover the surface of the fabric. This gives the fabric the suggestion of liquid that runs over the scales and when you move the light catches the sequins and creates the most sensual and magical effect. The neckline is a high and hooks behind the neck to leave the shoulders exposed and bare. The waist nips in and you can wear the belt or leave it off if you prefer to not break the line. The skirt falls to the floor and gradually widens out as it nears the hem. The halter neck design leaves the back completely bare. It is truly beautiful. Excellent condition

Fully lined in a fine red silk chiffon. It closes with a low back zipper and the halter hooks to close at the very back of the neck. Hand finishes and original belt.

Bust: to 16" flat across from side seam to side seam
Waist: 12-12.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Bodice: approx 15" from top of bodice to waist
Skirt: 43.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3041

Reference Photo: Bill Blass for Martha Ad, 1974.

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

The silk Swiss dot netting used for the outer layers of this dress are so fine and light that it seems almost an impossibility that it could even be shaped & sewn properly to create the dress. The workmanship is exceedingly fine and the final result is beautiful. It has the added benefit of a well documented provenance. It's twin was used for a Bill Blass advertisement that year that was shot by Francesco Scavullo. The ad ran in the October 28, 1978 issue of WWD. This exact dress for sale today was also worn by Michelle Monaghan to attend the 2016 Vanity Fair Oscars After Party.The dress is semi transparent from top to bottom and you can see the effect best on the photo of Michelle. The inner bodice has a layer of nude silk chiffon throught he fron of the bodice only and those extra panels of netting that run down and over each bust. From a distance this gives the illusion that it is only the vertical panels providing coverafe. The back is covered with a thin layer of netting only and the skirt is made up of the same netted silk over semi-transparent inner silk chiffon.  The waist is cinched with a wide silk taffeta belt that gas pretty little dots of cording running along its length for embellishment and detailing. The workmanship is exceptional and most is done by hand.  Excellent condition.

The front bodice is lined in a nude silk chiffon and the skirt has an inner layer of black silk chiffon. It closes with a hidden set zipper at the low back with two buttons above that and hook and eye at the back of the neck. Each sleeve has a hidden set snap. I see one teeny repair to the net on one sleeve. Note that it was a little tiny on my dress form and will sit on a proper sized girl like the reference photos provided. Hand finishes throughout. Tagged a vintage 4 but please go by listed measurements

Sleeves: 24"
Shoulders: 13"
Bust: to 16" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Inner hips: to 20" flat across from side seam to side seam
Bodice: 15" from neck to waist
Skirt: 38" from waist to longest point of back hem. The front hem is 31.5"

Modern Sizing Equivalent: XS-SML

Item# DD3039

Reference Photos: (1-4) Spring 1979 Bill Blass Runway.  /  (5) Bill Blass Ad shot by Francesco Scavullo from the October 28, 1978 issue of WWD.  /  (6-8) Michelle Monaghan at the 2016 Vanity Fair Oscars After Party.

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

Galanos was known as the designer that could rival the French in terms of construction and design. He launched his atelier in 1951 and although his atelier was never formally designated as Haute Couture by the French, he certainly produced clothing that met the parameters of couture and he is often referred to  as one of the great American couturiers.

Here, we see that high level of workmanship put into this dress. The body of the dress is made of a light weight black silk that give it lots of music. When the skirt opens up under the hips the volume is created by the addition of panels of fabric inset in a way that the skirt lies flatter when you are standing still and then opens to a tremendous volume when you move. This is topped by the most over-the-top bodice I have seen in ages. It is made from a white Swiss dot netting. The inner bodice is backed in a nude silk that runs straight across at the front and dips down into a V at the back. Onto that base are layers and layers and layers of ruffles that curve and over each shoulder for the most tremendous drama. On a real girl who the dress fits properly you can wear these high as I have shown on the dress form, or wear them off shoulder and allow the volume to go out from each arm. It is an extreme statement piece. This comes direct from the client and the date 8-20-87 is noted on its inner Bergdorf's tag. My client told me that she met with Galanos and he chose this dress for her himself. Excellent condition

The inner bodice is lined in a nude silk chiffon and the skirt in a black silk chiffon. It closes with a back nylon and metal zipper.

Bust: to 18" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Bodice: approx 15" from top of bodice to waist
Skirt: 46" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3038

Reference Photo: Tatiana Sorokko by Victor Skrebneski (courtesy Tatiana’s private collection)

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

This lovely Alexander McQueen dress is from the 2010 collection which is significant because the presentation that year was the last of his work that he did before committing suicide. This was part of the look book that was produced for stores and would be a combination of the work that McQueen did proceeding his death and then the designs were finished by Sarah Burton who took over the house.

The wrapped, black lace number, perfectly captures the aesthetics of McQueen. The fabric is a very fine, black lace that is placed over a nude silk chiffon lining through the body and the no lining under the sleeves. This gives the illusion from a distance that the girl wearing it is wrapped in nothing but a thin layer of lace. I love how the edges that cross over at the front follow the scalloped design on the lace. This creates a gorgeous framing of the neck and adds extra detail as it runs down the front and follows the curve of the skirt. The sleeves are long and slim with a zipper at each cuff and that same scalloped finish. The wrap cut of the dress highlights every curve but without feeling too clingy. The skirt is cut to hug around the hips and curves up along the front edges. This back part of the skirt hangs lower and this wrapped effect creates a beautiful curving line. I have included the McQueen belt that came with it. It is a combination of black leather and polished stones of the buckle. It has never been worn and has its original tags still attached. Excellent condition

Fully lined through the body in a nude silk chiffon and wraps to close with hidden set, fabric covered snaps to secure it in place at the front. Zippers at each cuff. Tagged a modern size 38. The belt and dress are unworn and have their original tags attached. It originally sold at Bergdorf's for $6.233. Note that the belt is too big for the waist of the dress and marked a size 44. It would have to be resized but came with it so I am including it.

Sleeves: 23"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 32" from waist to longest point of back hem

Modern Sizing Equivalent: SML-MED

Reference Photos: (1)  Screenshot of Original Dress Listing from Bergdorfs. /  (2) Shot from Alexander McQueen F/W 2010 Lookbook.  /  (3) Monica Bellucci in Alexander McQueen by Ruven Afanador, February 2011.

Item# DD3030

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 wonderful little silk dress set bears the Christian Dior New York label, making it a beautiful and early example of Christian Dior's work. The New York label is what I consider to be demi-couture from this time period of Dior's history. These where made in, and for, the American market but were based on the runway designs and with many of the same high standard finishes that the true Haute Couture pieces incorporated and based on the Dior Haute Couture collection. The 1958 collection in particular used these angled 1/2 bows and I believe that this would be from about that time period.

The set is made from three pieces, an inner skirt that has an attached lining so that it always sit perfectly, a top that lies over that and then a jacket that tops these two pieces. All three pieces are made of a beautiful deep midnight blue wool and silk mix that is just heavy enough to hold the shape but without adding any bulk or excess weight. In person the color is richer and deeper blue then how it has photoed and is quite lovely. The cut of the innermost piece is wonderful - it nips in at the waist with a flared skirt that has an almost exaggerated line to it. A double seam runs down the center of the skirt and thus is attached so that is curves out and creates the illusion of a soft, full volume as it nears the hem. This is topped by a fine silk bodice that acts both as an extra lining to the next layer that will lie over it and also ensures that the skirt always lies perfectly in place. Over this is a sleeveless bodice with a simple with a graceful cut. The neckline is a simple and collarless V and the seams curve and enhance the figure. It has a pretty little 1/2 bow at the waist and under that is a subtle little closed vent that mimics the seaming detail of the skirt. The final piece is the jacket. It sits over the other pieces and it too is kept simple with immaculate seaming creating the only detailing. I love the subtle detailing - the way the top pf the collar points inwards and the subtle curve of the outer cuffs of each sleeve. It is beautiful. Excellent condition.

All the pieces are lined in a deep blue, hand set silk. The inner dress closes with a back hand set painted metal zipper and the top also zips to close up the back. The jacket has no closures. Ribbon finish seams and hand finished throughout

Jacket
Shoulders: 15.5"
Bust: 20.5" flat across from side seam to side seam
Waist: 17.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 21" from neck to hem

Top
Bust: 18" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Length: 19" from neck to hem

Inner Dress/Skirt
Bust: 18" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 16" from shoulder to waist
Skirt: 22" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3029

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

Christian LaCroix launched his Haute Couture house in 1987 and was instantly adored and revered. A ready-to-wear line soon followed along with perfumes and menswear. His collections are always an exotic, lavish affair and his inspirations spanned the decades with their eccentric, exotic glamour. His atelier closed in 2009. This dress is from the Spring 2006 collection and was shown on the runway. I love that for production they went with an even longer length.

I love this dress and how it showcases LaCroix's love of drape and a bias cut. It has the added benefit of being a version of the dress that was shown on the runway that season in a slightly shorter length. It is suspended from the shoulders by tiny straps that are made from the same silk as the dress. Triangle cups cover the bust at the front with just a small hint of gathers to the fabric at the center and at the back it scoops down for a little extra skin to show. From there the dress falls in a sweeping bias cut that gradually widens out as it nears the hem. The skirt is made up of yards and yards of silk and there are little pleats set just under the bust to give it even more volume and movement. The whole dress has an easy and sexy scarf dress type of feel to it. I love the print that runs over the silk. It is set onto the fabric like a patchwork of design that should all clash but because the tones are all kept in a similar palette it all works perfectly. It is so simple but so very sexy. Excellent condition

Fully lined in an ivory silk and closes with a hidden set side zipper. Tagged a size 42. It appears to have been worn very little if at all.

Bust: to 17" flat across from side seam to side seam
Seam under bust: 16" flat across from side seam to side seam
Natural waist: to 17" flat across from side seam to side seam
Hips: open
Bodice: 12" from top of shoulder to seam under the bust
Skirt: 47" from seam under the bust to hem

Modern Sizing Equivalent: SML-MED

Item# DD3027

Reference Photo: Christian Lacroix S/S 2006, Look 61.

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

Helen Rose signed with MGM in 1944 and designed costumes for various films up until 1966. She won two Academy Awards for Best Costume Design and was nominated on 8 other occasions. She was the designer behind both Grace Kelly & Elizabeth Taylor's wedding dresses and dresses both in real life and on film as well. In 1958 she launched her own label and this dress is from that line.

The dress is stunning and in person is far more magical then how the camera captured the tones and colors. The ivory over the nude inner layers of silk are softer and have more flow and the beading is more a muted gold and the overall feel is softer. The dress has a high bodice that has small capped sleeves and this is entirely hand beaded with a combination of gold beads interspersed with tiny rhinestones, seed pearls and crystals. The parts of the design that have the clear faceted beads gives it a 3D effect. It has a soft scoop at the front neck and the back dips into a V. Just under the high set bust the skirt flows out and flares to the ground in a cascade of silk layers. The top layer is a beautiful ivory color. This lies over a floating inner layer of silk chiffon in a nude and a more opaque, nude silk crepe lining. There are yards of silk in the two outer layers of the dress and this gives it beautiful movement. It is all hand finished and really a beautiful example of her work. This would make a beautiful wedding dress for a non-traditional bride or work for any special occasion. Excellent condition with a couple of tiny notes below to review.

It was a touch small on my dress form so on a proper sized girl the bust will sit a touch lower. Fully lined in a combination of a silk crepe and silk chiffon. The skirt has a layer of silk chiffon between the outer and inner layer. It closes with a back painted metal zipper and hook& eye above that. All hand finished and beautifully constructed. Perhaps the occasional missing bead but nothing that detracts or leaves a jarring bare spot. Some faint grubbiness to the hem and I see one tiny repair near the hem. There is so much fabric the impact of this is zero once on.

Shoulders: approx 14" but no true defined seam
Bust: 16" flat across from side seam to side seam
Underbust: 15.5" flat across from side seam to side seam
Inner waist: to 15" flat across from side seam to side seam
Inner hips: to 18" flat across from side seam to side seam
Bodice: 9" from top of shoulder to underbust/empire waist
Skirt: 47" from underbust/empire waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3026

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

Jean Desses became a designated Haute Couture house under the official Chambre Syndicate de la Haute Couture in 1937. In 1949 he began a ready-to-wear line to broaden his client base. However, his career was fairly short lived and by 1960 the couture portion of his business was closed, followed by the closure of the ready-to-wear line five years later. When he expanded his atelier to serve the overseas market in the late 1950s, he was among the small elite group of designers that sold to the American power house department stores - Bergdorf Goodman's in this case - and gave then the right to produce his designs in America. The fabrics and design were the same as what was being produced in his atelier in France, but the construction of the actual pieces was done by couture level seamstresses in America. This elaborate system had already been established by Dior and was a clever way to get around the severe import taxation of the time period. Jean Desses kept a strict eye on what was produced and where pieces went and this caused a severe limitation on the quantities produced. The RTW line for the American market was also made to order, piece by piece, making it truer to demi-couture.

The dress has the elegant lines that you associate with the best of Jean Desses' work. The fabric used to construct the dress is a green silk satin that seems to glow with its own inner light. The color is a beautiful deep moss green. Fused onto the silk base are flowers done in a plush, soft velvet that add texture and depth to the fabric. The cut has a sense of contained sexuality, nothing overt, but cut to follow and highlight every curve. It has a deep V neckline at the front and the back is an even deep plunge with the inner bodice acting as a partial modesty panel. Just under the V at the front it is gathered and detailed with a small piping of fabric that gives the illusion of holding the gathers  there in place. It also gives a subtle nod to a Grecian aesthetic, a signature touch of Jean Desses' work. The waist nips in and below that the skirt is beautifully constructed. The inner skirt is fitted with a top panel of fabric lying over that inner skirt that is secure at the waist and then wraps and ties at the back in am almost apron feeling finish. There are lots of fabulous detailing and high end finishes to this dress like an inner built in bodice and weighting at the back hem. It is gorgeous. Excellent condition

The inner bodice lining and the inner front panel of the underskirt are made of a green silky rayon. The exterior fabrics are interlined in a pale green silk organza. It closes with a painted metal side zipper and the over-skirt is part attached and then ties at the back. Hand finishes and ribbon edged seam. Light boning through the bodice and inner waist stay that closes with hook and eye. Made to demi-couture standards.

Interior Bust: 18" flat across from side seam to side seam
Inner waist stay: 14.5" flat across from side seam to side seam
Exterior waist if stay left open: 15" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Bodice: 19" from top of bodice to waist
Skirt: 30" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD1901

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

The color of this Haute Couture dress by Marc Bohan for Christian Dior is striking and is the first thing you notice. It is an unusual shade and even the camera has not quite captured just how wonderful it is in person. The fabric is a silk chiffon and it has little medallions woven through the silk that I like to think are stylized four leaf clovers. It is from the Fall 1973 collection and a version of it in a different print was photoed for an editorial that year (I have included it here as reference). I think this all green version with its play on transparencies is far better then that one though. In the notes for the 1972 collection in the book "Dior, The Catwalk" it is noted that Marc Bohan focused on dots for the season. Vogue said of the collection: "Simple, very sophisticated, ultra-feminine." The perfect summary of this very dress.

It is so flattering on. The attention to detail shown in every stitch is breathtaking and to the highest standards. Being a Haute Couture piece, It would have been made entirely by hand in the Dior atelier. The silk chiffon used is of the highest possible grade and gives the dress its beautiful drape and line. The bodice is cut into a low V at the front and the waist is fitted. There are long attached ties of fabric that wrap and hook around the waist and at the front there is a soft bow of fabric. Each sleeves is cut so that it puffs above the fitted cuffs - you can really see how full they are in real life in the added editorial reference photo. The skirt is soft and there is an unexpected amount of fabric in it that give you a sleek line when you are standing and then when you move it shows how full it is. I love that only the front of the bodice is lined, this leaves the back semi-transparent for an unexpected sensuality. It is gorgeous and better in person. Excellent condition.

The front bodice and skirt are fully lined in a matching green silk and the dress is completely made by hand as the parameters of Haute Couture dictates. It closes with a back, handset painted metal zipper and there is second zipper that closes the inner skirt lining. The cuffs button with green silk covered buttons. I see one tiny nick out of the fabric on the bow that wraps around the waist but you wold never see this unless you go over it meticulously. Haute Couture number 003016. Note that in person the color is even better then how it photoed.

Sleeves: 25"
Shoulders: 14.5"
Bust: 18" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Inner lining hips: 18" flat across from side seam to side seam
Bodice: 13" from top of bodice to waist + a 3" band
Skirt: 28" from bottom seam of waist band to hem

Modern Sizing Equivalent: SML-MED

Item# DD2883

Reference Photos: (1) Fall 1973 Christian Dior Couture Runway.  /  (2) Christian Dior, 1973.

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

The Spring 2005 Prada show is one of the label's most iconic and recognizable. In her review of the show, Vogue's Sarah Mower stated: "Just when the whole fashion world has turned ladylike—thanks, of course, to Miuccia Prada—she's tossed it all in the air, looking for a certain freedom. "A vague idea of birds; birds of vanity, like peacocks, parrots, and swans," was a starting point in her restless search for change, she explained. "I also wanted to move toward something more young and sporty, tall and narrow.... In broad terms, the news from Prada included a different silhouette (short hemlines, worn mostly with flat sandals), a return to one of her favorite palettes (brown-ochre-rust), and as always, lots of artful eccentricity (peacock feathers, flowerpot hats, Bakelite digital watches). There was also a Jamaican dance hall vibe, with reggae on the sound system, Rasta stripes in the knitwear, and Caribbean crochet in the raffia hats and cardigan coats. The birds really took flight for night, in the form of skirts overlaid with peacock feathers, dresses covered with digitalized feather prints, and pretty chiffon gowns whose fan-like pleats hinted subtly at dove's wings."

This is Look 48 from the runway show and one of my personal favorite pieces of the show. It is in that exact color that the show's review mentions in the paragraph above - a brown-ochre-rust color - and the silk shantung fabric chosen for this piece also gives it  a slight metallic sheen which adds to the allure of the piece. The dress is cut micro mini short with a simple A-line cut skirt that flares out as it reached the hem and a single shoulder at the top. Black silk ribbon insets add detailing around the waist and down the skirt to frame the embellished front. The skirt is heavily embellished with large paillettes, beads and crystals mixed with copper colored sequins. This is classic Prada and feels even more fresh then when it was originally presented on the runway. Excellent condition

Fully lined in a brown silk and closes with a hidden set side zipper. Hand set boning through the sides. Tagged a Prada 40

Bust: 16" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 13.5" from top of shoulder to waist
Skirt: 21" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2818

Reference Photo: Prada Spring 2005 Runway Show, Look 48. (Model: Querelle Jansen)

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

The laced safari tunic from the 1968 collection remains as one of the holy grails in the vintage world. It was re-issued in several forms during Yves' span as head of his atelier and when Tom Ford took over YSL in 1999, he too eventually did a safari collection in homage to Yves for the 2002 Spring collection. Countless celebrities have been spotted wearing some version of that first famous tunic over the years, and it is one of the most identifiable of Yves' pieces out there. This 2002 dress version is perhaps one of the most wearable out of all the later versions made as it gives you complete control over how much skin you decide to show behind the lace up front. The front laces down to below the waist just like the originals did, but on Ford's version there is a modesty panel that you can hook into place to cover part or all of the bareness behind the laces. If you decide to unhook and fold that modesty panel back, the gap left between the two sides plunges to just below the belly button so is scandalously sexy. The dress is made from a golden toned khaki and has many of the same hallmarks of that tunic made famous when it was photoed on Verushka. These rarely come up to market and even more rarely are found is such a wearable size so grab it while you can. It's a sound investment pieces and insanely fabulous. Excellent condition

Unlined and slips on to wear. Fabric tie belt. Four top set flap pockets. Each cuff buttons and zips to close. The modesty panel is attached along one side and hooks into place down the other. Note that there are a small marks on the inner back near the tag that does not go through to the exterior.  Tagged a FR YSL 46. The tie waist and easy cut will allow it to fit a variety of frames

Sleeves: 25.5"
Shoulders: 16.5"
Bust: to 22" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 39.5" from neck to hem

Modern Sizing Equivalent: MED-XL

Item# DD3024

Reference photos: (1) YSL runway Look 18, model: Liya Kebede (2) editorial photo from 2002, source unknown (3) Veruschka wearing YSL by Franco Rubartelli for Vogue, 1968.

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

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

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

This dress is a stunning example of that technique. It is most likely from about 1965 based on the bow details used on the side of the skirt, though she did make variations of this dress from the mid 1950s to the mid 1960s so it could be an earlier version. I believe this is a version of the dress that I found a sketch of from the permanent collection of the Hunt Museum in Ireland. You can see the similarities on all but the length. Sybil worked directly with the cloth when she did her design work and rarely did any preliminary sketches so it is a pleasure to have found one to reference. I found a quote that referred to the Irish linen she used to be 'of a quality so fine it was almost chiffon-like in weight' and that’s description is very accurate. This dress has a very formal feel to it that is softened by that lovely soft blue color that the linen has been dyed to. The bows are a stiffened organza and the color of those slightly offset the blue of the dress. They add a touch of romance and whimsy as they run down the sides of the skirt, securing in place the long, inverted folds down each side. The dress is kept simple so that the pleating technique takes center stage. The bodice is sleeveless, with a high neckline at the front and a slight V at the back. The waist cinches in for shape and then the skirt billows out to a beautiful strong line that allows the many yard of fabric used to take full center stage. It is stunning and a rare example of fashion history. Excellent condition with one small note below to review.

The dress is fully lined in a blue hand set silk and closes with a back painted metal zipper, Inner waist stay closes with hook & eye. The hand work done can clearly be seen through the interior. Some shattering to the silk on the inner bodice - photoed and shown after the label photo. This does not affect the exterior in any way

Bust: 17.5-18.5" flat across from side seam to side seam
Inner waist stay: 13" flat across from side seam to side seam, if left unhooked you could get a bit more room
Hips: to 21" flat across from side seam to side seam
Bodice: 15.5" from top of bodice to waist
Skirt: 42" from waist to hem with abut 3" turned up under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3017

Reference Photos: (1) Sybil Connolly Skirt in Harper's Magazine, August 1965.  /  (2) Credits Unknown.  /  (3) Sybil Connolly sketch from The Hunt Museum.  /  (4) Portrait of Jacqueline Kennedy by Aaron A. Shikler. Oil on canvas, 47 x 31 inches, executed between 1968-1995, from a Private Collection, courtesy Davis & Langdale Company, Inc., New York.  /  (5-7) 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.

Randolph Duke made his formal evening wear debut during fall 1997 and immediately gained a steadfast following and was dressing stars like Hilary Swank, Angelina Jolie, Sharon Stone and Celine Dion for major red carpet events. His shows from Fall 2000 onward are well documented and this dress is not in them making it Spring 2000 or earlier. Angie Harmon wore a similar dress on the red carpet in 2000. The dress bears its original sample label making it either the piece that would have been shown on the runway or the showroom sample that buyers would have seen to buy this design for the upcoming season. If Duke was known for his ability to showcase a woman's body, then this dress takes that to the extreme. It has a barely there feel to it. It plunges almost to the waist at the front. The slit created by the wrapped over effect on the skirt is just shy of being scandalous, under that front draped knot the dress is held together with just a few tacks, and the back is left equally as bare. The fabric is a clinging red crepe jersey and it slinks over the body and drapes into place, moving like liquid with your body. It's simplicity and bareness hide a high level of technical skill that keeps the dress all perfectly in place where it should be. It is quite beautiful and a rare example of his work made even rare by being the original sample. Excellent condition

Unlined and closes with a back hidden set zipper. Inner waist stay hooks to close. Perhaps the slightest of grubbiness to the hem but I am being really picky. Bias cut so will accommodate a variety of figures. Mainly hand made

Bust: no true side seams and should fit most busts
Inner waist stay: adjust from a 23" to a 26"
Hips: should fit most hips as it not truly closed at the front
Length: 69" from top of shoulder to the back hem, the slit at the front adjusts with movement

Modern Sizing Equivalent: XS-MED

Item# DD3016

Reference Photos: Angie Harmon in Randolph Duke at the 2000 Emmy Awards on September 10, 2000.

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

This was one of the highlights of the 2014 Pucci runway, shown on Isabeli Fontana for Look 37 of the fall presentation. Even though it is a recent piece, it is sure to  become an important piece in terms of Peter Dundas' career. Style.com said that this was one of his best collections:

Over his five years at Emilio Pucci, Peter Dundas has soaked in the house's Italian jet-set heritage and turned the show into one of Milan's hot tickets. ...... Dundas tapped into his own history, and the result ranks up there with his best collections for Pucci.....Jersey was another house signature, but back in Emilio's day it never draped quite as fabulously. 

The dress is made out of a slinky, fine light weight, black jersey, cut to highlight and show off your figure. It also is micro mini length so shows miles of long bare legs. Cut outs circle the upper bust to giving a sexy glimpse of skin. These cut outs are connected by a gold chain that running around your upper bodice and creates a tantalizing series of open slashes. The workmanship that has been out into the dress and draping of the jersey is extraordinary and shows a high level of  technique. This particular fabric is extremely hard to work with and the level of fit and draping that Dundas has achieved is wonderful.  The original price on this dress was just over 4000+ taxes and I would bet that given the time to become a "true" piece of vintage that its value will far exceed that and what it is listed here for. New with original hang tag and never worn.

The skirt is a double layer of jersey that continues up through the bodice and the upper shoulders and sleeves are a then a single layer. It closes with a hidden set zipper at the side and hook and eye along the neck. Tagged a modern IT44, FR40, UK12 or 10US. The fabric does have stretch

Sleeves: 31" and push up when on
Bust: 15-20" flat across from seam to seam
Waist: 14-16" flat across from seam to seam
Hips: 18-21" flat across from seam to seam
Length: approx 35" from neck to hem but when on you can wear it as short as you wish

Modern Sizing Equivalent: SML-LRG

Item # DD3012

Reference Photo: Isabeli Fontana for Emilio Pucci, F/W 2014 (Look 37).

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

The Chanel Cruise collections have an interesting history. Gabrielle Chanel actually sailed and her love of the sport led to her inception of a 'cruise' collection in the 1920s. She was not the first to come up with this concept but hers were among the first to show a complete collection in a fully fledged show. They eventually fell off in popularity and it was not until Karl Lagerfeld took over Chanel that the cruise collections started again.

This Chanel dress from the 2002 Cruise collection is phenomenal. It successfully marries an unexpected stretch jersey fabric choice with insets and draped panels of silk chiffon. The cut is pure evening, while the fabric has a more relaxed feel. It makes it wonderfully easy to wear and very comfortable once on the body. the color is a deep midnight blue that almost appears to be black in certain lights. The fabric is light in weight but with enough substance to hold the shape and give it the wonderful curving shape through torso and the skirt that you see. The bodice of the dress is suspended by straps that curve over each shoulder.  One shoulder has looping panels of silk chiffon that you can allow to just fall over your arm or loop your arm through. At the top of that same shoulder sits a pretty silk chiffon flower. The bodice is fitted and a draped chiffon panel curves over it on both the front and back. The skirt is cut to hug your curves over the hips, narrows in and then flares out in a dramatic expanse of chiffon and jersey. The back flares out behind you in a bit of a train and the bottom half of the skirt has a more transparent feel with its chiffon panels. The ribbed jersey portions of the dress allows it to move and fit to accommodate you underneath and the dress moves wonderfully when it is on. The double C logo sits on the top of one shoulder strap for the perfect finish. The construction is immaculate. Excellent condition with one very minor note below.

Fully lined in a matching blue silk chiffon and it zips to close at the side with a hidden set zipper. The fabric does have some stretch.  There is one small vertical repair to the train. You would never notice it unless its laid out flat because of the way the fabric falls when it is on. It is tagged a Chanel 40

Bust: 17-18" flat across from side seam to side seam
Waist: 14-15" flat across from side seam to side seam
Hips: 19-21" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 46.5" from waist to front hem, 54" to the longest point at the back

Modern Sizing Equivalent: MED-LRG

Item# DD3006

Reference Photos: Cherie, Owner of Shrimpton Couture, by Erin Leydon. Cherie is wearing a Magnetic Midnight X Shrimpton Couture 'Star Bright' Headpiece - available on the site here >

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

This dress is wonderful and even better on a real body. It is made of a fluid scarf weight silk in a gorgeous red that has just a hint of a coral tone to it. The fabric has a secondary print of little triangles and flowers woven directly through the silk and then that is covered with a combination of oversized white dots and smaller blue & yellow dots. Long panels of the same  silk fabric wrap around the waist, tie and then flow down each hip. Each ends just above the hemline and this gives the skirt a really unusual effect and adds an interesting volume to each side without adding bulk. One of the side ties is attached along the side of the waist and the other is not attached at all. I am not 100% sure if originally both were meant to be attached and it will be sent as found. I think that having one free and loose gives you more styling options so prefer it that way myself. The skirt has a faux wrap effect so that when you move or sit you will get a sexy glimpse of bare leg showing. The top is strapless and lightly boned inside for support and shape. I love that this leaves your shoulders and arms bare. It has a very chic but sexy feel in that perfect Valentino way. Excellent condition

Fully lined in the same silk as the exterior but without the dots on the inner lining. Closes with a painted metal and nylon zipper at the back. Light boning trough the bodice and an Inner waist stay that hooks to close. Hand finished throughout with excellent construction.

Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 9.5" from top of bodice to waist
Skirt: 41" from top waist seam, included 3: band at the waist to longest point of the hem at the back. The front curves up slightly

Modern Sizing Equivalent: XS-SML

Item# DD3002

Reference Photos: (1) Iman for the Valentino ad campaign shot by Horst, 1983.  /  (2) Vibeke Knudsen in Valentino by Giampaolo Barbier, Vogue Italia, 1983

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

This is an absolutely gorgeous, early 1960s printed Emilio Pucci two piece set with a tie front halter top and a pair of incredible, wide leg matching pants. It is made of light, cotton jersey that has just a touch of nylon woven into it. This gives it a better drape, a touch of stretch and allowed the color to be more saturated and crisp. The pants are flat fronted with a wider cut, low set sling to the waist. They flow over the hips and then widen out to incredibly wide legs. Pucci loved to do this during this time period and it was a bit of a signature of his. It gives the pants the look of a full length skirt from the distance, but gives the girl wearing them the ease and comfort of a pant. The top just slips on and ties at the front. This design leaves the back totally bare except for the single strap across the back and around the neck. At the front you have a full, bare midriff. This is a very rare set. Excellent overall condition with a couple of small notes below

Both pieces are unlined. The top ties to close at the front and the pants close with a painted metal zipper and hook & eye and snaps at the waist. The bottom of each pant leg is a full 44" around. Hand finished. There is a small areas that has been taken in at the waist and a small square of fabric missing from the waist band - please refer to the photo provided. There is elastic in the waist but it seems to have been let out. You could tighten it to fit. There is a small smudge of color run on the front of one halter. Because of the extent of the finish you could move the tags to the other side and wear it the other way around if that bothered you. It gets lost in the print anyway but is noted and photoed. You could easily have the pants adjusted down if you are smaller. The fabric has some stretch

Top
Bust: adjustable because of tie. The base band that ties is 46" from end to end and the base of each cup where it is attached to that band is 7.5" wide
Length: approx 10-11" from neck to hem

Pant
Waist as it is now: 14-15" flat across from side seam to side seam
Hips: 20-22" flat across from side seam to side seam
Pant: 39.5" from waist to hem
Inseam: 29.5

Modern Sizing Equivalent: SML-MED

Item# DD2995

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 second time I have had this in the shop and I love finding these. It is hands down, one of my very favorites of the early Oscar designs. It is so bright and colorful that you can't help but smile in it. It is literally like wearing a rainbow. The cut is extremely sexy with that barely there coverage at the top and yet it still manages to have an innocent, girl-next-door feel to it. It is made from heavy linen that is striped with a rainbow of bright colors. These sit horizontally over the skirt and then on the halter the pattern is set to follow the cut of the diamond shaped halter of the bodice. The halter top stays in place with little piped straps that crisscross over the back and tie. The waist is cinched in and the skirt has a pretty amount of volume. The skirt is finished with a wide ruffled edge. I love that the back and sides are left completely bare and open. The barely covered top with the sweetness of the ruffled, long skirt are the perfect contrast to each other. Note that this piece is not labeled but is 100% the same dress as the labeled one I have sold in the past. Excellent condition

Fully lined in a white silky rayon and closes at the low back with a painted metal and nylon zipper and flat hook & eye at the back waist. The straps tie at the back to hold the halter in place.

Bust: adjustable
(The actual diamond shape measures 15"w x 10"h from waist to top, the straps will adjust for length and width from there)
Waist: 12.25" flat across from side seam to side seam
Hips: open
Bodice: adjustable with straps
Skirt: 37.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2997

Reference photos: (1-2) Spring 1972 Oscar de la Renta Runway.  /  (3) From her Instagram, Indre Rockefeller in her Shrimpton Couture version  /  (4-5) Sophia Amoruso in her own version, from her Instagram.

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

From the 1991 collection comes this gorgeous and important dress by Gianni Versace. The review from Vogue that season said "If there was a collection that crystalized the supermodel moment, this was it." The runway show showed a couple versions of the lace up dress and more variations were put into production including this one.

On this version, the sleeve laces up around the shoulder and down the arm to give it a corset feel. The sensuality this creates is fabulous. The dress is cut on the bias and hugs the bust, skims over the waist and curves around the hips. The skirt narrows in below that and then flares out in a fishtail at the back. I love that the from the waist down the dress has a layer of silk chiffon that gives it a bit of a translucent effect around the hem especially. The is a dress that needs a real body under it and will utterly transform once on. The boas cut highlights and hugs your curves and the contrast between the movement of he back skirt and the constricted lacing of the one sleeve is genius. This is Versace at his best and from one of the most lauded of his collections. Excellent condition

Fully lined in a black silk and closes with a hidden set, side zipper. The shoulders and sleeve lace up with a coated leather cord.Looks to be unworn or worn very little. The cords has never even been ties when I received the gown,

Sleeves: approx 24"
Shoulders: no defined sleeve
Bust: to 18" flat across from side seam to side seam
Waist: to 15.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 61" from top of shoulder to longest point of hem

Modern Sizing Equivalent: SML-MED

Item# DD2994

Reference Photos: Versace Fall 1991 Runway Show. (1. Look 88, Model: Yasmeen Ghauri.  /  2. Look 89. Model: Marpessa Hennink.)

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

Todd Oldham began designing in NYC in 1989 and instantly became one of the superstars of the nineties 'with his scrupulously constructed garments, featuring extravagant embellishments and raucous color combinations.' His first major exhibit was titled "All of Everything" and launched at the RISD Museum. He manufactured all of his pieces from his main line out of his studio during the years he was designing. That means that these were not mass produced, large scale production items. His more elaborate and runway pieces in particular were either very small runs or one-offs.

This dress is wonderful. It is made from a lush black velvet. The cut is simple as were many of his pieces. Onto the velvet are a series of bouquets. Each is made up of hand set glass crystals fused onto the velvet, combined with prong-set crystals. These glitter and catch the light beautifully. The straps are extraordinary. They are really closer to being jewellery that has been incorporated into the designer rather then just straps on a dress. Each is a crystal encrusted metal backed shape that is lined up and linked to the next. Hearts and elephants mix with flowers. Each strap hooks to open at the top of the shoulder for ease of getting it on and off. It is a work of art and a true testament to Oldham's genius. In the show notes for the RISD exhibit Oldham states: “We were always throwing curve balls,” Oldham recalls. “I felt I had something to say and it was meaningful and had duality and juxtaposition.” Excellent condition

Fully lined in black silk and closes with a back metal and nylon zipper. Each strap hooks to close and the straps are crystals set into silver toned metal. Hand set embellishments. Made to demi-couture standards. Tagged a M and appears unworn

Bust: 18" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 21.5" flat across from side seam to side seam
Length: 39.5" from top of shoulder strap to hem

Modern Sizing Equivalent: SML-MED

Item# DD2703

Reference Photo: Fall 1991 Todd Oldham 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 an exceptional Yves Saint Laurent designed silk taffeta dress from the Fall 1986 collection. The same dress in a moire Silk Taffeta was featured in the catalogue that year and I have included the reference photo of that here.

The cut is stunning. It has an almost monastic feel to it but with his full skirted look that he was doing during this time period. The skirt is very full and yet the fabric it is still very light. The choice of a silk taffeta gives it the structure to hold its shape and fullness but with virtually no weight. I love that there are pockets hidden along the seam of the skirt and the series of soft pleats that circle the waist. These pleats are what give the skirt the volume that you see but are set along the waist so that they don't add bulk. There is an incredible amount of fabric in the skirt and this is balanced by the more fitted top. The bodice crosses over at the front in a series of soft pleats that are set angled from each shoulder seam to the mid waist. The shoulders are cut wider and each has light padding underneath to give them shape. The sleeves are set into the bodice low and wide. Each is cut on a curve that follows the shape of the arm and they narrow down as they near the wrist, ending with a zipped finish. Exceptional. Excellent condition.

Unlined and closes with a side, fine metal painted zipper. Zippers at the cuff of each sleeve. Light padding in each shoulder and pockets on the hips. Hand finished. Looks to have been worn very little.

Sleeves: 23.5"
Shoulders: 15"
Bust: to 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of bodice to waist
Skirt: 39" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2199

Reference Photos: (1) Fall 1986 Yves Saint Laurent Runway (Model: Paloma Morales).  /  (2) Photo by Gian Paolo Barbieri for Saint Laurent Rive Gauche F/W 1986 Catalogue Campaign.

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

Christian LaCroix launched his Haute Couture house in 1987 and was instantly adored and revered. A ready-to-wear line soon followed along with perfumes and menswear. His collections are always an exotic, lavish affair and his inspirations spanned the decades with their eccentric, exotic glamour. His atelier closed in 2009. This dress is from the Spring 2003 collection. I love that for production they went with this stunning color rather then the graphic black and white that it was shown in for the presentation that season.

This dress is wonderful with its bias cut that hearkens back to the Old Hollywood days of high glamour. It is made entirely from a fine, bias cut silk. The color combination is gorgeous, with a deep raspberry red mixed with pink. Part of the pattern has large dots that curve over the surface and highlight the cut of the dress. The fine, curved seaming done on the dress is a nod to the type of costumes being worn by starlets of the 1930s and designers working with bias cut fabrics like Madame Gres and Madeleine Vionnet. It really has that same feel once on but the graphic dot print in those vibrant colors gives it a modern touch. The bias cut and curved set seams allow the dress to both hug the body and still move with you so it is extremely light and comfortable when on. The bodice is hand draped across the bust with one side cut to sit a little higher. The dress is suspended from a tiny strap on the side that dips down, while the higher set side curves up into a wider strap. At the back it is the wider strap that dips low down the back to leave an expanse of skin while the thinner strap acts to anchor the fabric higher on the back on that side. It is cut to curve around your body, skimming over the waist and flowing softly into the long skirt. The construction of the skirt is remarkable. High slits sit on either side of the front panel of the skirt for a peek of your legs. At the back of the skirt, there is an extra panel of silk set over the inner skirt. This panel cascades down the back and extends into an offset train of silk to one side, perfectly balanced by the wider strap. It is absolutely beautiful and a dream to wear. Excellent condition

Fully lined in a matching pink, textured silk chiffon and closes with a hidden, side set zipper. Tagged a size 42. Finished to demi-couture standards. The bias cut will allow it to fit a larger range of sizes, though if you are small busted and a smaller frame you will almost be sure to have to adjust the straps to fit perfectly. Note the color on the mannequin is closest to the true color.

Bust: 15-20" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Length: 63" from shoulder to front hem, 73" to end of train at the back

Modern Sizing Equivalent: SML-LRG

Item# DD2803

Reference Photos: (1) Cherie, Owner of Shrimpton Couture, by Erin Leydon. Cherie is also wearing a 1920s Reversible Cape (sold), (2) Christian Lacroix Spring 2003, Look 5.

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

Richard Blackwell launched his line in the late 1950s and even then his dress sold for between $800 and $1000 (or up to $10,000 in the modern terms). He dressed many of the stars of the day including Jane Russell, Dorothy Lamour and Jayne Mansfield. His 'custom' line was the pieces that were made to order, and were one of a kind and were fitted to a specific client in the demi-couture tradition.

This dress is from that part of his design label and is a spectacular example of his work. It is a wonderful dress regardless of its label and rarely do such fine examples of this time period, with this level of glamour, come to market anymore. The cut is simple but dramatic. It is cut in that classic bombshell, hourglass shape and it was made to hug every curve. The dress is suspended from two sequin covered straps and the neckline is cut simply at the front and scoops in the back. The bust is shaped and wired and glides into a nipped in waist. The hips are cut in a curve to follow the curve of the body and the skirt narrows in. The back has a fishtail hem so that you can actually walk. The entire dress is densely covered with hand placed pink sequins. These are so heavily applied that they overlap and crowd over each other haphazardly for a 3D effect. I love that the bottom hem is finished with the polar opposite as far as the placement of the sequins. Here they are laid out in precise rows with each sequin placed exactly over the one on either side so you get the smoothly finished contrasting hem that covers the final 10" of the dress. It has a matching silk chiffon scarf that is partially sequinned with the same orderly row effect as the hem. It is amazing. Excellent condition.

Fully lined in a pink silk and closes with a back, painted metal zipper. Boned and shaped through the bodice. The matching scarf has one small area of fading on the sequins and the silk. I see no areas of sequin loss on either piece and it looks to have been worn very little if at all. This is very fitted but will work on a curvy girl fabulously.

Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 56" from top of shoulder to front hem, 60" to the longest point at the back hem

Modern Sizing Equivalent: MED-LRG

Item# DD2982

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 Chanel dress is wonderful. The cut is simple and classic and will easily work for day or evening. It is made from a soft black and white, lightweight stretch knit that has a gingham print feel. The fabric is light in weight but with enough substance to hold the shape and give it the wonderful drape through the skirt that you see. It has a bit of a seventies feel to it with its ruffle edges and full length through the skirt but it is a more modern piece. The bodice of the dress is suspended by straps in the same fabric that curve over each shoulder. The edge of the bodice and the waist are finished in a 'ruffled' feeling trim that is also made from the same fabric. Under this, the skirt skims over the hips and then falls to the floor and gently widens out as it nears the hem. The bottom hem has a wide panel that flares out more and is set into the skirt and also finished with trimming . The skirt is quite full and the dress moves wonderfully around you when it is on. The double C logo sits on the waist on one side. The construction is immaculate. Excellent condition.

The bodice has a double layer of the same fabric acting as its lining and it zips to close at the side with a hidden set zipper. The fabric does have some stretch. It is tagged a Chanel 38

Bust: 15-18" flat across from side seam to side seam
Under Bust at seam: 14-16"
Natural Waist: 13-16" flat across from side seam to side seam
Hips: 18-23" flat across from side seam to side seam
Length: 61" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD2477

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

Paco Rabanne was a Spanish designer who became known as "l'enfant terrible (unruly child) of the 1960s French fashion world. He began making jewellery in unusual materials for many of the French couturiers and in 1964 at the age of 30 presented his first collection. In 1966 he had his breakout show: “Twelve Unwearable Dresses in Contemporary Materials.” and it was with this show that he found his calling. He was quoted as saying “sewing is a bondage,” and made his dresses out of paper, plastic and metal, which were pieced together with wire and glue. By 1968 some of the most famous women in the world were wearing his pieces and along with André Courrèges and Pierre Cardin, he helped to create the 1960s Space Age movement.

Metal discs in gold are mixed with rows of silver to create this iconic, museum worthy Paco Rabanne dress. The discs are hand linked together one by one to create the shape and form that you see. The shoulder straps are topped by big oval metal plates that have hidden hooks under them and act as closures to the dress. Another large oval disc sits at the back just above the keyhole. The bodice is square cut and the shape is almost like a gladiator's tunic, that ends in a short mini length that shows miles of legs. The center of the dress, with its draped gold toned aluminum chains, is the focal point of the piece. The cut out leaves your entire midriff bare and the chains add unexpected movement. Most examples from this time period are a monochromatic silver and it is unusual and rare to find a mix like this one. Early examples of his work like this dress are held mainly in museums around the globe and pieces rarely come to market. It is exceptional. It's modern day provenance includes being worn by Naomi Campbell and Samantha Angelo. Excellent condition

Slips on to wear with hidden hooks under the oval plates at each shoulder and the back. The discs give it an almost bias cut in the way it sits on the body so it will fit a variety of sizes.

Bust to hip: approx 17-19" flat across from side to side
Length: 31" from shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD2077

Reference Photos: (1) Photographed for creative purposes by Ted Belton, Stylist: Amanda Lee Shirreffs, Hair & Makeup: Erin Heather.  /  (2-3) Naomi Campbell photos by @hamishbowles and @naomicampbell on Instagram.  /  (4-5) Samantha Angelo by Keziban Barry. Click here to see more photos and our full blog post on this >  /  (6) Photo of Paco Rabanne piece featured in an auction at the Hotel Drouot, Paris  /  (7) Paco Rabanne adjusting one of his disk dresses with pliers, 1966.  /  (8) Paco Rabanne with a model in one of his link dresses, 1966.

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

This exceptional dress is by Marc Bohan for Christian Dior and it is a wonderful example of his work during this time period. It was in the late 1960s that was doing these wonderful metallic detailed dresses and the results were stupendous. The silk chiffon base on this one has a print that has pops of a pale blue worked through the design. Woven through that silk is a gold lurex thread to give the dress its metallic finish. The gold is used to highlight the lines and cut of the dress and catch the light as you move. The neckline is a cut into a square off shape and the bodice is balanced by long slim sleeves. The gold thread is placed to follow the neckline and also run down each sleeve in rows. On the skirt the gold is placed on the top of each pleat that runs down the length of the skirt. When you stand still the skirt looks like a column of gold but when you move and the pleats open you get the contrast on the printed silk chiffon. The dress has its original matching belt to cinch in the waist and on the belt are the same gold horizontal stripes that circle the hem. made to demi-couture standards. Excellent condition.

Fully lined in a brown silk with the sleeves left unlined. It closes with a back painted metal & nylon zipper and hook & eye at the neck. Each sleeve has a hidden snaps at the cuff. The belt closes with a combination of hook, grommets and snaps and is stamped Christian Dior on the back. Hand finished. Note that it was too small to properly close at the back on my mannequin - on the right size girl it will of course close perfectly at the back.

Sleeves: 23.5"
Shoulders: 13"
Bust: to 18" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips of the inner lining: to 20" flat across from side seam to side seam
Bodice: 15" from neck to waist
Skirt: 43.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2560

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

This is one of the holy grails when looking for and finding vintage Missoni. It is a metallic lurex floral caftan dress. Similar, but less dramatic pieces with this floral print appeared in the 1972-73 season in Vogue and telegraph magazine and I have included those reference photos here.  The caftan is made from a pinky rust colored metallic lurex that has bands of flowers circling the fabric every 6 inches or so from top to bottom. The fabric is feather light so wearing this feels like wearing air and it is coll and comfortable even in warm climates. I myself own its twin and have worn it several times on vacation and closer to home. It is wonderful and easy to wear and very flattering. It is seamed down each side so unlike a traditional caftan it gives you shape and defines your curves. A long fabric belt of the same fabric cinches in the waist and gives it a modern twist. That belt also cleverly camouflages any tummy you have so you feel lean and sleek in it. I love the sides - they are left open from the outer edge to the inner seaming so you get that feel of a true caftan and all the decadence and flow that a caftan would have. You see these very, very rarely and this one is exceptional with its stunning colorway. Excellent condition.

The dress is unlined and slips over the head to wear. There is stretch to the fabric so it will allow a variety of sizes to wear it. The smaller you are the more it fits like a loose caftan. The dress has seaming down the sides so the measurements are from side to side of the inner seaming. The belt is original and in excellent condition.I see one tiny repair to the back of the one of the caftan sides that has no impact once on. Mentioned for accuracy only. The fabric does have some stretch. The cutt will allow it to fit a full range of sizes.

Shoulders: no defined seams
Bust: will stretch to about 19" flat from side seam to side seam
Waist: 14-15" flat across from side seam to side seam, has belt to cinch
Hips: will stretch 19-21" comfortably flat from side seam to side seam
Length: 59" from neck to bottom hem
Full width across: 48"

Modern Sizing Equivalent: XS-LRG

Item# DD2969

Reference Photos:  (1-2) Cherie, Owner of Shrimpton Couture, by Erin Leydon.  /  (3) Model (on right) in Missoni, photo by Duffy for Telegraph Magazine, September 1973.  /  (4) Moyra Swan wearing a Missoni skirt. Photographed by Barry Lategan from Vogue 1972.

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

This Thea Porter caftan dress was made in 1975 and was one of the dresses that I lent from my archives for the 2015 exhibit "Thea Porter 70s Bohemian Chic" at the Fashion and Textile Museum in London, curated by Laura McLaws Helms. The mix of textiles used in the construction of this caftan was specifically noted upon on the display card that accompanied this dress in the exhibit. The card stated: Abaya, c. 1975, Designed by Thea Porter. Additional notes from Louise Fennell on Thea’s ingenious mixing of fabrics stated: ‘She’d often just put different bits of material on the floor and looked at them, and moved them about a bit; tried different things with different things – sometimes you thought, “Ooo, really??” but it always worked brilliantly.’

Of all of Thea's pieces, her caftans have come to represent Thea's work like no other piece of her clothing that she designed. Elizabeth Taylor was a huge fan and collector. By the end of her life she had amassed a large collection that was auctioned off through Christie's in 2011. Most of the caftans in that auction fetched well over the $20,000USD mark. Barbara Bach was photoed in a similar one for the cover of the Sunday Telegraph in 1977 and that photo has become an iconic representation of the era. Each of Thea’s caftans ere made by hand and no two are alike. This one appears to have never been worn and looks and feels like it is straight off a shop rack.

Thecaftan is very beautiful and is made from a combination of mix of green fabrics. Metallic shot velvets on silk chiffon are mixed with panels of silk brocades. Thea was known to hunt antique stores and markets during her extensive travels and use what she found in her designs. I think that some of these panels are some of her found antique fabrics. The wide metallic brocade ribbon that borders the main front panel feels like it could be a bit of older ribbon rescued and re-purposed. The caftan is unlined and once it is on you realize that all the side panels of chiffon and velvet fused chiffon are semi-transparent. This see-through quality makes is very sexy despite the full coverage it has. The main front and back panel of brocade has a slightly stiff feel to it still since it has not been worn expect for my photos in it and when it was in a mannequin in the exhibit. This fabric will soften as you wear it. A chiffon tie loops though skits hidden on either side of the front panel to add some shape. If you decide not to tie it the slits are done along the seam and are not apparent. A very special piece, worthy of its Museum exhibited provenance. Excellent condition.

Unlined and slips on to wear. Has a matching chiffon fabric sash that you can slip through slits at the front to add shape. It appears to have never been worn, or worn very little 

WIdth: 59" side to side
Length: 53.5" neck to hem

Modern Sizing Equivalent: OSFA

Item# DD2966

Reference Photos: (1-2) From the Thea Porter 70s Bohemian Chic Exhibition at the Fashion and Textile Museum.  /  (3-4) Cherie, Owner of Shrimpton Couture, by Erin Leydon.  /  (5) Barbara Bach, in Thea Porter, photographed by David James for The Telegraph Sunday Magazine, April 3, 1977.  /  (6) Elizabeth Taylor's collection of caftans,  Christie’s auction house, New York, 2011.

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

That wonderful bow print on this piece was featured in an editorial for Vogue in 1987 and worn by Linda Evangelista. This dress is from that same collection with the added bonus of having that adorable print cover the entire surface. The dress is made from fine black silk screened with that white bow print from top to bottom. The bodice is fitted and hugs the body. There is a slight gathering at the top of each shoulder so that they puff up slightly at the top and are fuller through the upper arm and then narrow in at the wrist for a wonderful nod to the forties. Each cuff has a ruffle finish. The ruffle detailing is picked up around the neckline and the skirt as well. The skirt is cut to hug your hips and then it flares out in two flounced ruffled tiers. Each is a full 5.5" wide and circle all the way around. It retains its original fabric tie belt that you can wrap and cinch around the waist. It is quite lovely. Excellent condition.

Fully lined in a fine black silk and closes with a side painted metal zipper. Original fabric tie belt. Appears to have been worn very little if at all. tagged a vintage YSL 34.

Slightly inset shoulders: 13"
Sleeves: 23"
Bust: 17" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 15" from neck to waist
Skirt: 23" from waist to hem
Tie Belt: 4" x 106"

Modern Sizing equivalent: XS-SML

Item# DD1005

Reference Photo: (1) SS 1987 Yves Saint Laurent Runway, photographed by Guy Marineau.  / (2) Linda Evangelista in YSL by Arthur Elgort, Vogue UK, May 1987.  /  (3) Amanda Lee Shirreffs. (See the complete blog post on this look here) 

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 wonderful trench coat with its patent finish is very well documented piece, appearing in editorials for both Vogue and Marie Claire back in 1973. It was dubbed a 'raincoat' by Vogue but it is not really your typical rubber slicker. It is a high fashion trench coat made of a cotton that has been coated with a high gloss, patent look finish. It is also a fabulous piece of Yves early work for the Rive Gauche line. The cut is sleek and simple and it is really the gloss of the fabric that is allowed to take center stage. It buttons down the front and has four large top set pockets for detail. The waist has elastic running though it and then there is a half belt at the front only that you cab buckle or tie to close and really cinch in the waist. I love the buckle and straps on each cuff and now the back feels so sleek. The perfect finish is that double vent at the back. It gives it a bit of a 'spy' feel and I love it. Excellent condition with one item to note below.

Fully lined in a black silky rayon. It buttons to close at the front. All pockets are functional. Elastic runs through the waist with a buckle half belt at the front. Note that the prong is missing on that buckle. I just tied it to cinch and that looks better anyway. Some light scuffing to the fabric here and there due to natural patina, one mark in the fabric on the pocket.

Sleeves: 22"
Shoulders: 17"
Bust: 20" flat across from side seam to side seam
Waist: 14-18" flat across from side seam to side seam
Hips: 23" flat across from side seam to side seam
Length: 46" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# C466

Reference Photo: (1) Gunilla Lindblad in YSL Rive Gauche by Helmut Newton, Marie Claire France 1973. (2) US Vogue, 1973.

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

This dress, along with the Patrick Kelly jumpsuit just put out, were listed in the shop before they were pulled and lent out for  the "Politics of Fashion" 2014 -2015 Exhibit at the Toronto Design Exchange. They have been in my archive since and I am now releasing both. Both are from 1989 and the museum dated this one for the exhibit.

The Philadelphia Museum of Art recently hosted an exhibit of the work of Patrick Kelly. The show notes state: "“I want my clothes to make you smile”—that was the goal of late African American designer Patrick Kelly in creating his bold, bright, and joyful creations. Kelly achieved this on the streets, nightclubs, and runways of New York, Paris, and beyond in the heady, inventive, and often-subversive urban milieu of the 1980s....Kelly’s work pushed racial and cultural boundaries with golliwog logos, Aunt Jemima bandana dresses, and his ubiquitous black baby-doll brooches. His playful looks were inspired by his muse, Josephine Baker, and admiration for couturiers Coco Chanel, Elsa Schiaparelli, and Yves Saint Laurent, among others."

This super sexy little black knit Patrick Kelly dress is wonderful. For his runway collection that year Patrick did a series of these dresses with their vivid color blocking on a black base. That color blocking stripe is the star of the show here and the primary color is used in thick stripes that are worked on the diagonal. The  neckline is set so the shoulders stay bare and you are enveloped in a wide panel of fabric that wraps all the way around. The colors running across that are panel are a bright combination of blue, red and yellow. This makes for an eye popping contrast and endless styling possibilities. It's fitted through the body beneath and ends just above the knee for maximum leg exposure. I love the long skinny sleeves which are the perfect balance to to the short hem line, fitted silhouette and bare shoulders. Excellent condition.

The dress is knit jersey with some stretch. It slips on to wear with no closures. Elastic through the upper shoulder. Appears to have never been worn. The fabric does have stretch and the measurements provided are the comfortable range when laying flat

Sleeves: 21"
Bust: 16-19" flat across from side seam to side seam
Waist: 13.5-16" flat across from side seam to side seam
Hips: 17-19" flat across from side seam to side seam
Length: approx 30" from the top of the bodice to bottom hem

Modern Sizing Equivalent: SML-MED

Item# DD2959

Reference Photos: (1-2) Patrick Kelly A/W 1989-1990 Runway Show  /  (3-4) Photos from the "Politics of Fashion" 2014 Exhibit at the Toronto Design Exchange.

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 perhaps one of the most recognized and well documented pieces of vintage to have ever existed. Rarely have I seen pieces come up for sale in this condition. It also retains its original 'modesty' panel under the front lacing of the jacket that is almost never present as girls took them out and threw them away. In an article from Look-In Fashion Model Annual, 1971, from which one of the reference photos was taken, the writer said this of the Mr Freedom boutique: "It's a remarkable shop. The price tags are cardboard fried eggs. Inside, a huge fly eight or nine feet long slowly flaps it's wings just above your head and further inside a chest-high model of a shoe looms large in metallic mauve. There's an armchair made to look like a huge set of false teeth and furniture the shape and colour of liquorice all-sorts. There are beautiful Mr Freedom-clad assistants and a wide-grinning Teddy boy called 'arold. Not to mention the clothes. Mr Freedom stocks an ever changing shopful of vivid, original fashions, each one more outrageous than the last and each quite different. There are fashions from the thirties and forties. There are drape jackets and blue suede shoes from the Teddy boy era, and shorts and sling back shoes fit for fifties film stars, enamel brooches, sneakers, platform shoes, sailor suits, and a whole host of incredible clothes that could have only come from the seventies. And all the time new ideas bring new clothes. Mr Freedom doesn't follow fashion, he leads"

Both the pants and jacket are made of a combination of red and black velvet. The set is a play on the traditional "baseball suit" with patch appliques at both elbows, on the pant legs and butt area to mimic that uniform. The pants are fitted around the hip with a button front detail. The legs are cut with a slight flare that ends at the cuffed hems. The jacket is also meant to be fitted and its cropped so you get an expanse of skin showing between the pants and jacket. It does up the front with thick, bright yellow laces. The laces can also be tied with the laces ending at the top or the bottom and it seems from the many reference photos that it was done both ways. Truly a rare and fine piece of fashion history. Excellent condition.

Both pieces are unlined. The pants close at the front with a button fly and the jacket laces to close as shown. There are very slight 'crease' marks in the velvet at the parts that sit over a joint but this is a natural effect of time and normal wear and I don't feel it takes away at all from the rating of excellent. The patina adds to the vintage heritage of such a rare set. Tagged a British vintage 12 but please check the listed measurements.

Jacket
Sleeves: 22"
Shoulders: 14.5"
Bust: 17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Length: 16.5" from top of bodice to waist

Pants
Waist: 14.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 41" from top of bodice to waist
Inseam: 31.5" from top of bodice to waist

Modern Sizing Equivalent: XS-SML

Item# DD2611

Reference Photos: (1) Baseball Jacket from the V&A archives that was on display for Cecil Beaton's 1971 exhibition "Fashion: An anthology".  /  (2) Olivia Newton John, 1970s.  /  (3) Katy Manning, c. 1971.  /  (4) Frederika Elizabeth Mary Lambert-Laughton wears a Mr. Freedom Baseball Suit for Look-In Fashion Model Annual, 1971  /  (5) Ann Schaufuss in Mr Freedom, shot by Clive Arrowsmith, Vogue UK, January 1971.  /  (6) Mr. Freedom Outfits, 1970s.  /  (7) Harold The Ted with fellow shop assistants in the entrance to Mr. Freedom, 22 Kensington Church Street, Summer 1971. Photo by Bob Hall.  / (8) Models posing inside Mr. Freedom.  /  (9) Clockwise from top left: Olivia Newton John with Cliff Richard, 1971 /   Cover of the book "Mr Freedom. Tommy Roberts: British Design Hero" by Paul Gorman. /  Photographer unknown, 1971  /  Model in The Telegraph Magazine, April 1971.

Video Below: Middle of the Road performing on Top of the Pops, 1971.

This garment is in cleaned, as found condition, was steamed and is odor free. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

This jumpsuit along with the Patrick Kelly dress just listed, were listed in the shop previously before they were pulled and lent out for  the "Politics of Fashion" 2014 -2015 Exhibit at the Toronto Design Exchange. They have been in my archive since and I am now releasing both. Both are from 1989 and the museum dated this one for the exhibit.

This has always been a favorite piece and for me exemplifies Patrick Kelly and his work. Patrick Kelly was known for his wit and quirky designs and this particular piece is one of the more unique pieces that I have seen. I feel like it is a play on the  famous 'banana' set he did in celebration of Josephine Baker. It has those sale lines but this time is a play on the West. The contrast of the extremely fitted body suit with the drama of the red bandana's circling the hips is wonderful. The volume this creates and the sexiness and sass when you move is fabulous. I love the extra little detail he used in securing each of them to the jumpsuit underneath. Every bandana is attached with an acrylic heart shaped button. A signature of his. The actual jumpsuit is made from a ribbed stretch jersey. The front is slightly scooped at the neck and at the back it has a similar scoop that is cut far deeper. Each leg is cropped to end just below the knee. It is a rare piece from a great American designer. Museum quality and highly collectible. Excellent condition

Unlined and slips on to wear. The fabric has lots of stretch so will fit a variety of sizes.

Bust: 15-19" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: 14-17" flat across from side seam to side seam
Total length: 42" from shoulder seam to bottom hem
Inseam: 18"

Modern Sizing Equivalent: XS-MED

Item# DD2960

Reference Photos:  from the "Politics of Fashion" 2014-2015 Exhibit at the Toronto Design Exchange.

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 Haute Couture dress by Marc Bohan for Christian Dior is wonderful. The attention to detail shown in every stitch is breathtaking and to the highest standards. A longer version with a less detailed pleat insert technique is held in the archives of The Metropolitan Museum but I prefer this version. It would have been made entirely by hand in the Dior atelier. The silk used is of the highest possible grade and the gives the dress its beautiful drape and fall. The top is cut into a V that tops a wide fitted banding through the waist. Each sleeves is cut so that it puffs above the fitted cuffs. A thin band of matching fabric is used as a tie at the waist for a romantic and whimsical  touch. The skirt is a masterpiece of pleat work. Each individual pleat is perfectly matched to its neighbor and inset on a series of angles around the waist. Each of those angles lines up with the one beside it causing the pleats to lie flat until you move. It is truly a brilliantly cut dress. Excellent overall condition with some small note in the condition report below to review.

Fully lined in a matching silk and is completely made by hand as the parameters of Haute Couture dictates. It closes with a back, handset painted metal zip. The cuffs button with round polished quartz buttons. There is one small dark spot on the back of one elbow and a soft discoloration on the back of one sleeve near the cuff. One button missing from one cuff. The tie belt was originally stitched to the dress and there is the slightest of marks on the fabric at the front waist and to the end of the belt on one side. Haute Couture number 003272. Note that in person the color is deeper in tone and even better then how it photoed.

Sleeves: 24"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 9" from neck to seam under the bust
Waist detailing: approx 6"
Skirt: approx 25" from higher points of the waist detailing to hem

Modern Sizing Equivalent: SML-MED

Item# DD2037

Reference Photos: (1) Christian Dior Runway, 1973.  /  (2) From the MET Collection.

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

This Thea Porter dress, produced in 1970, was one of the dresses that I lent from my archives and was displayed in the 2015 exhibit "THEA PORTER 70s Bohemian Chic" at the Fashion and Textile Museum in London, curated by Laura McClaws Helms. You may also recognize the dress as being the one worn by Nicole Richie when she celebrated her birthday in it back in 2006. The textile design that runs over the dress was done by Sheila Hudson.

It is wonderful to have such an iconic dress and to have become a part of its provenance. The Nicole connection has made the dress instantly recognizable world-wide. Like all of Thea's pieces, only a very few were produced. I have decided to let this one go and I know that I will most likely ever see another one in my career. The dress features a hand-sequined and beaded bodice. These are set so that they follow the textile design underneath and add the perfect little touch of high glamour to the finished product. The bodice is fitted to the bust and has wide straps made of the same silk chiffon that tie around the neck. The skirt is set into the waist on the bias and this makes the chiffon seem to float around you and feel light as air. At the very bottom hem there is a ribbon of purple velvet to finish. The dress is not 100% perfect but still sound and very beautiful. Please review the condition notes below. This is a once in a life time opportunity to own a marvelous and very rare example of one of Thea's best work.

The dress is lined in a tissue silk. The museum staff added structural support under each arm in the interior (photoed). You can see a small amount of thinning to the exterior (also photoed) and the inner addition of fabric was done to stabilize this. The hem is finished with parts of it being longer than others. The interior lining shows fading and marks but is sound. Finally there is evidence of some repairs to the skirt and neck tie. All as found and in the condition exhibited it. All of this has been taken into consideration when pricing.

Bust: approx 15.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: approx 15" from top of bodice to waist
Skirt: is slightly shorter in the front at about 31" and the back goes to about 37" from slight empire waist to hem

Modern Sizing Equivalent: XS (through the bust this is a true size 0)

Item# DD2954

Reference Photos: (1-2) Nicole Richie in Thea Porter, 2006.  /  (3-4) From the 2015 "Thea Porter, 70s Bohemian Chic" Exhibition at the Fashion and Textile Museum.  /  (5) Vogue, April 1970.

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

Vogue's May Singer said of the Spring 2015 Rodarte show: "The show marked a real return to form for Laura and Kate Mulleavy: Playing off aquatic themes, specifically the observation of tidal pools, they progressed more or less organically from terrifically commercial looks to ones that expressed just the kind of artful madness that people crave from their brand. By the time you arrived at the net mermaid dresses clotted with embroidery, you were back under the Rodarte spell. The tidal pool inspiration made a good channel for the Mulleavys' Miss Havisham-esque hoarder streak—mimicking the way flotsam and jetsam collect in eddies, they embellished their dresses not with restraint, exactly, but with a sense of formal specificity. There was a painterly aspect to their patchwork frocks, the heavy embroidery a kind of impasto, revealing the hand."

This is one of those net dresses that was referred to specifically in that review as was Look 31 in the presentation. It was made available through special order through Moda Operandi and the original price tag on in pre-tax was $9175. It is made from a combination of purple paillettes on a copper lame, Pink looped paillettes on a pink copper lame and a gold lame that is then covered with silk net, tulle and embroidery. Blue beads give the feel of sea coral and a swatch of netting trails down one side. This dress if any from the show typified the the tidal pool inspiration and it feels like a fantasy dress that gives you the feel of the ocean and all things related. The dress is made by hand and all the embroidery work and paillettes are placed by hand. It is modern American couture. I love the duality of the dress with its patchwork feel and clash of textures. Once on it skims over the body with a V at both the front and back. The waist is a suggestion and the netting trailing down one side is extremely clever. It looks to have never been worn and is a phenomenal and hard to find runway example of the Rodarte sisters work. Excellent condition.

The inner lame base is self backed and it closes with a side set zipper. You can see hand work on the interior. Tagged a modern 6. Appears to have never been worn. The bias cut of the fabric will allow it to fit a range of sizes

Bust: 16-19" flat across from side seam to side seam
Waist: 13-15" flat across from side seam to side seam
Hips: 18-22" flat across from side seam to side seam
Length: 40" from top of shoulder to longest points of the hem with another 12-13" extending past the longest points of the by the netting

Modern Sizing Equivalent: SML-LRG

Item# DD2953

Reference Photo: S/S 2015 Rodarte, Look 31. Model: Model: Xiao Wen Ju.

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