This is an interesting piece because the 2006 collection was an ode to Spain and you can see the influence and nod to the house archives that Stefano did with pieces like this black silk taffeta skirt. In Vogue's write up at the time they noted that "Pilati spent last summer researching Picasso, mulling over Saint Laurent's 1976 Spanish collection and adding random insights triggered by his preview of the Dada exhibition that opened this week at the Pompidou Centre." This skirt was not a runway piece but one produced for the shops. From my understanding from my client, they were done in limited numbers. I thought it interesting to put it in the shop at the same time as I put the original 1977 skirt done by Yves so you can see how the house progressed from one designer to the next

The high defined waist that you see on this skirt was an integral detail that ran throughout the collection. It is a nod to the Matador pant and I love how it has been translated into this spectacular skirt. The skirt is made out of the black silk taffeta and this allows it to hold the volume and shape that you see. The waist is shaped by shaping the silk into little 3/4" vertical rows that circle around the waist and give it that high waisted cut. The band it creates is 5" wide. Each row then opens out at its base to give the skirt the volume that you see underneath. An almost bubble shape was a part of many of the pieces in the collection and this skirt has that as well. When laid out flat you see that it actually curves outwards around the hips and upper leg and then is brought in a touch around the hem. Once it is on this curve is not quite as exaggerated as when it is laid out and it falls beautifully around you. The fabric choice keeps it feeling super light in weight. There is an internal band that zips on its own to hold the skirt in place around your waist. It is very beautifully constructed and a very clever way to give a nod to what Yves was doing in 1977 while still showcasing Stefano's perspective. And it has pockets. Excellent condition.

An inner corset panel zips to close with its own zipper and then the skirt zips to close with a hidden set zipper over that. Unlined through the rest of the skirt. It appears to have been worn very little if at all. Tagged a vintage YSL 42

Waist: 15" flat across the top of the band from side seam to side seam and 17" across the base of the band
Hips: open
Total length: 47" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4810

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This is the Ready-to-Wear version of what was shown on the runway for the Spring 1977 Haute Couture collection. In the book on Yves Saint Laurent's work "Catwalk" the note for the collection state that "for evening Yves Saint Laurent designed taffeta skirts puffed out by full petticoats paired with delicate blouses." American Vogue wrote "Saint Laurent, the totally romantic view of woman and clothes" while French Vogue raved about the multicultural inspiration of the collection saying "you can no longer go out in the evening without coming across a taffeta flounce". The most prominent references were to Spain and these tiered skirts were integral to the collection. We have added several photos of the various variations of this skirt from that show and along with a shot of what looks like it's twin from The Met Museum's exhibit book published to accompany their 1984 exhibit on his work to that date. 

This is the YSL skirt of dreams. In an amazing testament to construction and pure joy of form, this phenomenal full length maxi skirt by Yves Saint Laurent is perfection. The skirt is made of a black silk taffeta that was one of his favourite fabrics to use when he did this type of full voluminous look. The fabric holds the shape well but without getting so cumbersome that they are uncomfortable to wear. This one is made of three tiers of the silk. The waist is banded and then the first tier is very full around the hips. This meets the second panel of silk and I love how he attached that panel with an overlapping ruffle that goes all the way around you. At the hem a dramatic flounce of ruffle is made from the same fabric to create the third tier and here he again has attached it into the body of the skirt so there is a ruffle above the seam. The skirt has yards and yards of fabric in it so that it is very very full and you gets lots of lovely volume when you move. Underneath where each band is attached there is an added wide band of stiffened netting encased in black silk that is set on the inside of the skirt. This helps the skirt hold its shape and adds inner structure. It is just incredible. At one point, I had a similar skirt to this in the shop that was from roughly the same time period and that one had its original price tag still. It was originally over $6k even then (roughly 22K in modern dollars). This type of full skirt was a key look from his work that you saw him repeat and build on throughout all of the decades of his creative life. I love it. Excellent condition

Unlined with inner stiffened netting as described above. It closes with a flat hook and eye above a keyhole at the side of the waist. I see a well-done older feeling repair beneath the opening of that keyhole. Tagged a vintage YSL 38. 

Waist: 14" flat across from side seam to side seam
Hips: open
Length: 44" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4808

Reference Photos: Looks from Spring 1977 Yves Saint Laurent collection, from the exhibit book "Yves Saint Laurent" published by the Metropolitan Museum.

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This is just a spectacular dress. Its twin walked the runway for the Spring 1990 season and I love having the runway photos so that you can see how phenomenal the dress is. The Spring 1990 collection was fully of whimsy and ruffles and it highlighted just how well Yves could do a feminine piece with a bit of wit and romance. I absolutely love this dress and I think it is fantastically beautiful.

One of the things that I love most about this dress is how much the feel of it changes depending on what length you choose to wear it at. Without the belt it is this full and easy piece that has no defined waist and a low dropped skirt. You can then add the belt to give it a bit of shape around the hip or wear the belt higher up to define the waist more. From there you can start to adjust how long it sits on you. The back is cut a bit longer than the front and this lets you really hike the front up and into a micro mini if you wanted to. I took a few photos of it at the various lengths on the dress form and you could probably go even shorter if you wanted. You could even wear this as a tunic and layer it over something. The dress is made from a light weight silk chiffon that feels like it weighs virtually nothing once on the body. It has a brilliant and beautiful floral pattern that covers its entire surface and mixes that bright green with blue and pinks. Shots of gold thread add a fabulous little glimmer. The photos do not convey how gorgeous the fabric is in real life. Elastic sits around the top of the shoulders so you can wear it fully off the shoulder or you can wear it up and on the shoulders if you wish. Each sleeve is incredibly full and open and goes to about the elbow with elastic at their ends. The bodice is cut to skim over you and continues on to be loose and easy to past the waist and hips. It comes with its matching fabric belt that is what lets you play with the length and shape. A little tie of fabric sets to one side of the skirt ties into a soft bow for added detail there. The bottom edge of the skirt is finished with a wide ruffle and this adds to the volume and movement that the skirt already has. The fabric is light enough that the skirt will move with the slightest bit of air. When you move it moves. I love it. Excellent condition

Fully lined through the body of the dress in a slightly textured nude silk chiffon. The sleeves are unlined. It slips on to wear with elastic at the shoulder and sleeves. The belt hooks so close. Tagged a vintage YSL 36 and the loose and easy cut should allow it to fit a variety of sizes.

Sleeves: approx 17" and are open and full through the upper arm
Shoulders: adjustable
Bust: 17-22" flat across from side seam to side seam
Waist: to 20" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Total length: approx 36" from top of natural shoulder to front hem, 43" to the back and then you can adjust with the belt to be micro mini
Belt: 36" from end to end and you could adjust where the hooks sit upwards another inch and down to where you needed. 

Modern Sizing Equivalent: XS-MED

Item# DD4807

Reference Photos: Spring 1990 Yves Saint Laurent.

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The twin of this dress was shown for Look 21 with boots and under a cape for the Pre-Fall 2017 Christian Dior presentation. 2017 marked the 70th anniversary of the label and for this presentation, Maria wanted to design a wardrobe that promoted individuality. Vogie said that during the photoing of the presentation Maria "noted how long embroidered coats went over tiered, sheer dresses; vests with velvet incrustations of hearts and diamonds; and Japanese denim with neo-folkloric metallic embroidery all contributed to an eclectic interpretation of Miss Dior. A steady push-pull of respect and disruption produced several catchy pieces." This was one of those little sheer dresses that were used to create that just position, and when you see it on his own, you realize just how lovely This was one of those little sheer dresses that were used to create that just position, and when you see it on his own, you realize just how lovely of a piece it truly is.

The dress is gorgeous and I love that it can easily have a more elegant evening feel by styling it with heels and some statement jewels rather then the cape and boots it was shown on the runway with. The fabric is a just lightly off white cotton voile that has a touch of transparency to it. It was then lined in a silk that has a bit of texture so it gives some coverage and depth. Then onto that are individually placed cut out flowers that are embroidered all around their edges. These have been individually placed on top of little sprays of embroidered leaves. They cover the dress from shoulder to hem and this added texture gives the dress the most beautiful visual interest. It is quite stunning. The lines of the dress are simple so that the woman wearing it will take centre stage. The neckline is cut across the bodice so that it can worn to the outer edge of your shoulder or completely off of the shoulder to leave your shoulders bare and free depending on the width of your shoulder. The bodice skims over you and the waist nips in. You could add a belt to accent the waist more if you wished. The skirt falls from there and hearkens back to the era of Mr. Dior with a pretty fullness. It falls outwards to the hem on a soft line that is quite beautiful. There are no added crinolines underneath and all of the fullness and volume that you see is achieved by the way the skirt is inset around the waist. There are yards of silk in the skirt so you could add your own crinoline under it and wear it very full if you wished. Pretty little sleeves fall to just about the elbow for the perfect finish. Excellent condition

The bodice and skirt are lined in a matching white silk and the sleeves are unlined. It closes at the back with a hidden set zipper. Tagged a modern Dior FR36, GB8, IT40, US4

Sleeves: 17" and they are 12" around the upper arm
Shoulder: no defined seam
Bust: to 16.5" flat across from side seam to side seam
Waist: to 12.5" flat across from side seam to side seam
Hips: open
Bodice: approx 15" from top of natural shoulder to waist
Total length: 52.5" from top of natural shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4803

Reference Photo: Pre-Fall 2017 Christian Dior, Look 21.

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I just put a little gold camisole from the same collection into the shop last week and now I also have the dress for you. Both of these pieces are absolutely exquisite and really show the charm that early product collections had and why people love collecting them. This one is a little extra special because it's twin in a print was shown on the runway and was used for the ad campaign that season. I love having these shots because it shows you just how gorgeous it is on the body. With its pretty ivory colour this might also make a fantastic dress for a bride for one of her events around her ceremony or even for the dress itself if she wants to go a non-traditional route.

The top made out of the perfect ivory coloured silk that is a beautifully light in weight. It is very soft and supple and the bias cut lets it glide over you once it is on. I love that it is lined in a matching coloured silk organza. The organza lets it stay very light in weight but it also feels beautiful once on the body. That extra layer of lining underneath also lets the dress fall over the body in the most flattering way. The straps twist and curve up and over the shoulders. They are caught up with a little band of silk at the front and then the front plunges into a V. Little pleats are gathered into two sewn rows just above a muted ivory grosgrain ribbon that is attached all the way around the waist. Under the ribbon it's skims past your waist over the hips, and then flares out prettily at the hem. The back is phenomenal. The straps twist until they meet the back and then they extend down in that same twisting way to edge the low scoop of the back. This leaves your entire back there and open. It is gorgeous. Excellent condition

Fully lined in a matching silk organza and closes at the side with a hidden set zipper. Perhaps tyhe tiniest of light snags in the silk here and there. Tagged a vintage Prada 44.

Bust: 16-20" flat across from side seam to side seam
Waist: 14.25"flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Bodice: 16" from the top of the shoulder to the top of the band at the waist
Total length: 49" from the top of the shoulder to the hem

Modern Sizing Equivalent: SML-MED

Item# DD4802

Reference Photos: (1) Fall 2000 Prada Ad Campaign.  /  (2) Fall 2000 Prada, Look 59. Model Colette Pechekhonova.

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The Fall 1997 collection was his final women's ready-to-wear runway before his untimely passing. At the time Versace told reporters that the collection was based on minimalism "this season I felt the need for silence, solidarity, and strength. I think our role as designers has changed. In an in 1980s I showed myself now I want to show clothing." The 20th anniversary of the label was also quickly approaching and for this collection he paired everything back to the basics as a reset. The strapless jersey dress was integral to the show. In the book on his work "Gianni Versace" they noted that these dresses were "as simple as a towel wrapped around his torso". On the runway the black was shown with boots and an oversized jacket and then he paraded more of the same dress in a myriad of colours. We have included several runway shots and video of the the various versions of this dress so that you can see just how fantastic it is on the body. This dress came from the original client and she remembers having to fight to get one because they sold out everywhere instantly as soon as they were released.

The dress is made out of a synthetic jersey that gives it lots of movement and some stretch through the body of the dress. The bodice of the dress has a built-in boned inner corset and a seam that sits right under the bust, This holds it in place on the body and hugs you around the breasts. From there it falls with a slight curve outwards around the hip and then it comes back in slightly for the bottom hem. As noted above there is a panel that wraps around the front to give the impression of a wrap dress but it is all attached. The panel that wraps around you moves as you move and you can see this in the video. It also adds a slight bit of detail to the otherwise perfectly simple dress. It is very chic and minimalist and a dress that is an important part of Versace's history with the added provenance of being from one of his final collections ever are. Excellent condition with a small note below

There is a boned built in corset that closes with its own inner side zipper and then the dress closes with a hidden set side zipper over that. Perhaps a tiny bit of evidence of press marks near the seams and the slightest tiniest bit of fading here and there. I have never seen this particular type of fabric not do that as it ages so it is inherent to the fabric. Tagged a vintage Versace 42

Bust: to 16" flat across from side seam to side seam
Inner seam under the bust: to 15"flat across from side seam to side seam
Inner waist: 13.5" flat across from side seam to side seam
Hips: 17-20" flat across from side seam to side seam
Bodice: 5.25" from the top of the neckline to the seam under the bust
Total length: 29" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4801

Reference Photos/Video: Fall 1997 Versace. (1) Look 21. Model Tanga Moreau.  /  (2) Look 25. Model Naomi Campbell.  /  (3) Look 26. Model Shirley Mallmann.  /  (5) Fall 1997 Versace Catalogue.

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On the runway the closest to this dress seems to be Look 3 which was shown underneath a jacket and was cut to a longer length. This one with it's just past the knee, feels more versatile and wearable. The collection was called 'Dolores' and the muse was Dolores Del Rio the famous Hollywood star of the 1920s. The show told the tale of the love affair between her and James Martinz Del Rio. Besides the longer black version of this dress there was also a white strapless skirt and bodice that had a similar silhouette. This one with it's perfectly simple minimalist silhouette is an amazing way to wear a historically important and early piece of Galliono's work, while still having a dress that you can wear on many different occasions on its own or layered under other garments. 

The dress is made from a lightweight black wool that has a slight texture to it. This choice of fabric lets it hold the shape that you see without making it heavy to wear. It is strapless and cut to skim perfectly over the body once on. There is a built-in boned inner corset that closes with its own row of lingerie hooks under the zipper at the back. This holds the dress in place on you and it also flattens and pushes the breasts up. The outer dress skims over that and then is shape so that it curves in at the waist for shapes. It curves back out over the hips and then the the skirt is cut in a sleek pencil that narrows down just a touch at the hem for the perfect hourglass shape. The seaming is all meticulously and purposefully done to shape the dress around you. A closed event at the back of the skirt allows you to walk and gives a little kick as you move. It is very chic and minimalist. Excellent condition with one small note below.

Fully built-in corset inside that closes with its own series of lingerie hooks and then the dress closes over that with a hidden set zipper. The dress is also lined in a black silk. I see one tiny nick in the fabric near the neckline at the front. Please see the photo after the label shot. Tagged a vintage Galliano 40/8 

Bust: 15-15.5" flat across from side seam to side seam
Waist: 13.5-14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Total length: 35.5" from top of the bodice to hem

Modern Sizing Equivalent: XXS-SML

Item# DD4799

Reference Photo: Fall 1995 John Galliano, Look 3. Model Michele Hicks.

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For the Fall 1997 show McQueen produced a set whose backdrop was wrecked cars and corrugated iron screens that were made to look like they were full of bullet holes, all inspired by a scene from "The Eyes of Laura Mars". McQueen played tribute to nature in this collection. The pieces made of this Prince of Wales checked fabric were the softer elements in the show with their pastel embroideries and pink linings. There was a series of pieces for Looks 42, 43 and 44 that use this fabric and embroidery combination in various designs. On the runway, the twin of this jacket was shown for Look 42 with pants. For the shops, clients were gived the option to be able to purchase the pieces separately and buy the matching skirt that I have for you today instead of the pant. It is an incredible piece of McQueen history and very beautiful.

A piece like this truly showcases McQueen’s strong tailoring background & and master cutting abilities. The suit is made from a Prince of Wales check which gives a nod to his heritage and strong tailoring roots. The jacket is cut with sharply tailored lines and then he has brought in the waist and cropped it to emphasize and create a more feminine shape. The shoulders are shaped with light internal padding. Each sleeve is cut in a simple straight cut that is slightly on the wider side and ends in three decorative buttons at each cuff. The body of the jacket is shaped with a female body in mind and is cut in at the waist for shape. A double row of buttons are set just above the bottom hem which allowed him to cut and bring the collar down low at the front. The collar has an exaggerated notch with a button hole on one side. The jacket is lined in a soft pale pink silk and then he added a curved panel of that same silk to the inside of the collar so that it peaks out and frames your neck. The skirt is kept simple so that the jacket can shine. It is cut with a flat front and is fitted around the hips and then extends out into a short mini pencil cut from there. Pocket sit on each hip to exaggerate the shape and there is a beautiful angled seaming at the back. The star of the show is of course that amazing embroidery work that starts on the front of the jacket and then wraps around and trails across your back. Pale pink roses and pastel mint green leaves add the perfect soft contrast to this extraordinary suit. The workmanship is meticulous and it is an absolutely beautiful and a rare piece of his work. Excellent condition

The jacket is fully lined in a pale pink silk and the skirt in a black silk. The jacket buttons to closes at the front and there are two hidden set snap just above the buttons to hold it perfectly in place. The skirt closes with a hidden set back zipper and a button on the waistband. Light padding in the shoulders. Functional pockets on the skirt. It looks to have never been worn or worn very little. The suit has a slightly lighter softer feeling grey tone in person then how it photoed. Tagged a size 42.

Jacket
Sleeves: 23" and are 12" around the upper arm
Shoulders: 14.5"
Bust: to 17" flat across from side seam to side seam
Waist: to 13.75" flat across from side seam to side seam
Bottom seam: 17"flat across from side seam to side seam
Total length: 21.5" from neck to longest point of hem

Skirt
Waist: to 14" flat across from side seam to side seam
Hips: 17-8.5" flat across from side seam to side seam
Total length: 19" from waist hem

Modern Sizing Equivalent: XS-SML

Item# DD4798

Reference Photos/Video: (1-5) Fall 1997 Alexander McQueen. (Looks 42, 43, 44.)  /  (6-7) Photo by Sean Ellis for Vogue, October 1997.

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This is one of those instantly recognizable jackets by Galliano. On the runway he showed this jacket twice. Once with a very short, very tight, pencil skirt and then with a more pleated flared schoolgirl skirt. The two models he chose for these two looks are equally as iconic. The great Michelle Hicks was one and Kate Moss the other. The show was eclectic and mixed numerous references. Galliano told WWD that "Suzy, the naughty schoolgirl, dreams of becoming an actress and goes for an audition for a part, she gets the role and begins preparing for one of the greatest parts and actors could ever have – Cleopatra". This was one of the key looks of the show and I love that whoever ends up being the lucky person that nabs it can now have the future quest of finding either, or both, of the matching skirts.

The jacket is a definite play on a school uniform and yet it still has enough detail that it has a special feel. The sleeves are long and simple with a series of three gold metal toned buttons at each cuff. The shoulders are shaped with soft internal padding. The collar is notched and neat. The jacket closes with a series of three more of those same etched gold metal buttons that are larger versions of the ones on the cuffs. I love how all of the seaming, starting at the collar and running down the front, are edged with a yellow grosgrain ribbon and then a second slightly thinner deep burgundy grosgrain ribbon sits just inside of that. That same yellow edging also tops each of the three pockets that sit on the front of the jacket. Each pocket is stitched onto the jacket to become a design detail in itself and each is functional. This is what helps to gives the jacket its incredible detail and school uniform feel. And that unexpected pop of colour against the grey wool is fantastic. The waist is brought in a touch to add shape and then the hips flare out from under there. The jacket is in beautiful condition and is a highly collectible piece of early Galliano. Excellent condition.

Lined in a black silk and it buttons to close at the front. The front pockets are functional. The buttons on each sleeve are decorative. It appears to have been worn very little if at all. Tagged a F36, GB8, US4

Sleeves: 23" and are 12" around the upper arm
Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 15.25" flat across from side seam to side seam
Bottom hem: 18" flat across from side seam to side seam
Total length: 22" from top of the shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4797

Reference Photos/Video: Fall 1997 John Galliano. Models Michele Hicks & Kate Moss.

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The Fall 1999 collection was full of looks that utilized this grey checked men's suiting fabric along with the mixing in of fringed elements for added detail. This collection is also of note because it is the last collection where you saw the Christian Dior boutique label that was being used for the Ready-to-Wear line. The rooms where the show took place were painted to resemble an artist's studio. It was a large collection that consisted mainly of day wear. This was Galliano's response to previous criticism that he did not include include enough day wear in past collections. The collection was presented in a series of colour groupings including of grey toned pieces. Many of the pieces throughout the collection were fringed and we have added some of the runway shots from the show here so you can see and get a feel for this part of the presentation. This suit is absolutely stunning and gorgeous example of his tailoring skills.

This is a beautiful suit and I always love sets, especially ones that also include the belt, because it gives you so much versatility to be able to mix and match with other pieces from your existing wardrobe. The jacket is classic but with enough details that it has a special feel. The sleeves are long and simple and the shoulders are shaped with light padding inside. The colour is rounded and curves all the way to the hidden snap that closes the jacket and is set low on the front. The jacket is shaped on a curve already and then the suit comes with its original matching fabric covered belt that allows you to cinch in the waist for a fantastic hourglass shape. The pockets that sit on the front of each hip are incredible. He has this added these flat pieces of the same fabric that extend out from the body of the jacket. Each one has a pocket on them and then they are finished with a series of fringes in a cream colour. It is a very unusual added element and it is so beautifully cut. I love how it really gives the hips their slightly exaggerated shape without adding bulk. It is genius. Both pockets have their original tacking in place. The skirt is equally as fabulous. It is cut to skim over your hips and then has this fantastic little flare all the way around the lower hem that is achieved by angled seams and the way the lower skirt is set into those seams. This gives the suit a bit of movement when you move and it also adds to the hourglass shape of the suit. This is a brilliant beautifully tailored piece from early on his time at Dior. Excellent condition.

Both pieces are lined in an ivory silk and CD is embroidered on the inside of the jacket. The jacket closes with a single fabric covered snap low at the front and the skirt zips to close. The front pockets are functional and have their original tacking in place. Both the jacket and skirt are tagged a F44, GB16, US12 and the belt a 44. It appears to have been worn very little if at all.

Jacket
Sleeves: 23.5" and 14" around the upper arm
Shoulders: 16"
Bust: 19" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam and can be cinched in more with the belt
Hips: to 22" flat across from side seam to side seam
Length: 24" from neck to hem

Skirt
Waist: 15.5" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 24" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD4796

Reference Photos: Fall 1999 Christian Dior.

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Here we have one of the most wanted pieces of vintage that you can find - one of Roberto Cavalli's iconic corsets. The ones from 2003 to 2005 seem to be the ones that everyone wants  the most and I love that I have this one in its coral and ivory print. Bella Hadid was recently spotted wearing a yellow one from this collection and versions were shown on the runway and for the ad campaign that season. I love how the print add a fantastic pop of colour and this coral print is especially fantastic. The corset has inner metal stays at the front where it hooks to close, down the sides, and on either side of the laces. These are encases in the same silk as the rest of the corset and I love how he set the pattern in a different direction where it goes over top of the inner boning. It gives it the perfect amount of emphasis to where the stays are placed. To wear it the corset, you hook it at the front and then you can adjust the laces at the back for the perfect fit. I love the way it is cut on a curve on both the top and the bottom so that it fits perfectly over you and creates that sexy hourglass shape. You can pop this over almost anything to add a little amazing bit of Cavalli sexiness. Excellent condition

Unlined and closes with the five metal hooks at the front and then you adjust the fit with the laces at the back. I see a touch of very minor wear to the fabric at the end of the stays here and there and there are two tiny areas that look like they added a couple of stitches along a seam. In addition to the Cavalli label there is a hand written tag inside.

Note that I have measured this one laying open from end with the laces tightened as you see it on the mannequin. It might be able to go down a touch more through the waist and you could open the laces as much as you needed.

Top seam: 25" flat across from end to end with the laces tightened to wear their it shown on the dress form. You can adjust upwards from there by loosening the laces as needed.
Waist: 22"flat across from end to end with the laces tightened to wear their it shown on the dress form. You can adjust upwards from there by loosening the laces as needed.
Bottom seam: 28.5" flat across from end to end with the laces tightened to wear their it shown on the dress form. You can adjust upwards from there by loosening the laces as needed.
Height: 10.25" at the laces, 11" at the hooks

Modern Sizing Equivalent: XS-MED

Item# DD4791

Reference Photos: (1-4) Spring 2003 Roberto Cavalli, Look 16 & 23.  /  (5) Kamila Szczawinska for Roberto Cavalli Spring 2003 Ad Campaign.  /  (6-7) Bella Hadid in Roberto Cavalli at her Orabella launch, May 2024.

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

The twin of this dress in pink was shown as Look 4 for the 2009 Resort collection. In their review Vogue said that "For his joyful Resort collection for Lanvin, Alber Elbaz was thinking not only of the "idea of vacation" but also of the "perfect American look of the fifties—but made in the wrong way." I love that and that expresses to me so much how his mind worked. It is just one of those dresses that is completely easy to wear and still feels glamorous.

It isn't until you put this dress on that you realize just how masterful the draping is. It is the easiest dress to wear. There is wide ribbon of elastic running around the inner top edge of the dress. You just slip the dress on and it falls to the floor in one perfectly draped column of black silk. The silk is gathered along the top of the edge and then stitched into place along it. It skims over the bust and falls loose and easy over the waist and hips so that it is incredibly comfortable and accommodating once on the body. At the centre of the neckline silk has been gathered up into a deconstructed knot of fabric for added detail. This knot and the gathering detail at the front gives it visual interest and keeps the dress feeling soft and romantic while still being on the more minimalist side. The silk is gathered in softly under that and then falls to the floor in a swoop of fabric all the way to the hem. The dress falls easy and free over the body so it is easy to wear. The front hem curves up a bit so you get a tiny flash of leg near the hem and it allows you to be able to walk. This was his way of adding a little bit of sexiness to the dress but in a very Alber kind of way. It is so fabulous. Excellent condition

Unlined and slips on with an elastic running through the upper edge of the bodice. The measurement range below is the comfortable range of the fabric lying flat. 

Elastic at the top of the bust: 14-17" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 52" from top of bodice to the longest point of the hem

Modern Sizing Equivalent: XS-MED

Item# DD4788

Reference Photo: Resort 2009 Lanvin, Look 4. Model: Holland Stevens.

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The twin of this set walked the runway for the 2008 Resort collection for Look 12. Vogue said that the collection was done "in an electric-bright palette.. and channelled Barbara Hutton's sixties—a glittery, lame, paisley, and leopard-print world of muumuus, bikinis, capri pants, trapeze dresses, cat-eye sunglasses, and scarf-wrapped hats. It bordered on camp... and Kitschy or not, there was no denying the workmanship that went into crafting the large collection." I love having the photos that show you how fantastic this is on the body and if its runway provenance was not enough, Lady Gaga also wore the twin of the top as part of an outfit in 2007.

The print that covers the entire surface of both pieces is fabulous. It is a leopard print but done in green, taupe and ivory instead of browns. I love the boldness that this creates. The pants have a flat banded waist that is meant to sit slightly low on the hips and then the legs are cropped. Two little decorative flap pockets sit on the front just below the waistband and there are slip pockets at the back that are mainly decorative as they are very shallow in depth. The back ones have their original tacking in place. I love the nod to the sixties that this gives the pants. The top is also a nod to the sixties with its little baby doll cut. It is sleeveless and then it wraps and snaps in place at the front. This creates a low plunge at the front. It is defined under its empire waist with a wide grosgrain ribbon that is stiffened and done in a bright green. A peplum falls under that and it expands out and over the hips to add volume and shape. It has the perfect kitschy, camp, sixties baby doll feel and I love it. You can wear the pieces together for a strong statement or break up the set and wear them as separates with other pieces in your closet for lots of styling options. It looks to have been worn very little if at all. Excellent condition

Both pieces are unlined. The pants have a flat waist and close with a hook and a zipper. Decorative flap pockets at the front under the waist and slit pockets at the back of the pants. The top snaps and hooks to close at the front. Both pieces appear to have been worn very little if at all. The top is tagged a FR40, GB12, IT44, US8 and the pants are tagged a FR38, GB10, IT42, US6

Top
Bust: to 17" flat across from side seam to side seam
Empire waist: 15.5" flat across from side seam to side seam
Hips: open
Bodice: 11.75" from neck to the top of the green ribbon
Total length: 25" from neck to hem

Pants
Waist: 16" flat across from side seam to side seam with no give
Hips: 19.5" flat across from side seam to side seam
Length: 30" from waist to hem
Inseam: 21.5"
Rise: 14" from the top of the back waist to the inner seam

Modern Sizing Equivalent: SML-MED

Item# DD4782

Reference Photos/Video: (1-3) Resort 2008 Dior, Look 12. Model Tanya Chubko.  /  (4) Lady Gaga by Katherine Wolkoff, 2007.

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We found a runway shot of a shorter version of this dress and I love that this lets you can see how fantastic this sits on the body. This is from his made order line and he may have done a long version for the show as well but unfortunately there are not full records available for this time period. The other possibility is that the client saw the shorter version and ordered it in this full length. Either way this is classic Halston from his main label couture line. It is instantly recognizable as one of his looks and it is an incredible example of his work from this time period. I love it.

This is an amazing couture Halston dress and a very rare and special find. It is entirely cut on the bias and utilizes his signature minimal seaming. Halston defined how woman dressed in the 1970s and these jersey dresses that he did were tremendously flattering to the body. It is also insanely sexy while still being extremely comfortable to wear. The fabric is a beautiful deep forest green silk jersey that moves and drapes beautifully. This one is especially interesting because unlike its later counterparts it is actually two layers of the same silk jersey. The two layers have been stacked over each other and joined along the top edges and the hem. This gives the dress an inner lining and helps to soften out any bumps underneath the top layer which makes it very flattering to wear. Later dresses were not made like this because it literally doubled the cost of fabric to make them this way. The dress is made to be one long tube that expands outwards at the hem and has two long ties that extend out from the top of the halter at the front. You simply tie it at the back of the neck and then the long ties trail down the exposed back. The depth of the plunge can be controlled by how tight you tie the ties. On my dress form I have left it fairly loose and in the photo from the runway it is tied a bit higher. The front plunges into a scoop and the sides are cut on a curve to a low scoop. This leave the entire back completely bare and exposed. The halter skims over the breasts and then falls over the waist and hips. The skirt flares out at it reaches the floor and it has a ton of movement when you move. It is spectacular. This is a rare example of Halston at his very best and it is easy to see why his work is the subject of so many books and retrospective shows at museums worldwide. Excellent condition with a minor note below

Constructed from two bias cut layers of silk jersey with the ties extending out from the neckline. The dress slips on to wear and ties at the back of the neck. Hand finished. It is all bias cut which should allow for a bit of range of sizing. I see teeny pinhead size dark mark on the bodice and a couple of tiny hard to spot areas on the skirt that will not photo. I am being pretty picky. The fabric has some stretch and I have put the comfortable range of measurements laying flat. You could probably get a little more if needed. 

Bust: if you let the plunge go extremely low, each halter is 4" across just above the bottom of the scoop. The halter just below the scoop will cover 13" across un-stretched. Where it meets the seam from the back it measures 15-19" flat across from side seam to side seam
Waist: 13-16" flat across from side seam to side seam
Hips: 17-21" flat across from side seam to side seam
Length: approx 60" from shoulder to hem, with 2" turned under the hem. The length can be adjusted by the ties at the neck

Modern Sizing Equivalent: XXS-MED

Item# DD4781

Reference Photo: Spring 1974 Halston Made-to-Order Fashion Show.

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The twin of this dress in a brighter green, and without any beading, was shown in the Sao Paulo presentation of the collection that year. We also found photos of Faye wearing one to Cannes that was in the same colour as this but that did not have any of the embellishments. It is my understanding that this version with its gorgeous beading and sequin work was a special edition pieces that was only sold in some locations and on a limited basis. It is an amazing example of his work and it is gorgeous. I think I might even say with some confidence that out of the three versions this is the best with its stunning added detailing. It might make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration and of course, it could be worn for a variety of other events as well.

This is a wonderfully easy dress to wear and very flattering once on. It is beautifully light in weight and it is extraordinary once it is on and moving. There is an inner silk sheath dress and then a layer of silk chiffon floats over that. This top layer is what gives the dress it's caftan feel. The neckline is scooped across and a band of tiny beads follows the neckline. Extending out from that edging you see a beautiful design trailing down the front, across the shoulders and around to the back. More beading runs down each sleeve to past the elbow. The design combines little white seed beads with semi-translucent white oval sequins and tiny clear sequins. Here and there you see a little extra bead popped into the design along with tiny tiny clear iridescent tube beads. The top layer has vertical seaming around the waist area that brings it in and gives it some added shape. A soft bow covered in embellishments sits at the front. Under that the dress falls to the floor and the hem opens out. The sleeves extend out from a very full panel of silk chiffon that runs down your back over the inner dress. From the front you have a more fitted shape through the body and then at the back it is full and open like a true caftan. The movement and drama this creates is extraordinary. When you walk and move the sleeves and back of the dress billow out and float around you. This is a dress that you slip on and feel completely comfortable when wearing and yet it has as much drama and beauty as you could ask for in a dress. I love it. Excellent condition with a minor note below 

The inner dress acts of the lining and is made out of a matching colour silk. It closes with a back zipper on the inner dress and then the outer dress hooks to close above a key hole at the back. I see a touch of fraying near the base of the back keyhole, near the seam of the neck and there are two very light smudges on the fabric near the edge of the keyhole. Please see the photo after the label shot. Tagged a FR38, GB10, IT42, US6

Inner bust: to 17" flat across from side seam to side seam
Inner waist: to 14" flat across from side seam to side seam
Inner hips: to 19" flat across from side seam to side seam
Total length: 60" from top of shoulder to the longest point of the hem

Modern Sizing Equivalent: XS-MED

Item# DD4780

Reference Photos: (1-3) Cruise 2011 Christian Dior in Sao Paulo Presentation.  /  (4) Faye in Dior at Cannes, 2011.

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Philippe Venet apprenticed to a local tailor who is authorized to make Balenciaga designs. In 1951 he moved to Paris and became a cutter to Schaparelli. From there he met Hubert de Givenchy and in 1962 joined his atelier where he was the head cutter. In 1964 he opened his own Haute Couture label with Givenchy's blessings and support. His work tended towards minimalism and clean lines. His business was never as large as Givenchy's which allowed him to be more hands on for a longer period of time. Couture pieces from him are rare and hard to find and the early were ones like this even more so. This was almost certainly a piece custom-made for somebody and it is incredibly beautiful.

The dress is amazing and showcases how wonderful a piece of true Haute Couture can be. It is made entirely by hand and the silk is that beautiful rich silk that you only seem to see in the very best pieces of couture. The dress wraps over an inner dress and this added inner structure keep the dress perfectly in place and also gives it the structure needed so that the outer layer falls perfectly over you. The bodice is cut into a V and it wraps, snaps and hooks into place. I love the way that he has brought in angled seaming and pleating to create the design that you see at the base of the plunge. On the panel that sits underneath the wrap everything is angled towards the centre of the dress and then the panel that sits over the wrap is set so that the pleats fall vertically all the way down to the hem. The hem is set on a curve that goes up at the front and around at the back. So when you walk you get a flash of bare legs. The back is cut longer and depending on your height you will have a bit of a sweeping behind you. The cut also gives you some pretty fullness and shape through the hips. At the back the seams are set vertically so that you just get one long swoop of fabric that extends out as touch at the bottom hem. There are even weights placed inside of the back so that it sits perfectly once on. Underneath this is a structured foundation piece. It has a structured corset top with boning and shaped cups in an ivory silk. The skirt is made of the same silk as the exterior and it is cut to just about the knee depending on your height. All of the inner seams are finished completely by hand and seeing how it is all piece together is a joy in itself.  The colour of the silk is a beautiful creamy ivory. This is a brilliant dress and when you see it in person you will fall in love with how good it is. It really shows how sometimes simplicity can have so much of an impact. It would be a dress that might make an amazing wedding dress for the bride looking for a non-traditional choice, for a day wedding, or as an alternative dress in a more extended wedding celebration. Excellent condition with a minor note below

The inner dress acts as the lining and then the outer dress is also fully lined in an ivory silk. All the work is done by hand to Haute Couture standards. The inner dress closes with a hand set side zipper at the front. The outer dress snaps into place directly onto the inner dress and then the outer dress wraps and snapped onto itself. The zipper on the inner dress was slightly moved at some point but of course you don't see this once on. I have included a photo in the detail shots. I see a tiny hairline mark of thinning near the neckline and some wear to the edges of the top of the seams. Please see the photos after the label shot. Completely made by hand. Proper Haute Couture numbered label present. 

Outer Dress
Bust: 17.5" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Total length: 57" from top of shoulder to longest point of the back hem

Inner dress
Bust: 15.5" flat across from side seam to side seam
Waist: 12.25" flat across from side seam to side seam
Hips: 17.25" flat across from side seam to side seam
Bodice: 15" from top of shoulder to waist
Total length: 38" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4779

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

This dress comes to me from a client whose aunt was buying pieces from Louis Mies along with the French couture houses. Mies was a small independent couturier who did custom work for his clients to haute couture standards. He designed many pieces for the Queen of Belgium. He was one of the independent ateliers that bought the fabric directly from the couture houses for his own work and he also sold couture pieces through his salon, something certain retailers could do during this time period as long as they were authorized. We do not have any family records as to what designer this might be but the dress bears a striking similarity to some of the 1977 Valentino couture collection pieces. 

The level that this dress is made to is incredible. The fabric is a black silk taffeta and the edging is all beautiful French Chantilly lace. There are many yards of fabric used in the construction of this dress but once on the body it is all perfectly balanced. It sits off the shoulder to leave a bare expanse of skin showing. A 6" ruffle of silk wraps all the way around your shoulders and it is edged with 3.5" of lace. Hidden under that are these incredible extra wide sleeves that are also edged in lace. The bodice skims over you and the waist nips in for shape. I have added a grosgrain ribbon to add more shape and you could also wear a more structured belt. The skirt falls to the floor from there and widens out to the fullness that you see. The skirt has three layers. There is a full built-in black silk under-skirt that has wide bands of stiffened netting at the hem and then again part way up the skirt. The next layer is a black silk with two ruffled tiers at the hem edged with black lace. The final top layer sits over those and curves up at the front to meet the seam at the waist. You can tell the level of construction on the dress by some of the small details in it like the fact that there are these little ruffles that run along the seams of the inner layer even no one would ever see them. I love that. The dress is completely made by hand and I have included a couple of shots of the inner seams for you to see the amazing handwork. Excellent condition with a note below

Fully lined through the bodice in a black silk and the skirt is constructed as described above. It closes with a painted metal zipper at the back. Made by hand to couture standards. There are a couple small repairs / tiny holes on the ruffle on the neckline. There is so much fabric they get lost in the folds. Please see the final shot after the label. It otherwise looks unworn 

Bust: to 19.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of natural shoulder to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3882

Reference photos: Valentino campaign 1977 shot by Deborah Turbeville

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A 27 year old James Galanos launched his label in 1951. In 1954 he won both the  Coty award and the Neiman Marcus award. His clothing ranged in price from $200 to $3000 which for the time was an astronomical price. He made things to order to couture standards and his work was on par with the French. Grace Kelly was a huge fan and his work is held in all of the major museums around the world. He is one of my personal favourites and this dress is a stunning example of his work. It is one of those dresses that really needs to be on an actual body to come to life but once it is on a body it is even better than what you see here.

This dress is spectacular. For the skirt he used an incredible four layers of silk chiffon that are perfectly stacked on top of each. The sleeves are two layers and then the bodice is backed in a  more opaque black silk. This dress is also interesting, because the way that the skirt is set into the back uses the same technique as this Met museum held 1957 dress I that I have had in the shop before. In the Vogue's description at the time the skirt was described as being; 'narrow in outline, but with beautiful easy folds from the waist, falling in self contained spirals'. The skirt is cut so that it gathers up and into the middle of the dress at the back. This gives it that lovely draping you see as it flows tot he floor and then extends out a touch past the hem. A high slit is hidden in that draping so when you walk you get a flash of bare leg. The bodice is cut to skim and blouse over the body to the waist and the waist is cut with a more generous feel. You could add a belt if you wanted to cinch that in more and give it more shape. It is so well made that I think that you could actually wear the dress either way. The sleeves are spectacular and each one is cut wide and full above the ruffled wrist. The d Picking up on that ruffle on each sleeve is the detachable ruffle that hooks into place around the neck. I love how this gives you two very different looks. Without the ruffle it feels more minimalist. With the ruffle it has that extra bit of glamour. Excellent condition

Both pieces are fully lined in a black silk chiffon as described above. It closes with a low painted metal zipper at the waist and then has a row of buttons above that. Hand finishes. It appears to have been worn very little if at all.

Sleeves: 27"
Slightly inset shoulders: 14"
Bust: 19-21" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Bodice: 20" from neck to waist
Total length: 69" from neck to front hem, 73" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4611

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

This dress is from the Christian Lacroix wedding line and I love that it it is a dress that could play double duty as either an event dress or as a wedding gown. I also love that it is two pieces. This allows you to wear the little jacket with other pieces you have, with the dress as a full look, or you can wear the dress on its own. It is absolutely stunning and it might even make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event

The beautiful strapless cut on this dress instantly reminds me of 50s couture mixed with the grand ball gowns of the past. The dress is covered in an ivory netting that has flowers embroidered onto it in a deep burgundy red. I love the contrast this creates. The floral design has been kept tiny and it doesn't feel overwhelming as a result. The bodice is strapless and you can see the angles boning and built-in cups on it which gives it the feel of an exposed corset. It is meant to be fitted to the body and holds both you and the dress in place. The waist is cinched and then the skirt poufs out below that to create all that gorgeous volume around you. I love the way that the skirt is set in and around the corset. There is added stiffened netting underneath to help create that bit of a bump out from the waist which then gives it the volume below as it sweeps to the floor. There are multiple layers underneath the skirt that help to hold the shape. The skirt has a ton of fabric and we did not use any extra underskirts in the photos. That said, you could add a separate underskirt underneath if you really wanted to make it extra full and turn it into a fairy-tale cupcake dress. It comes with its matching little silk organza bolero that just hooks into place at the front of the dress. There are tiny little loops that sit hidden along the curves of the cups and the bolero hooks directly into those. It can be worn completely off shoulder or partway on and partway off as I have shown it. It is like a shawl collar that has attached, very full sleeves that sweep up and underneath themselves. The bolero is very pretty and adds a beautiful and romantic touch to the gown. Excellent condition.

The dress is fully lined in an ivory silky rayon and closes with a back hidden set zipper. The skirt has additional layers underneath in between the top layer and the inner lining. The front cups are wired and there is boning all the way around the bodice. The bolero is lined in the same fabric and hooks to close along the front of the dress as described above. Tagged a 40. The colour of the netting and bolero are slightly more ivory in person.

Dress
Bust: to 17" flat across from side seam to side seam with an approx B-Small C cup
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 10" from top of bodice to side waist
Total length: 50" from top of bodice to front hem, 55" to the longest point of the back hem

Bolero
Sleeves: approx 21" and 11.5" around the upper arm
Shoulders: no defined seam
Bust-bottom hem: approx 17.5
Length: approx 11" high

Modern Sizing Equivalent: SML-MED

Item# DD4778

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

This is an incredible and early example of Karl Lagerfeld's work for Chanel. It's from the spring 1988 and it's near twin walk the runway that season and I'm very pleased to have video of that for you. Karl's first collection for Chanel was in 1983 which makes this piece from one of his earliest collections just 5 years later. I love how he took the iconic Chanel chain that would have only been used to weight the inside of a Chanel jacket up to this point and then flipped it to the outside to make it a feature on this dress. Taking those classic Chanel elements and changing the way that you saw them is part of what made his work for the house so iconic. It is an exceptional example of the work that Karl was doing for Chanel during this time period.

This dress is gorgeous and everything you want in a Chanel. The dress itself is made out of a black silk chiffon that has been sharply knife pleated. The pleats run from the top of the bodice to the hem of the skirt. Each pleat is the exact same size as its neighbour and meticulously done. The dress skims over your bodice, past the waist and over the top of the hips. Inside there is a full lingerie netting built-in corset that is boned and shaped to hold the dress in place around you. The dress is suspended from two tiny black silk straps that curve up and over your shoulders. There are a total of six gold chains that wrap around you. These start at the top of the bodice and end at the top of your hip. each one wraps around you to the closure at the side. The in corset zips to close on its own and then the dress closes with a series of hidden black buttons underneath a chiffon ruffle detail that runs all the way down the side of the dress from bodice to hem. The ruffle is done in the same knife pleating technique but horizontally for contrast. Eleven gold toned Chanel metal buttons sit at the base of the ruffle. They finish the end of each gold chain with another button set in between each chain. These are only decorative as the real closure are the hidden black buttons underneath but they had amazing detail. The chains that wrap around you play double detail in that they are also an amazing detail, but they functionally also hold the pleating in place. Underneath the final chain the pleats are allowed to open up and this gives you incredible movement through the skirt as you move. Underneath the final chain, the skirt is slit open to the hem so that you get a flash of bare leg as you move. This unexpected touch of sexiness is fantastic. This is one of those dresses that only truly come to life when on. It is an amazing and iconic piece of Chanel. It looks to have been worn very little if at all. Excellent condition.

Fully lined in a black silk chiffon. There is a built-in inner corset that is boned and has a stay at the waist and another stay just under the bust. Both of those hook to close. The inner corset zippers to close and then the dress buttons to close over that down one side.

Inner bust: 17" flat across from side seam to side seam
Inner waist: 13.5-14.5" flat across from side seam to side seam
Inner hips: to 20" flat across from side seam to side seam
Total length: 49" from top of the shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4775

Reference Photo/Video: Spring 1988 Chanel Runway.

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

This is the twin of the dress shown on the Christian Dior Fall 2002 runway for Look 32. It is an incredibly cut dress and the fabric choice is equally impressive. At the time Vogue commented that: "this fall collection is almost classic in its Dior-isms containing all the patterns, symbols and accessories on which Galliano has re-built the house foundations. That means ethnic color and print, love of the eighteenth century, an obsession with bias-cut dresses, a "sauvage" method of cutting all his own. Galliano's girls stormed out in Peruvian knitted hats sprouting huge Mohawks, their feet bound up in fur moccasin-boots." and indeed, this look was shown in that exact way. It is an incredible dress to see in person and it is so unusual in its cut and design.

So many Dior/Galliano pieces that come onto market are ones that were made for production for the shops and they do not match the runway pieces. So it is always extra special when you find one that does. The dress is incredibly light and incredibly soft. The fabric is a black silk velvet devore in a beautiful floral pattern. In the spaces between the velvet the chiffon has a touch of transparency to it so that you see glimpses of the body underneath. This lets you choose just how bare you want to be underneath it. At the front the dress sits high across the neck and the shoulders are soft. The sleeves are nod to the 1940s and 30s with their unusual design. They are full across the top and when laid out flat they extend out on a sharp angle. Once on, the lightness of the fabric lets them to create the illusion of a bit of a caped feel across your shoulders. Each sleeve is cut on a curve to follow the shape of the arm and then there is a little curved protruding bump out above each wrist that gives you that final shape that you can see in the photos. The body of the dress is completely cut on the bias. It skims over your bust, waist and hips. Set from the back of the dress and curving over and down the sides is a series of top stitched seams. Some of these cleverly hide built-in panels that open up when they reach the skirt. This fantastic technique both shapes the dress around you and it also add to the fullness in the skirt. The skirt has incredible volume and I love the way it falls in those soft folds all the way around you. It flares out even when you're standing still and then when you move the movement it has is incredible. The amount of fabric that is in the skirt is deceptive. When laid out flat the material in the skirt actually goes out beyond a full circle. In the photo where we hold it out you get a sense of just how much fabric is in there. The skirt alone is a master class in cut and execution.  The back is equally as incredible and there is an extremely deep V that leaves the entire upper back bare. even though you do get a sense of how fabulous this is in the reference photos and video, even those photos don't truly convey how much better this one is in real life. Excellent condition.

Unlined and slips on with no closures completely cut on the bias and an incredible piece. It appears to have been worn very little if at all.

Sleeves: 25.5" and 13" around the upper shoulder
Shoulders: no true defined seams
Bust: 16-17" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Hips: 15-17" flat across from side seam to side seam
Total length: 46" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4774

Reference Photos/Video: Fall 2002 Christian Dior, Look 32.

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This gorgeous dress is from the Fall 2007 Chanel Collection and it is a beauty. Raquel wore it on the runway, Freja wore its twin for the ad campaign and it was shot for Vogue Brazil that year as well. If all of that was not enough Cameron wore one to her premiere that year. I love having all these reference photos for you so that you can see just how amazing the dress is once on the body. In the show review, Vogue specifically mentioned the series of LBD at the end of the show saying "By evening...Lagerfeld had cleared the way for a plain view of little black dresses, now with draped shoulder lines, bows, and flyaway trails that looked light and lovely in movement. For the faithful, that was just enough youthfulness to keep the appeal of Chanel feeling perfectly current." Of that series I think this was the best of the dresses and given its prominence in editorials, on the runway and in the ad campaign, I would say that was the general consensus by all. It is spectacular and one of my favourite Chanel pieces to date.

The dress is made out of a black silk that perfectly drapes over your curves once on the body. What makes this dress extra special is the addition of the bows and the way the straps are set. A wide strap extends out from one side of the bodice and curves over the opposite shoulder and down to a plunging back. On the other side there is a panel that wraps around the top of your arm. At the back this angles down to form the other side of the V that exposes your bare skin. Where those two wide straps meet at the front there is a gathered raised line of fabric. Into either and of that piece he has threaded through a 4 inch ribbon to form a bow. The ribbon has a more satin finish that contrasts beautifully against the more matte silk of the dress. The bust skims over you to the waist where a band of that same ribbon adds a touch of shape and definition. The skirt skims over the hips to the knee, or just below depending on your height. There is a panel that sweeps up and over the front of the skirt and is caught up on the same side as the bow on the bodice. Where that panel meets the seam on the other side of the skirt there is another bow formed in the same way, but with a longer centre piece. It is just brilliant. You can see on one of the reference photos that this actually forms a little scoop that although it is not a true pocket you can slip your hand into it for the perfect little cool slouchy feel. It is incredibly good on the body and a very well documented piece of fashion history. Excellent condition

Unlined and closes with a hidden set back zipper. It appears to have been worn very little if at all. There is an inner piece that is lightly boned and closes with its own zipperTagged a vintage Chanel 42.

Bust: 17.5-18.5" flat across from side seam to side seam
Inner waist: 14.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 14" from the top of the shoulder to the inner waist
Total length: 44" from top of the shoulder to the hem

Modern Sizing Equivalent: MED-LRG

Item# DD4773

Reference Photos/Video: (1-5) Fall 2007 Chanel Runway, Look 63. Model Raquel Zimmermann.  /  (6) Freja Beha Erichsen for Chanel, Fall 2007.  /  (7) Photo taken in Coco Chanel's apartment, Vogue Brasil, April 2007.  /  (8) credit unknown.  /  (9-11) Cameron, 2007

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I just had the near twin of the dress in the shop a couple of months ago and I am very pleased to find this version so quickly. It is a stunning dress and shows the softer, more romantic side of Lanvin from this time period. This was designed by Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. In the book Lanvin by Rizzoli, there is a lovely forward from Alber Elbaz, that noted that the Spring 1984 was Crahay's last RTW collection for the label before his retirement which makes a piece from that collection that much more special. Crahay's time at the Lanvin label is one of my personal favourite periods for the house and I think it is so special to have a documented piece from his last RTW collection. The runway photos also show you just how great this one is on the body. I love it.

This one is different from the first version I had in that the back skirt is purposefully split so you get a pop of black from the underskirt. It was common for designers to showcase two or three versions of the same dress for their clients during this time period. We often see that with Marc Bohan's work for Dior as well. This version feels a little bit more avante garde than the other and I love how the black of the underskirt picks up the black backing of the bows above. The dress is made from a beautiful hand loomed red linen. The linen gives it a stunning texture and the depth of colour that is achieved by using linen is fantastic. It has been lined in a black silk that peaks out from the back opening. From the front the dress is this beautifully simple and romantic feeling dress. The sleeve are softly gathered into the shoulders and they are cut wide and straight to just above the elbow. The bodice skims over you to the waist. The cut through the waist area is slightly more on the loose and easy side and depending on how tight you tie the back it can sit more loose and easy or with a bit more shape. The skirt is set into the waist in a series of tiny soft gathers. This picks up beautifully on the shoulders and adds a little volume around the hips and through the skirt. I love the pockets hidden along each hip. They really add to the easy feeling that the dress has. The skirt has tons of fabric in it. When you stand straight you don't really realize how much fabric has been used but when you move or sit it really flows around you beautifully. The upper back is almost shocking with the surprise of it when you turn around. It is completely open to the waist and then the opening is held in place by three wide ties. The linen extends out on each side of the back and then each tie combines the red linen for the top of the tie and black silk for the other side. When you ties these into bows you get this fantastic combination of red, black and your bare skin peeking out between it all. It is a fantastic dress that is sexy and sweet at the same time. I love it. Excellent condition

Fully lined in a black silk satin through the top and black silk through the skirt. It close with a hidden zipper on the inner black skirt and then has three ties down the open back. It appears to have been worn very little, if at all. Tagged a vintage Lanvin 38

Sleeves: 13" and 14" around at the widest point 
Shoulders: adjustable with tie
Bust: to 17.5" flat across from side seam to side seam and can be adjusted in and can be adjusted in words with the ties
Waist: to 11.5" flat across from side seam to side seam
Hips: open
Bodice: 14.5" fromtop of shoulder to waist
Total length: 56.5" from top of shoulder to hem

Modern Sizing Equivalent: XXS-XS

Item# DD4766

Reference Photos/Video: (1) Spring 1984 Lanvin Runway.

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The Shrimpton Couture Archives

• The twin of the dress walked the Cruise 2009 runway for Look 9 and I love that this let you see how fabulous this dress is once it is on the body
• It was made under the creative direction of Karl Lagerfeld.
• In the book "Chanel Catwalk" the notes on this collection tell us that this show took place on the boardwalk of the Venice Lido. Many of the pieces were styled with a nod to Marchesa Luisa Casati, an Italian aristocat and patron of the arts who "had a well documented taste for masquerade in eccentricity from wearing live snakes as jewellery to promenading pet cheetahs on leashes dripping with diamonds, and who remains an icon of 1910 and 1920 style." You can really see that 1920s influence in the cut of this gorgeous dress.
• The dress is deeply plunged with a black silk ribbon following the sharply angled plunge at the front. A flat bow keeps the two sides in place and make it safe to wear. More of that same black silk ribbon has been folded into little half bows that act as ruffles to edge the outline of the neck all the way up the front, over the shoulder and then down the back.
• The back is cut in a more squared off plunge and a large muted silver heart with the famous double C logo and little black rhinestones sits above the zipper there.
• The way the ribbons sit on the top of the shoulders and run down the front and back is just phenomenal once it is on. I love that the cut out is so deep at the front but that the front bow holds it in place. It is very sexy in its own way.
• Under that the dress has a very easy-to-wear cut. It skims loosely over the bodice, waist and hips. It starts to narrow a touch from there to the bottom hem to pick up on the shape of the plunge of the front. A slit up the back allows it to be easy to walk in.
• The entire dress is cut on the bias and the silk through the body is a deep blue. It is a absolutely beautiful lightweight silk and is a very high-quality. This lets it skim over the body and hold the intended shape that you see on the runway.
• The dress is unlined and closes with a back hidden set zipper. The band at the back hooks to close and the heart button that sits there is decorative.
• Tagged a modern Chanel 40. The easy and bias cut through the body should allow it to fit a variety of sizes so please go by the measurements below. It will just drape more on a smaller frame.
• Excellent condition

Bust: 16-18" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Total length: 57" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Reference Photos/Video: (1-3) Cruise 2009 Chanel, Look 9. Model Kori Richardson.  /  (4-6) Gwyneth Paltrow in Chanel at Cannes Film Festival, 2008.

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

In 1993 Oscar de la Renta took over as Creative Director at Balmain where he designed the Haute Couture collections until 2002. The house had been floundering at that point and he had a huge impact on the reviving the sales of the couture pieces, mainly by catering to private clients, much like Balmain had originally. It is extraordinary to think that Oscar never produced a Haute Couture line under his own label and these few short years at Balmain gives us a chance to see just how talented he really was at all levels. I was very pleased to be able to fully document this dress with its photos from it on the runway. It is just beautiful.

I love that that photos let you can see just how beautifully the silk chiffon on the skirt moves once this is on the body. It is a gorgeous dress and his time there was one of the best. The dress is interesting because when you stand still you get a beautiful long, lean silhouette but the second you move the chiffon in the skirt is picked up by the air and the dress becomes even more extraordinary.  His use of fabric and the contrast he created by putting that pastel moss green with that soft dusty pink-purple is fascinating. The skirt of the dress is made from yards and yards of bias cut silk chiffon. The fabric is feather light. Two top layers of chiffon are split up the centre and these float over an inner silk skirt that has another layer of chiffon over it. The two top layers are heavily gathered in at the front waist so that they drape and curve around the hips. This is what creates that hourglass shape that you see. When you move these open and float away from the body and you fully see the contrasting colours underneath. It is amazing. The back of the skirt is cut slightly longer and this helps the silk layers to catch the air and move around you with your slightest movement. I love how it is gathered in up and around the waist. The bodice sits over that with an empire cut to it. The neckline is cut into a low dipping, curving V at the front and the neckline is set wide across so the collarbones can be seen. Little cap sleeves curve over the tops of your shoulders and the shoulders are soft with no padding. The entire bodice is an extraordinary feat of embroidery work and piece work. It would have all been done completely by hand. It combines a soft cross hatching of a pastel taupe thread for the backdrop and then onto that is a beautiful design of leaves and flowers in pink gold and greens. These curve over the bodice and it is a stunning thing to see in real life. The upper bodice is backed with a pale pinky nude silk organza which gives it a touch of transparency through the upper bodice and arms. The bust area has a built in boned and cupped corset that extends down to the waist inside. It closes down the front and the zipper is hidden away from view by those draped and gathered panels of silk chiffon on the skirt. Once on the body, it appears to have no closures at all. It's as if it was just magically made over you. Its magical. Everything is done by hand right down to the hand rolled edges of all of those layers of chiffon on the skirt. Between the heavily detailed embroidery and the contrasting colours of the silk chiffon, the final effect is fantastically romantic in feel. It is amazing. Excellent condition with a small note below

Fully lined in a silk organza through the bodice as described above and a light purple silk for the inner corset and lining of the inner skirt. It closes with a front zipper. Boning and light padded cups on the inner corset. There are some repairs to the organza lining of the inner bodice. I see a couple very tiny catches in the fabric here and there near the hem, on the back and there is a tiny flaw near the inner edge of the purple lining near the zipper. Please see the photos after the label shot. Minor. Hand finishes throughout and made by hand to Haute Couture standards

Sleeves: are 13.25" around the upper arm
Shoulders: no defined seam
Bust: to 17" flat across from side seam to side seam
Seam under the bust: 16" flat across from side seam to side seam
Inner waist: to 15.5" flat across from side seam to side seam
Inner hips: to 21" flat across from side seam to side seam
Bodice: 13" from top of shoulder to bottom of the bodice
Total length: 62" from top of shoulder to the longest point of the hem

Modern Sizing Equivalent: SML-MED

Item# DD4763

Reference Photos: Fall 1996 Pierre Balmain Haute Couture.

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

The twin of this Dior suit was shown for the Christian Dior Pre-Fall 2011 collection. This collection was shot as a look book that year. At the time Dior said this of John's collection: ”Dior’s Fall ready-to-wear collection takes its inspiration from the legendary love affair between Mrs. Wallis Simpson and Edward VIII. English romanticism is channeled into Balmoral fringed tweeds and candy-coloured tartans with Prince of Wales checks.” Vogue commented that: "John Galliano galloped the Duchess of Windsor through This Is Your Life, with richly hued musings on what Wallis Simpson in her prime might've worn at specific times of day and across the decades." The Dior team styled the pieces in lavish settings to play on this theme and this would have been a part of the day looks of the collection. This was John's second last collection for the house.

This is a great little silk suit that is easy to wear. I love that with it being two pieces you can mix and match it with other pieces from your wardrobe. The jacket is classic but with enough details that it has a special feel. The sleeves are long and simple and the shoulders are soft and sloped. The colour is neat and rounded and the jacket closes with a series of three buttons at the waist. I love how the front of the jacket is gathered in on a curve into the collar. This is what gives the jacket a little extra detail. A band of fabric goes around the waist to add shape and then the hips flare out from under that. Two button flap pockets sit on each hip and both have their original tacking in place. All of the buttons are engraved Dior Paris. The skirt is a simple pencil that flares out just slightly as it reaches the hem. It skims over your hips and falls straight at the front. At the back there is an extra panel of fabric worked into the bottom hem. This adds a little flirty flare and softness at the back. You could also belt the jacket if you really wanted to cinch in the waist and change up the look of the suit. Excellent condition.

Both pieces are lined in a black silk. The jacket buttons to close and the skirt zips to close at the back. The front pockets are functional and have their original tacking in place. Tagged a F42, GB14, I46, US10

Jacket
Sleeves: 24.5"
Sleeves: approx 23" and they are 12.25" around the upper arm
Shoulders: no defined seam
Bust: 18.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 23" from neck to hem

Skirt
Waist: 15" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 22" from waist to front hem, 24" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4761

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

The twin of this set in a different colourway walked the runway for the Fall 2000 show for Look 11. My client ordered hers in black and that simple colour change makes it incredibly timeless. The suit is beautiful and so chic. I also have Look 17 from the show in the shop that has a longer jacket from the same client. It is a beautiful example of how Karl could do a classic minimalist look that focused purely on tailoring and cut. It is an incredibly beautiful and historically important example of the work that Karl was doing for Chanel during this time period.

I love that this is a suit with a dress and jacket rather than a jacket and skirt. It makes it so versatile. You can wear the dress on its own or with other pieces to extend its life more and of course you can mix the jacket with anything from your wardrobe. Both of the pieces are constructed from a fine black wool that has a touch of texture to its surface. The dress is cut in the sleek and simple shift that skims over the body and flares out slightly as it nears the hem. The hem has a pretty fringe finish for a tiny touch of detailing. Perfectly placed seams shape the dress around you so that it is flattering on the body like the seaming detail at the neck that gives it the feel that the fabric crosses over itself. It is hand lined in a black silk so feels like heaven on. The jacket slips over that and has light shoulder pads for a touch of structure and the sleeves are long. The meticulous seams are set on curving lines to create shape. There is a simple hook and eye closure at the neck and two functional pockets. It is also hand lined in a high end black silk and there is the signature Chanel chain set around the inner hem of the jacket to allow it to fall perfectly.  A ruffled detailing goes from the neck to the hem of the jacket. It narrows down as it reaches the bottom hem and this adds a touch of softness to the jacket. This is a stunning and timeless example of Chanel's Haute Couture work. It is meticulously made and it is a beautiful piece showcasing the work that the Chanel ateliers are capable of and of Karl's time there. Excellent condition.

Both the dress and the jacket are hand lined in a fine black silk. The dress closes with a back hidden set zipper that follows along an offset seam so that it looks to have no closure at all. The jacket has a hook and eye at the top of the neck. It appears to have been worn very little if at all. Both pieces have an appropriate Haute Couture label and numbered tape present and are completely made by hand to Couture standards. 

Jacket
Sleeve: 23.5"
Slightly inset shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 20" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 24" from neck to hem

Dress
Bust: to 19" 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: 38" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4177

Reference Photos/Video: Fall 2000 Chanel Haute Couture Runway Collection. Look 11 

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

Hanae was the first woman of Japanese descent to have presented on the Paris and New York runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Her work is exceptional. Hanae Mori excelled at these beautiful prints that combined nature had elements of her homeland. Her caftans are the most sought after pieces and so very hard to find. When I find pieces like this one that is such a stunningly beautify example of her caftans I am very happy. I feel that pieces like this are among the very best representations of her work. This one is extra special as its near twin was used in the ad campaign that year and its actual twin is predominantly featured in the book on her work "Hannae Mori 1960-1989". It is not always easy to date her pieces and I love having such wonderful documentation. It also shows you how beautiful this piece is on the body.

This is everything you look for in a piece by Hanae Mori. It is spectacular. Her caftans especially are almost impossible to find anymore and this one has been in my archives forever. It has one of her custom designed prints screened onto masses of feather light silk chiffon that is layered over an inner silk twill sheath dress with the same print. Think the finest silk scarf you could have in terms of weight and feel. The entire dress has been printed with gorgeous tropical trees, mountains and birds that are seen flitting across its surface. The neckline is high and folded over itself and the shoulders are soft. The inner dress is attached around the neckline and top of the shoulders and then falls to the floor, skimming over the body where it widens out a touch as it reaches the hem. The top layer floats spectacularly over that. On one side is an attached sleeve and that sleeve balloons out beautifully over a more structured cuff. On the other side the silk extends out to cape over the arm and there are miles of fabric on that side. This top layer is spectacularly full and falls on a curve down to the hem of the dress. All of the edge on that side, around the hem, and up the side on the other side are finished with a wide ruffled hem. There are three layers of silk that make up that ruffled hem. It is incredible. As with the best of Hanae's dresses the effect of having the same print on the top layer and the inner layer gives the design added dimension and depth as they float over each other. The movement and drama that all this fabric creates is extraordinary. This is a dress that you slip on and feel completely comfortable when wearing it and yet it has as much drama and impact as you could ask for. I love having that spectacular book photo to really show you how wonderful the dress is. It is a stunning and very rare and well documented example of her work and beautifully made. I love it. Excellent condition with some minor notes below.

The inner dress is a silk twill that is lined in a silk and the outer silk chiffon layer floats over that.  The inner dress zips to close, and then the outer dress buttons to close over that with hook and eye at the neck. The cuff closes with two silk covered snaps. There are a couple of tiny marks on the outer layer here and there. I also see one tiny pinhole in the silk chiffon on the back of the arm and a small repair at the base of the exterior opening. All are minor. Please see the photos after the label shot. The edges of the ruffles are hand rolled and have wire in them for shape. Extensive hand finishing throughout the entire caftan. The colour is slightly more pastel feeling in person. The inner dress could easily be adjusted up or down so should work on a range of sizes

Sleeve: 26" and it is 13" around the upper arm
Shoulders: approx 15" but no true defined seam
Inner bust: to 19.5" flat across from side seam to side seam
Inner waist: to 16.5" flat across from side seam to side seam
Inner hips: to 21.5" flat across the inner seam but adjustable with the sash
Total length: 61" from top of the shoulder to the longest point of the hem

Reference Photo: (1) From the book " Hanae Mori 1960-1989".  /  (2) Hanae Mori ad from Vogue UK, November 1972.

Modern Sizing Equivalent: SML-LRG

Item# DD4757

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

This gorgeous dress is from the Spring 2020 Oscar de la Renta collection under the creative direction of Laura Kim and Fernando Garcia. This was a ready-to-wear piece that was produced for the shops and it is stunning and easy to wear. It was Look 36 in their RTW look book presented for clients with an original price tag at the time of $5390USD.  It is a definite show stopper and I love it. 

This is one of the prettiest modern Oscar dresses I have had in the shop and I love it. The movement it has when it is on and you walk is just incredible. It is made out of the perfect tangerine and white coloured silk that is perfectly light in weight so it has beautiful movement when you move. The halter front extends and curves up and over the shoulders and then drops in the same V at the back. The silk crosses over itself at the front and it is set into a wide band that adds shape around the waist. At the top of each shoulder the fabric has an attached tie that trails down your back. I have tied them into a small bow and if you wanted the trailing ends to be longer you could tie them into a simple knot instead. I love the added drama and prettiness that this adds to the dress. The skirt is set into the waist band in little knife pleats all the way around you. Buttons run all the way down the front with a slit left from the hem up for a flash of leg. I love the little added detail the buttons give the dress. A second horizontal seam sits just below the hip and another series of pleats create the skirt that then falls to the floor. Doing the different sections of the skirt adds visual interest and also allows the lower skirt to open up more. The movement that this gives it shows best when you move and the lightness of the silk causes the skirt to move with the slightest bit of air. When this is on and you are walking the movement in the skirt and those ties that draped down your back all create is absolutely gorgeous. The final perfect detail is that perfect summer feeling floral print that runs over the entire dress. It is beautiful. Excellent condition 

Fully lined in the same printed silk as the exterior. The ties on the shoulder are stitched in place and you can put them into a bow or leave them loose. It closes with a back set zipper and the buttons at the front are functional. It appears to have been worn very little if at all. Original uncut length. Tagged a modern 0DLR 8

Bust: each halter covers approx 10" across from side to side
Seam at the top of the 4" band: 16" flat across from side seam to side seam
Waist seam at the bottom of the band: 15" flat across from side seam to side seam
Hips: to 26" flat across from side seam to side seam
Bodice: 13" from the top of the shoulder to the top of the waist band
Total length: 62" from top of the bust to front hem, 62" to the back hem

Modern Sizing Equivalent: MED-LRG

Item# DD4758

Reference Photos: (1) Spring 2020 Oscar de la Renta ready-to-wear Look 36

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

The twin of this dress was worn by Anne in 2006 for her character's big scene where she attends the Met Gala near the end of the film. It is an iconic piece and I love it. John Galliano began his own label in 1984 and he was instantly a bit of a 'boy wonder; in fashion. He was British Fashion Council Designer of the Year in 1987, 1994 and 1995. In 1991 he made his Paris catwalk debut. In 1995 he was asked to head Givenchy and then went to Dior in October of 1996. Unlike many designers he kept his own label going as well throughout the years at both those houses. His work, especially the bias cut pieces that he did, have a feeling of the decadence and abandonment of the twenties and they are beautifully cut. They marry Old Hollywood with the minimalist spirit of the nineties and early 2000s and the results are stunning. This is an amazing example of his work from the Fall 2005 season and it is gorgeous. This dress was a piece made for production for retail but it has all the things we love about his work presented in a chic and minimalist package.

The dress is gorgeous. It definitely takes inspiration from the bias cut couture pieces of the 20s and 30s. The seam work and simplicity of this dress is stunning to see and it is even better on an actual body. It is made from a beautiful black silk that has a muted satin finish. It has that that same light in weight feel that the best of the 1930s pieces did that were made from similar fabrics. Like those liquid dresses of the thirties this is also cut on the bias. It is cut to flow over the body and skim its way over the bust, waist and hips as it falls to the floor. The neckline is finished with a wide band that curves around your neck and swoops down and across the front. That swooping plunge is slightly set to the side and there is a small hidden hook to hold it in place. If that hook is left undone the plunge becomes deeper and I took a shot of that for you. Pretty seaming through the bodice gives it a slight bit of shape until it meets the dropped waist line. The waist is detailed with three bands of pleating that wrap horizontally around you. It is set wider on the side where it buttons and then narrows down on the other side on a slight slant. That bit of an angle there is a clever way to add length through the body. The skirt flows down to the floor, skimming over the hips, and then flaring out as it reaches the hem. The flaring shape is achieved by the bias cut of the fabric rather then extensive seaming. This gives you a ton of movement around the lower skirt when you walk or move. It also adds to the hourglass shape the dress has. It is all done so that it sits in a certain way on your hips and then that in turn affects how the entire dress sits on your body. The sleeves are incredible. They are sat in a little cape like panel that curves around you. It starts at the front and curves over your shoulders to give you that little cap sleeve feel and then it continues around the back in a dropped curved. The edges are finished with a fine black floral lace. I love how the lace is set into the silk of the panel to follow that pattern that is in the lace. At the side the dress is finished with one of his signature rows of tightly spaced button and loop closures. This becomes a design detail in themselves and it is these subtle little details that Galliano put into his dresses that make them heads above other pieces. I have seen this dress shown with a velvet floral belt piece that sits on one hip and you could easily add something to get that look if you wished. The dress is spectacular. Excellent condition.

Unlined and closes with the buttons down one side. Tagged a Galliano FR42, GB14, US8. The bias cut fabric does have some stretch. The measurements below give you the comfortable range the fabric has when lying flat. The rubber label was reattached just to the side of the original holes after it split during the cleaning process. A common occurrence with this label. It is in its original supermodel length. The bias cut should allow it to fit a range of sizes

Bust: 17-21" flat across from side seam to side seam
Dropped waist: 14-15" flat across from side seam to side seam
Hips: 18-22" flat across from side seam to side seam
Bodice: approx 18" from neck to dropped seam
Total length: 61" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4753

Reference Photos: The Devil Wears Prada, 2006.

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

This dress is a version that was made for the shops, and seems to best be derived from the combination of Look 45 and the print of Look 53 from the runway. This same scenic print on the skirt version also appeared in the ad campaign that year. The reviews for this season were stellar. Vogue.com said of this collection: "Audiences always arrive at Prada shows tingling with anticipation, braced for Miuccia Prada's next departure from the last season's plot. This time, she confounded expectation again, not by taking off in a new direction, but by developing the cache of ideas layered into her spring collection. "It was a dream of extreme romanticism," she said. "The idea of eighteenth-century painting, with video games. A romanticism between past and future."

Pieces from this collection sold out worldwide and were wait-listed everywhere. It was an incredible testament to her ability to take elements from the past and make it feel fresh. This dress is particularly beautiful in my opinion. It is made out of feather light silk chiffon and then has that magnificent soft painted scene screened onto the surface. The silk has a touch of texture to it which adds to its vintage flare. The dress is sleeveless and simply ties in the back above an open keyhole. A 5" wide panel runs down the full front of the dress and it has been top-stiched and finished with vertical  pleats. This adds a wonderful high detailing that gives a layered effect to the print feeling the dress has. It skims over the bust and waist with a slightly more an easy and generous feel. Under that the skirt flares out and there is two added 10 inch panels that create a ruffle around the inner lining of the dress to help hold the shape of the skirt that she desired it to have. The final finishing touch is the extensive bead work done around the neckline and applied onto a black silk chiffon base. It combines tiny black glass tube beads with beads of different sizes and shapes, along with prongs set black rhinestones. This bead work was a signature look of the collection. This is an easy dress to wear and has a chic and easy feel to it that I absolutely love. It appears to have been worn very little if at all. Excellent condition

Fully lined in a brown silk and closes with a hidden set side zipper and a tie at the back of the neck as shown. Tagged a modern Prada 40

Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 14.5" from top of shoulder to waist
Total Length: 40" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4752

Reference Photos/Video: (1-2) Fall 2004 Prada, Look 45.  /  (3) Fall 2004 Prada, Look 53.  /  (4) Karen Elson for the Fall 2004 Prada Ad Campaign by Steven Meisel.

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

This little Chanel suit is stunning. It is from the Pre-Fall 2012 collection and a version in a different colourway walked the runway for Look 32. The collection was a "salute to the work of the craftspeople who make Chanel happen, including the recently passed François Lesage (hence the name, Métiers d'Art), was definitely a feat of creative excess, from the jaw-dropping set, which turned a curved space under the dome of the Grand Palais into a corner of Rajasthan, to the clotted silver embroideries, the gilded laces, the lustrous silks that determined the character of the clothes." said Vogue. "The theme "Paris-Bombay" was a reminder that Europe's fashion industry has increasingly turned to India to produce extravagantly hand worked pieces." The suit was beautiful in the pale green that it was shown on the runway and it is equally as beautiful in this darker colour that I think makes it even more versatile.

Both pieces are constructed from a lightweight house boucle that showcases a combination of red and gold metal threads layered into the base fabric along with teeny tiny gold sequins. The combination of these elements creates a rich texture and the metallic colour that you see. In person, you realize the base colour of the suit is actually a black mixed with the deepest blue yarn. The gold and red threads along with those tiny gold sequins give it an almost brown feeling the farther away you are from it. It is quite beautiful. The fabric is woven on the bias in the traditional manner of their boucles and this is what gives the fabric its movement while still holding the shape beautifully. It is absolutely beautiful. And of course being two pieces means that you instantly have endless styling options to mix and match with other pieces from your wardrobe The suit is edged with a fringe of the same fabric and this gives it some added texture. The fringe runs around the neck, down the front edge and circle around the hem of both the jacket and the skirt. It also details each cuff and the pockets. The jacket is cut in that classic Chanel box shape with a slight outward swing by the hem. The sleeves are to just past the elbow and they are cut wide and full. Each is just under 17" around. Pockets sit on each side at the front with their little tufted edging and button detailing. The jacket has two buttons at the neck to close and then it falls open under that. The skirt is cut with a slight flare as it nears the hem. It has a simple waist with no banding. The upper part of the skirt is more fitted around the hips and then it opens up to create the chic and simple line that you see. The entire suit is perfectly lined in a black silk and a signature Chanel chain is hand set inside the hem of the jacket. I especially love the buttons on the jacket. Each has poured glass gripoix and combine deep, red and gold along with tiny Chanel double C's. The suit even has a little removable and combine deep, red and gold along with tiny Chanel double C's. The suit even has a little removable brooch Camellia brooch in a gold boucle. I love it.  This is classic Chanel and it is exceptional. Excellent condition.

Both pieces are fully lined in a black silk. The skirt closes with a Hidden set back zipper and the jacket buttons to close at the neck as described above. Each pocket buttons to close. Very light padding in each shoulder. The brooch is removable and fasten by a pin. The texture is even better in person end it has more of a metallic feel as the sequins catch the light. The jacket is tagged a Chanel 44 and the skirt a 40. 

And just a note on their fabrics.... The Chanel boucle and tweeds are created with their proprietary method of weaving that they themselves describe as "by weaving the warp and weft, using a variety of different kinds of threads which creates a unique and somewhat irregular appearance. The warp – vertically strung – is the background of the fabric, the base that will support the assembly of materials. There can be up to 12 different threads used for a single warp. The weft – woven horizontally – gives the fabric its unique character and can have an unlimited number of threads. Tight, perforated, textured, thick, with a relief, plaited, random, twill… the potential number of effects is endless". This technique gives you that classic Chanel look.

Jacket
Sleeve: 17" and are 18" around the upper arm
Shoulders: 15.5"
Bust: t0 19.5" flat across from side seam to side seam
Bottom hem: 20.5" flat across from side seam to side seam
Length: 23" from neck to hem

Skirt
Waist: 14" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 19.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4751

Reference Photo/Video: Pre-Fall 2012 Chanel, Look 32.

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In 1952, Givenchy founded his namesake house on Rue Alfred de Vigny in Paris and quickly rose to fame as one of the grand couturiers. 16 years later for the 1968-69 season, he added The dress is incredibly well-made with an inner lining of silk, organza and ribbon edge finishing. I absolutely love this dress in pink is spectacular. It appears to have been worn very little if at all. Excellent condition.a ready-to-wear line of clothing and accessories called 'Givenchy Nouvelle Boutique'. The line was initially sold in the United States exclusively through Bergdorf Goodman stores and was eventually available at other retailers as well. The line was high end and extremely well made. He launched this line to expand his customer base and it made to appeal specifically to his non-couture clients. This label continued until 1992. This dress has the Givenchy Boutique label with the Nouvelle added and as far as I am aware this label was usually reserved for special orders made through the atelier. It could not be more gorgeous.

This dress is just extraordinary. Like the Galanos dress that am listing today it is made from long vertical silk panels that are pieced together to create the beautiful array of colours that you see. The dress combines a deep purple with an emerald green and a brilliant blue. The colour combination of those highly saturated colours is beautiful to see in person. The dress sweeps up and over one shoulder with a wide strap. All three colours make an appearance on both the back and the front of the dress end it is the same panel from the top of the shoulder all the way to the hem. The level of pre-planning and construction that would have been employed to be able to pull this off should not be overlooked. The final result may appear simple but this is a feat in patterning. On the side that has the purple silk and the bare shoulder the silk has been gathered in along the side seam so that you have a bit of softness there. The rest of the silk gathers into the waist and this creates that touch of volume through the bodice. I love the bareness of the single shoulder. I have cinched in the waist with a matching velvet blue ribbon that will be included. You could easily add any of the colours that you see in the dress or wear it without a belt. Under that the skirt sweeps out to the floor and all of the fullness that you see is created by the way that the silk is gathered in through the waist and by the lightness of the silk taffeta. I used no underskirting in any of these photos. The silhouette is all created by the masterful tailoring of the piece. The lightness of the silk also allows the skirt to billow out around you when you move. The dress is incredibly well-made with an inner lining of silk organza and ribbon edge finishing. I absolutely love this dress and think that it is spectacular. It appears to have been worn very little if at all. Excellent condition.

Fully interlined in silk organza through the skirt and a blue silk through the bodice. It closes with a handset side zipper. The belt is not original to the dress, but will be included. Ribbon edge finishes and handstitching. It appears the hem was brought up at some point so there is extra fabric turned under the hem.

Bust: 16-18" flat across from side seam to side seam
Waist: 13-14" flat across from side seam to side seam
Hips: open
Bodice: approx 15.5" from top of shoulder to waist
Total length: 60" from top of shoulder to hem with 3" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD4750

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

This is a very pretty and easy to wear Fall 1977 runway dress from Christian Dior from the Marc Bohan years. It is a wonderful example of the work being done during this time period. It is also a dress that we were very happy to be able to date and document. The runway photos give you a great idea of how it looks on the body and I love that you have the option of wearing the neckline on or off the shoulder. I have also included a press advanced photo of a shorter version of the dress in the same colour just so you can see that this is the colour that was used for the show. Bohan often showed two or three versions of pieces in the same fabrics and the dress I have for you today is the twin of the longer runway piece. It is fantastic.

This gorgeous dress has a bit of a bohemian vibe to it and that combined with the deep mustard colour and feather light silk chiffon make it a heavenly piece. If I was perfectly honest, I don't even think that it photoed that well because when I see it in person I feel like it is a million times better. It is really a dress that needs a body in it to fully come to life and be worn properly. The silk chiffon is covered in a pretty delicate print that covered the entire dress. I love the care that has been put into making sure that the print follows the different elements of the dress perfectly. This would have taken extra fabric and extra care so that it all lays as perfectly as it does. The silk chiffon is light in weight and floats beautifully over the body. The neckline is ruffled and has an elastic that runs through it. This allows you to wear it up on top of the shoulders or you can pull it down so that it is sitting off the shoulders. The front ties with a black velvet ribbon above a keyhole. The body of the top is loose and full and skims down to an easy cut waist. On the runway you can see that it was shown with a black velvet belt and I have added a velvet ribbon in one shot here that I will include. Each sleeve is full and billows out above a ruffled cuff that is detailed with another little velvet bow. The skirt falls to the floor and widens out as it nears the hem. It is made out of five tiers of ruffled silk chiffon and these add incredible movement when you move. I love the versatility of the shoulder and how the feel of the dress changes depending on whether you wear it belted or not. It is also so well made that I think you could choose to turn it around and have the keyhole and bow at the back if you wished. The sheer lightness of it is amazing and makes it very easy and comfortable to wear. It is fabulous. It appears to have been worn very little if at all. Excellent condition.

Unlined and slips over the head to wear. The neckline, waist and cuffs have elastic and the neckline ties to close. 

Sleeves: approx 27"
Shoulders: no true defined seams
Bust: to 18" flat across from side seam to side seam
Waist: 17-18" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Dropped bodice: approx 20" from top of bodice to waist
Total length: " from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4746

Reference Photos: (1) Fall 1977 Christian Dior Ready To Wear Advance.  /  (2-5) Fall 1977 Christian Dior Runway.

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

This is a very pretty and easy to wear Christian Dior dress from the Marc Bohan years. I have had the cotton versions of this in the past but this is the first silk version I have found. It is a wonderful example of the work being done for day wear during this time period.  It is also a dress that is fabulously documented. It was part of the press package prior to the collection release and we found the runway photo of it as well. I love that you can tuck the straps in and wear this as a strapless dress if you wanted.

The dress is made from a white silk that has a horizontal stripes running through it in various bright colours. This is a play on that classic summer tube dress that was all the rage in the late 1970s. You just slip it on and it sits suspended from the shoulders and those tiny blue straps that match the top stripe. There's a little decorative bow at the front and both the neckline of the top and the waist to have a touch of elastic in them so it's easy to fit. You literally just slipped this over the head and go. It is cut straight across the top and the bodice is cut to skim over you to the waist. I prefer it to sit more loosely so you get that sense of swing the dress has but you could also bring the length of the skirt up and having the top blouse over it more. I shot one photo like that for you so you can see. The skirt widens out to be quite full by the time it reaches its hem. It is made of three tiers of fabric and each widens out more as it goes down to the hem. This gives you lovely movement when you move. It is fantastic. Excellent condition.

Unlined and slips on to wear. The elastic through the neckline and waist is currently set to be quite loose and easy, but it would be a simple job to have your seamstress tighten it if needed to get the perfect fit. The easy cut should allow it to fit on a range of sizes. There is a bit of an illusion of colour run around the red striping because of the way, the colour reflects on the silk but when you look at it closely, it's almost imperceptible. I am being very picky

Bust: to 18.5" flat across from side seam to side seam
Elastic waist: 12.5-17" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Slightly dropped bodice: 19"
Total length: 54" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4747

Reference Photos: (1) Spring 1977 Christian Dior.  /  (2) Christian Dior Show at the Mandarin Oriental Hotel, March 1977.

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

This is one of the prettiest Oscar dresses I have ever had in the shop and I love it. The movement it has when it is on and you walk is just incredible. It is a piece that was produced for the shops and you can see that it is a combination of the two looks that walk the runway that season for Looks 21 and 22. I have included photos of those here so you can get an idea of how wonderful it will be on the body. I am kind of obsessed with it. In the review of the show Vogue's Janet Ozzard said in part "Whether or not you live the life that demands an Oscar de la Renta wardrobe, his collections are a delight to the eyes: flawlessly executed, poised and urbane, with just the right balance of mature charm and youthful exuberance"... and for these wonderful chiffon pieces she noted that "Tropical climates are second nature to him, and that shows in his deep, rich hues: chocolate, red, orange, and pink, played off white, navy, and beige." It is just the prettiest and I think it might be one of my favourite Oscar pieces that I have had in the shop.

The dress is made from a single layer of that pretty printed silk chiffon through the bodice and sleeves and then the skirt stacks two layers of the printed chiffon over top of each other. There is a slit keyhole that runs from the neckline to the top of the band at the waist at both the front and back and each closes with the button at the neckline. The neckline is set slightly wide across your shoulders and the sleeves extend out from the shoulders at the top and then from the top of the band at the waist. This makes them very wide and full. It is really what gives it that slightly caftan feel that the dress has. I love it. A wide band circles your waist and it has been heavily embellished with metal thread, beads in various sizes and colours, along with prong set rhinestones. The embellishment is fantastic and it wraps all the way around you to add a beautiful detailing to the dress. The skirt flows to the floor under that with a high slit up the front that allows some leg to show when you walk. There is quite a lot of fabric in the skirt. It is all softly gathered into the waist and then falls outwards to the floor. The lightness of the chiffon allows it to float and billow around you as you walk and move. It is spectacular. I love how the front of the dress has that strong band of colour that runs down its front for an extra pop. It is an extraordinary piece. Excellent condition.

The bodice and sleeves are unlined and the skirt is a double layer of the silk chiffon as described above. It closes with a series of hook & eye and snaps from the top of the band of the waist downwards at the back. There is a button at the top of the keyhole on both the front and back. The back button looks like a replacement. It appears to have been worn very little if at all. The easy cut should allow it to fit a range of sizes

Sleeves: approx 27" 
Shoulders: no true defined seam
Bust: no true defined seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 13.5" from top of shoulder to top of the 4.5" band at the waist
Total Length: " from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4748

Reference Photos: (1) Spring 2005 Oscar de la Renta Look 21. Model Julia Stegner.  /  (2) Spring 2005 Oscar de la Renta Look 22. Model Cintia Dicker.

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

This Roberto Cavalli dress is from the Fall 2007 collection and it is gorgeous. Its near twin in an iridescent green walked the runway that season for Look 43 and then this dress was produced for the shops in this deeper ivory colour. I included both the reference show photos as well as the video clip from the show so that you can get an idea of how spectacular the dress will move once on the body as the cut is so similar. Victoria Silvstedt also wore its twin to the Orange British Academy Film Awards in 2008. It is gorgeous 

The dress is made from am ivory coloured silk crepe jersey combined with silver dome studs and crystal rhinestones. The fabric has been softly pleated vertically in a very Grecian - Fortuny type feel and this treatment lets the dress have its beautiful movement when you walk. Two wide straps curved over the shoulders and the the bodice has a deep plunge down the front. Inside the bodice there is a full built in boned and cupped inner body suit for shaping and it also keeps the dress perfectly in place. At the back it drops into a low square to leave an open expanse of bare skin. The bodice is detailed with strips of rhinestones and metal studs and it is placed just above each breast and then wraps down and around to the back where it extends out into a strip that hooks into place across your open back. Another length of the same detailing goes all the way around the waist to help define your shape and add curves. The skirt is remarkable. It is in its original supermodel uncut length. Here the pleats open up from the waist and this gives the skirt it's incredible movement and fullness when you move. When you are standing still you get a long column of silk but then when you move the skirt billows out around you. A high slit runs up the front that helps add to that movement and gives you a flash of leg. The fabric is light enough that when you walk it creates this incredible floating sensation. The back is cut slightly longer than the front and I love the sweep behind you that it creates. It is an incredibly beautiful dress and no matter how good it looks in the photos the sensation and tactile feeling of the fabric and pleat work when you have it in hand is just phenomenal. It is a beautiful and glamorous dress that is red carpet worthy and would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any big event. It was never worn and has its original hang tag in place. Excellent condition.

Fully lined in a matching colour silk jersey. The halter has a built-in bodysuit that hooks to close beneath you and is boned and shaped through the bodice. Built-in lightly padded cups. It closes with a low set zipper and hooks above that. The strap that runs across the back hooks into place. Tagged a Cavalli 42 and has its original hang tag attached

Bust: to 18" flat across from side seam to side seam and you could easily reduce the strap at the back to make it smaller if needed
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of shoulder to waist
Total length: 60" from top of shoulder to front hem, 67" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4745

Reference Photos/Video: (1-3) Fall 2007 Roberto Cavalli, Look 43. Model Caroline Trentini.  /  (4) Fall 2007 Roberto Cavalli Ad.  /  (5) Kate Moss, in Cavalli, by Lachlan Bailey for Vogue, December 2007.  /  (6-7) Victoria Silvstedt, in Cavalli, at the Orange British Academy Film Awards, February 2008.

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

This is a more recent dress by Valentino and it looks to have never been worn or worn very little. Its simple lines and perfect ivory make it the perfect dress for someone that loves minimalism. It has such a simple and elegant lines that are immensely flattering at the same time. The fabric is that fine wool with a touch of silk in it that became a Valentino signature under Pier. The dress does not have a single unnecessary seam. Even with its simplicity it would still be a dress that is red carpet worthy or would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any other event. 

The fabric used has a beautiful drape that is just heavy enough to hold the lines and shape of the dress and still feel easy to wear. It lets it move so beautifully over the body once it is on. It is constructed so that it drapes and skims over the body perfectly. The bodice is cut into a bit of a squared off shape and it extends into wider straps. These curve up and over the shoulder, and then narrow down into slimmer straps that connect to the low back. The upper back is left bare and this contrast to the more covered front is very pretty and adds a touch of subtle sexiness. The skirt falls to the floor in a sweeping expanse of fabric that becomes quite wide as it nears the hem. Coming out from the seam that runs along the low back is the second panel of fabric that sweeps out and around you to create a draping effect. It falls to the floor to create this elegant and dramatic sweep of fabric behind you. It is very beautiful and it has pockets. Excellent condition 

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

Bust: the front covers 16.5" flat across with no true side seams
Seam under the bust: 16" flat across from side seam to side seam
Natural waist: 16" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 9.5" from top of shoulder to seam under the bust
Total length: 56" from top of shoulder to front hem, 59" tot he back hem

Modern Sizing Equivalent: SML-MED

Item# DD4743

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

The twin of this suit was shown for Look 8 of the Resort 2016 Stella McCartney collection. I think it was the strongest look of the show and I love that Stella herself loved it so much that she wore a version to the show. Karlie Kloss also wore one and having all these reference photos gives you a great idea of what it looks like once on the body. It is a great suit that is both an amazing basic but with a pop and some personality. I love it.

This suit is the perfect example on how to take a classic, basic set and really add details to make it outstanding. It is made from a fine black wool that is just heavy enough to hold the shape, but not so heavy that it is uncomfortable when worn. The jacket is precisely cut and tailored. Sleeves are cut long and simple and the shoulders are structured with a small amount of padding inside to hold the shape. The front lapel is shaped and notched with a nod to a tuxedo in shape. It is cut so that it comes in at the waist and flares out a bit at the hip. It has a touch of an oversized shape to it in comparison to the cut of the pants. Though I feel that when you see it on my dress form this feels more emphasized then how it is in real life. You can see in the reference photos that once it is on a body it has a really nice balance. A slit pocket sits on one breast and it still has its original hidden tacking in place. Two flat pockets sit on each hip and they also have their tacking in place. The pants play on a classic men's pant. They have a flat front with a banded waist and two tiny curved faux slip pockets high on the hip just under the waistband. They are cut to sit slightly low on the hip. There is a sharp fold running down the front and back of the pants. The pants narrow down and then have a tiny flare at their bottom. They might sit slightly cropped depending on your height. I love that you can wear these together or break the set up and mix and match with pieces in your existing wardrobe. The suit appears to have been worn very little if at all. Excellent condition. 

The jacket is lined her signature black slightly ribbed lining fabric and the pants are unlined. The jacket closes with two buttons at the front as seen. The pants zip to close and then have a hidden button and hook and eye at the band of the waist. All the pockets on the jacket have their original tacking. The jacket is tagged a McCartney 44 and the pants a size 42. 

Jacket
Sleeves: 22" and 13.75" around the upper arm
Slightly dropped shoulders: 15.5"
Bust: to 20" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 30.5 from neck to hem

Pant
Waist: 15.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 41.5" waist to hem
Inseam: 30.5" from inner seam to hem
Rise: 16" from top of back waist to inner seam

Modern Sizing Equivalent: SML-MED

Item# DD4740

Reference Photos: (1) Resort 2016 Stella McCartney Look 8.  /  (2-4) Stella McCartney Resort 2016 Presentation (Model in suit is Tiana Tolstoi).  /  (5) Karlie Kloss in Stella McCartney, 2016.

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

This is an extremely well documented set by Phoebe Philo from her Celine days. This was an amazing year for Phoebe. The week before this collection was show she accepted the International Award from the CFDA. Then she presented this collection and it was a hit and received rave reviews. Vogue said that "Philo is still pushing the wardrobe concept, covering the basics and then some. The thing is, in her hands nothing is ever basic: bold, or maybe even brave, is more like it." The twin of this set, with a jacket added over them was show for Look 6 and they were mentioned specifically in that review; "Philo is still pushing the wardrobe concept, covering the basics and then some. The thing is, in her hands nothing is ever basic: bold, or maybe even brave, is more like it... Her three-piece suit (jacket, pants, button-down) is cut in an oversize floral—her minimalist phase may be over." This look was a hit with the fashion set and it was used in several editorials that season. It is a fantastic set that is pristine and still feels off the rack new. 

It is so rare to find these two pieces selling together. You almost always see them sold separately and it might be worth it to the person who buys this to hunt down the matching jacket at some point as well. The set I have for you today is made up of  the pants and oversized button down. The fabric that she used for both pieces is a crisp cotton that holds the shape she wanted and that gorgeous bright floral print perfectly. The floral print covers the entire surface of for both pieces for a maximalist print on print feel. I love the boldness that this creates. The pants have a flat banded waist that is meant to sit slightly low on the hips and then the legs narrow down to a cropped peg leg. The top is cut with with a more oversized feel and the crispness of the cotton makes it feel almost like a light jacket/top. It has a small near collar and long straight sleeves. The sleeves both end in an exaggerated 5 1/2 inch narrow cuff. It is cut full and easy through the body with a straight long, feel to it. It buttons down the front and the buttons are hidden underneath a panel of the same fabric. The hem curves up at the sides with notches so you can easily tuck your hands into the pockets of the pants to get a cool slouchy feel. You can wear the pieces together for a strong statement or break up the set and wear them as separates with other pieces in your closet for lots of styling options. It looks to have been worn very little if at all. Excellent condition

Both pieces are unlined. The pants have a flat waist and a zipper and the top buttons to close. Each cuff button tends to close. Pockets on each hip of the pant and slit pockets at the back of the pants that are both still tacked into place. Both pieces are tagged a modern 38

Top
Sleeves: 26" and 12" around the upper arm
Shoulders: 15"
Bust-hips: to 20" flat across from side seam to side seam
Length: 31" from neck to hem

Pants
Waist: 15" flat across from side seam to side seam with no give
Hips: 18" flat across from side seam to side seam
Length: 34" from waist to hem
Inseam: 24.5"
Rise: 15" from the top of the back waist to the inner seam

Modern Sizing Equivalent: XS-SML

Item# DD4741

Reference Photos: (1) Resort 2012 Celine, Look 6. Model Monica Sawicka.  /  (2-3) Lina Zhang for Marie Claire China, January 2012.  /  (4) L'Officiel Magazine, December 2011.  /  (5) Photo by Thomas Straub for IO Donna, November 2011.  /  (6) Agyness Deyn photographed by Patrick Demarchelier for British Vogue January 2012.  /  (7) Charlotte Free in Celine, by Elena Rendina for Wonderland Magazine, November/December 2011.  /  (8) G-Dragon for Vogue Korea, March 2012.  /  (9) Miranda Kerr, July 2012.

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

The twin of this set walked the Fall 1993 Chloe runway and was worn by none other then the great Kate Moss. In 1992 Lagerfeld had once more come back to design for the Chloe label after two previous stints at the brand. In the book "Chloe Catwalk" the write up on this collection shares that WWD called the three Paris collections that he designed that season (his own, Chanel and Chloe) Karlie's Angels. I love that. The show was full of romantic loose silhouettes, sexy dresses and velvets. WWD went on to declare the show one of the best of the European season. We have included a photo of the dress on the runway and its appearance in the Chloe book. I have had this in my archive for quite some time, and always knew it was special, so it was very gratifying to finally be able to date this one. And I love the tie in with Kate.

This is a phenomenal set because it is actually three looks in one. You can wear the inner jumpsuit on its own, the outer tunic is long enough to be worn as a dress on its own, and then of course you can layer them on top of each other to get the full runway look. This makes the set incredibly versatile. That, combined with its provenance, makes this set extra special. Both pieces are made out of a light weight black silk crepe with open cut work embroidered type detailing. The inner jumpsuit is suspended from the shoulders with tiny little straps in the same fabric. The bodice is simple and easy and meant to skim over you. It is cut loose and easy through the waist and then skims over the hips. The pants are wide and open. They are full 30 inches around in width which gives them incredible movement. Each pant is finished with a panel of fabric that is this incredible open cut work and embroidery. It wraps around the hem and finishes off the final 10" of each leg. Then you slip the outer piece over that. That piece has a high neck made of black silk netting and then that same netting extends down and underneath the embroidered panel at the front. The shoulders are soft and the arms are cropped to just above the wrist. Another 10" wide panel is set in the middle of each sleeve and then there is another 2" of the embroidery at the end of each cuff. The waist is cut on the more loose and easy side and there is an attached tie belt on either side of the front panel that you can use to cinch in the waist. The ties are extra long so you can tie them at the back and let then hang or wrap them around to create a really cinch look. The skirt is gathered into the waist in soft pleats and then it opens up from there. The skirt is also finished with another 10" panel of the cut work. Once altogether, everything perfectly falls and balances each other out. It is just an incredible thing to see and wear. All you have to do is see what it looks like on Kate to know how amazing this set is. This is a very rare and special piece. It appears to have been worn very little if at all. Excellent condition.

Both pieces are unlined. The jumpsuit zips to close at the back and has a slight touch of transparency to it. The dress zips to close at the back and buttons at the back of the neck. The tie belt is attached at the waist. 

Outer Dress
Neck: 15" around
Sleeves: 21.5" and 14" around the upper arms.
Shoulders: 15"
Bust: to 20" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 26" flat across from side seam to side seam
Bodice: 15.6" neck to waist
Total length: 45.5" from waist to hem

Jumpsuit 
Bust: to 19" flat across from side seam to side seam
Seam under the bust: to 16" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 14" from top of the shoulder to seam under the bust
Total length: 57" from top of the shoulder to hem
Inseam: 28"
Rise: 34" from top of the shoulder to inner seam

Modern Sizing Equivalent: XS-MED

Item# DD4742

Reference Photos: (1-3) Fall 1993 Chloe Runway. Model Kate Moss.  /  (4) From the book "Chloe: Catwalk" by Yale.

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The Resort 2013 show marked Frida's seventh year with the label and at this point she was riding a high. Vogue noted that 'Giannini has been on a roll lately and the new lineup is a worthy successor to the hit she had on her hands in February.' The twin of this dress in a dark burgundy was shown for Look 12 in the show. I actually prefer this brighter, stronger turquoise as it pops more and feels so fresh and lovely. It is spectacularly beautiful. The longer dresses from this show where all made in limited quantities and this one in particular is one of the best of the collection. It is gorgeous.

I love that the photo from the show lets you see just how spectacular this dress is on the body. And I think that as good as it looks in the still shot, it is even better in real life and moving. Because it is really when you are moving that this dress lives up to its full potential. There is an incredible amount of feather light silk chiffon that has gone into this dress. It is amazing. The dress floats and billows around you with your slightest movement. The bodice falls in wide panels at the front with a plunge that goes right to the waist. On either side of that is a vertically gathered silk panel and I love how the outer edges expand and fall slightly past the shoulders for a pretty and soft effect. It does the same at the back. There is an equally as low back plunge and it is set so that the panels have a slight bit of drape to them. This lets them sit a little off of the body. This little detail adds such a pretty and feminine touch. Wide ruffles in the same silk are set across the top of the shoulders and then continue down to circle all the way around the openings for the arms. The waist is banded and cut to be more on the loose and easy side. If you wanted to add more shape you could easily add a belt. The skirt is remarkable. It is in its original supermodel length and the skirt is made out of two layers of that beautiful pale turquoise silk chiffon. The outer layer of the skirt has many yards of silk in it and it is constructed to have this incredible fullness and movement. The fabric is so light and fine that when you stand still it falls in a pretty column around you without adding bulk. You still get a hint of the fullness that it has but then when you move the many yards of fabric that is actually there allows the skirt to billow out around you. The fabric is so light and airy that when you walk it creates this incredible floating sensation. As good as it looks here it only really comes to life once on. It is an incredibly beautiful dress and no matter how good it looks in the photos the sensation and tactile feeling of the fabric and lightness when you have it in hand is just phenomenal. It is a beautiful. Excellent condition with a minor note below.

Lined in a second layer of the same turquoise silk chiffon. It closes with a hidden set zipper at the back and has an attached strap across the back of the neck to hold it in place. I see a tiny area that has lightened slightly at the front plunge. It is along the very inner pleat at the edge so the pleat that sits above it actually hides it and you don't see it. You could actually have it folded over once more by seamstress if it bothered you and you'd never see it. Please see the photo after the label shot. Tagged a Gucci 46. The colour is a touch paler turquoise then how it photoed

Bust: variable and open
Waist: 15.5" flat across from side seam to side seam
Inner lining at hips: to 23" flat across from side seam to side seam
Bodice: 17" from top of shoulder to the top pf the band at the waist
Total length: 67" from top of shoulder to the hem

Modern Sizing Equivalent: MED-LRG

Item# DD4738

Reference Photo: Resort 2013 Gucci, Look 12. Model Bette Franke.

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If you are a Hedi Slimane fan then you know that the Spring 2013 collection was his debut collection for Saint Laurent. Vogue said that he "hot-wired himself into the YSL legacy with Le Smoking, the mousselines, the pussy bows, the shot of animal spot, and that thing called Saharienne (which will always be Veruschka in Vogue. The tassels said Morocco—they also said Opium, à la Yves." It was a bevy of rock-chic couture and everything shown was about length of the body and a nod to the seventies. The twin of this dress was in the opening moments of the show for Look 4 and it was the first glimpse of his version of the YSL safari look. He took what is a house signature and elongated it in suede to fit his vision. It was one of his strongest pieces of the show.

I actually love this dress. I think it was a brilliant way to re-do an iconic look from YSL and make it his own. It also fully fits in with his love for long, lean length when it comes to his design aesthetic. The dress is made out of a soft supple suede in a classic deep neutral colour. It falls all the way to the floor and appears to be in its original uncut length. The collar is sharp and pointed and I love the straps on the top of each shoulder. He lightly padded the shoulders for a bit of added structure and the sleeves are long. Each sleeve ends in a corded lace up and I think this added detail works perfectly on this dress. You can see in the close-up shots from the runway that he wrapped these laces around the lower arm. At the front we see that same lace up cording run down to just past the waist. This is what makes the safari look so fantastic and add a touch of sexiness because you can see a bit of bare skin through the laces. On the front are four top set flap pockets that are another nod to this same detail on Yves' original design. It skims over the bust, waist and hips and then flares out quite a bit by the time it reaches the bottom hem. It comes with a matching suede belt for added shape and all of these elements add up to something that is both classic and fresh. It is one of my favourite dresses that he created from his time at YSL and this is a collectible future vintage piece. Excellent condition.

Unlined and closes with a side set zipper and then you can adjust the lower portion of the sleeves and the front with the laces that you see. The pockets snap to close and they are all functional. The belt is a simple suede wrap and tie belt. The suede has natural variations

Sleeves: 23.5" and 11" around the upper arm
Shoulders: 15"
Bust: 17" flat across from side seam to side seam and can be opened a bit more with the laces at the front
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 16" from neck to waist
Total length: 60" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4734

Reference Photos/Video: Spring 2013 Yves Saint Laurent, Look 4. Model Edie Campbell.

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I literally did the gasp when I saw this coat in person for the first time. Cavallie said at the time that the theme of this collection was "a modern fairy tale" and the pieces had a bit of a folky feel to them. The suedes were distressed, softened and made to look aged. The twin of this coat walked the runway for Look 5 and I love that we have reference photos from the runway and video so you can see how fantastic this on and it moves. Alek Wek is the model who walked in its twin and she was spectacular in it. This is a very special piece and one that was produced in extremely limited quantities and is an extremely rare thing to have acquired. On a modern note, none other than Beyonce just happen to have worn its twin, giving it full rock star royalty provenance. I am very pleased to have this in the shop. I feel like this is the best of the best of what Cavalli does and with a Beyonce stamp of approval it is that much better.

Even without the Beyonce provenance this is a killer coat. When my client purchased it, it was the only one being sold in the shop. These were made in extremely limited quantities and only available at very select locations. It is a very rare piece. The cut is fantastic. It has no collar and the front comes down into a V to the waist. There is a series of brass hooks that close it at the waist and then the skirt of the coat falls out around you. At the back the waist is brought in with a series of soft rounded vertical folds that extend above and below the waist area. This helps to give the volume that you see through the bottom of the coat and adds a stunning bit of detailing. The coat skims over the hips and widens as it nears the hem. Just below the knee there is an added panel of that same ultra soft suede. It is set over the suede above it so that it creates a little visual ruffle around its top and then it is gathered all the way around in soft folds to create that ruffle feel. The sleeves are long and each one ends in an eight inch cuff that picks up on that same silhouette as the lower skirting. The suede is a work of art in its own right. It is wonderfully soft and has been scuffed and aged so that it feels like something that existed for decades and decades. Florals have been cut out directly into the suede from top to bottom and this allows that amazing lining to show through. The lining is a combination of his signature leopard print with a coral pink painted feeling silk and you can see that lining through where all the cut outs are. The inside of this coat is almost as beautiful as the outside. They actually used cording to help support where they have gathered in the silk at the small of the back to create the rolls. The effect when you move and you see that flash of lining is fantastic and is the keystone to the entire design. The coat also comes with its original piped belt that you can wrap and tie around the waist for the perfect finishing detail. I can't rave enough about this coat. It is a literal work of art. Excellent condition with a small note below.

Fully lined in a printed silk that has the Cavalli signature worked into its pattern. Cording holds the back pleating in place and gives it structure. The suede is intentionally distressed and any marks on it, or on the silk, are there on purpose. The occasional edges of some of the suede flower detailing has lifted from the silk and again I believe this to be a purposeful part of the coat. I do see some minor stress to some of the silk on the inside seams. Please see the photo after the label shot. Tagged a Cavalli eight. Hand finishes

Sleeves: 22.75"
Shoulders: 15.5"
Bust: 19" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Total length: 60" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4732

Reference Photos/Video: (1-3) Spring 2002 Roberto Cavalli, Look 5. Model Alek Wek.  /  (4-6) Beyonce, June 2024.

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

The Pre-Fall 2011 show was a nod the the early 1970s and all the glam that we associate with that time period. Vogue's review of the show said; "Once upon a time, Giannini designed a women's collection for Gucci that was inspired by Ziggy Stardust. Here it was possible to detect intimations of David Bowie just before his glittery watershed: the 'Hunky Dory' voluminous pants with the deep box pleat, for instance, and the 'Space Oddity' Mongolian lamb...The shagginess of the lamb called to Every woman's Inner Barbarian (especially when Giannini made it as easy as zipping on a pair of shaggy armlets or slipping into a shrug)...Weightless, luxuriant, they felt like bare essentials for a twenty-first-century wild child." The twin of this jacket was in the closing Look 42 of the presentation and it is fantastic. The Mongolian pieces from this collection where all made in limited quantities. It is gorgeous.

The first thing that strikes you about this jacket is that it is beautifully light in weight. In part that is accomplished by the fact that the lining is an almost weightless silk and the Mongolian hearts are stacked onto that silk in a great formation, so the jacket has the volume you see but it keeps light in weight. It's cropped and the bottom edge is rounded so that it falls just to the low back and then rounds up the sides to meet the sleeves. This keeps it snug back to the sides to allow whatever you're wearing underneath to show. It's a very clever design. There is no caller and no closures. You just slip it on to wear. The sleeves are stunning. They are cut on a curve to follow the shape of the arm, and they are very full, narrowing down a bit to the rest. This keeps the volume that you see, but makes it extremely flattering on the body at the same time. Sometimes Mongolian jackets are cut so bulky that they lose their flattering  aspects. This one follows the curve and cotton body and is the perfect thing to throw on almost anything to add a bit of that 70s glam even if it was made in 2011. I love it. Excellent condition.

Fully lined in a black silk and slips on to wear with no closures. Tagged a Gucci 44. It appears to have been worn very little, if at all. This is a very hard piece to measure because of the cut and it's cut small. I've given approximate below.

Sleeves: approx 25" and 16" around the upper arm
Shoulders: no defined seam
Bust-bottom: approx 17" flat across from side seam to side seam comfortably but open at the front
Total length at the back: 17" from neck to hem and then the fur extends past about 4.5"

Modern Sizing Equivalent: XS-MED

Item# DD4729

Reference Photo: Pre-Fall 2011 Gucci, Look 42. Model Martha Streck.

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

Madame Gres' work has had profound effects on Haute Couture and her influence still resonates to this day. Her attention to detail, master draping techniques and respect for the female form is unparalleled. She was known for designing and creating garments directly on her models and this became a signature of her work. She opened her first atelier, La Maison Alix in 1932. A partnership briefly changed the house's name to Alix Barton and then the label went to simply Alix. In 1942 she married, and the label made its last change to became Madame Gres, which was a partial anagram of Serge, her husband's first name. Her work spans over five full decades with the vast majority of it, with the exception of a short-lived RTW line begun in 1980, dedicated solely to creating Haute Couture. She is one of the greatest couturiers of our time and her pieces are very rare and hard to find. This  dress is from the same client that some of the others are and also from the early to mid-seventies. 

The dress is amazing and showcases how wonderful and diverse Gres could be with her work. The dress is made entirely by hand and the silk is that heavier weight that feels expensive. The top is cut to skim over you to the high set empire waist. The shoulders are soft and the sleeves are more full and pouf out just slightly as they skim down to the banded cuffs. The collar is neat and pointed above an opening at the front that you can wear closed or open. I love the two little faux flap pockets that sit along the high set seam at the front. The skirt falls under that skimming over the natural waist and hips to a second seam that sits around the top of the thigh. The last portion of the skirt flares out from there with quite a bit of fabric so that it has some movement when you move. The colour of the silk is a chic chocolate that is flattering on most skin tones. Inside it is a masterpiece of construction with hand done seaming and beautiful couture techniques. Truly a brilliant dress and when you see it in person you will fall in love with how good it is in person. A masterpiece. Excellent condition.

Unlined  and all the inner work is done by hand to Haute Couture standards. It closes with a hand set side zipper and hidden set snaps at the neck. An inner waist stay hooks to close. Each cuff has buttons to close with proper buttonholes. Completely made by hand. Proper Haute Couture label present. Note that there is no change in colour on the dress anything you see is just lighting and the photos.

Sleeves: 23" and 14" around the upper arm
Shoulders: 14.5"
Bust: to 20" flat across from side seam to side seam
Waist at high seam: 17" flat across from side seam to side seam
Hips: to 20.5" flat across from side seam to side seam
Bodice: 12.5" from neck to high set waist seam
Total length: 45" from neck to hem with 2" turned under

Modern Sizing Equivalent: XS-MED

Item# DD4726

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The twin of this suit was shown on the runway as Look 3 for the Fall 2000 Tom Ford for Gucci runway. Ford had just been nominated for the VH1/Vogue Fashion Awards Designer of the Year when the show took place and was at the top of his game. The collection he showed was sleek, sexy, and many of the pieces had an edgy, minimalist feel. This suit is a wonderful example of how he could take something and pare it down to absolute minimal lines and cut, and yet still create something that felt special and had a ton of visual impact. Considering that there are only two elements of the suit and that all the closures are hidden it really is a feat.  Ford's work for the Gucci and YSL label during this period has now reached cult-like status and this pant suit is an incredible example of what he was doing to make it that way. 

This is a stunning suit. It is a classic piece that defines Tom Fords time at the label. Both pieces are made from a light wool that has an almost slight neoprene feel to how it is finished. If you collect or know of his pieces for Gucci from this era you know that this was one of his favourite fabrics for suiting. The construction is immaculate. The shoulders of the jacket are slightly sloped but still shaped with light padding. The sleeves are cut on a slight curve to follow the natural curve of the arm in the proper and traditional tailoring method. The body of the jacket is cut as precisely. It skims over the bust and nips in just slightly at the waist and then flares back out over the top of the hips. That little bit of intake through the waist keeps it from being a true box shaped jacket but it is close to that in shape. There are no pockets to break the eye and the gold snaps that close the jacket down the front are all hidden behind a panel of fabric. The collar serves as the only break to the black wool of the entire suit. It is finished with a black leather that has a bit of a graphite to its colour. Only the top part of the collar is finished with the leather. If you choose to wear it flipped up like you see in the runway photos, the underside of the collar is the same black fabric as the rest of the suit. I love his attention to this small detail. The pants are equally as fabulous. They are banded around the waist and have a sleek flat front. There is a sharp fold running down the front and back of the pants. The lower half of the pant leg narrows in a touch and this gives them a long and beautiful line on the body. Hidden pockets on each hip. This is a remarkable example of his skills as a tailor and his time at Gucci. Excellent condition with a small note below 

Fully lined in the slightly textured black fabric that was his signature during this time period at Gucci. Ribbon edge finishes in the pant. The jacket snaps to close at the front with hidden set snaps. Lightly padded shoulders. The pants zip to close at the front with flat hook and eye and a button inside the waist. I see a small hole in the top layer by the end of the sleeve. Please see the photo after the label shot. The jacket is tagged a 40 and the pants a 42. Both pieces otherwise appear to have been worn very little if at all

Jacket
Sleeves: 24"
Shoulders: 15"
Bust: to 18.5" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Bottom seams: to 17" flat across from side seam to side seam
Length: 21" from neck to head 

Pant
Waist: 14.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 41" waist to hem with 2" turned under
Inseam: 32" from inner seam to hem
Rise: 15" from the top of the back waist to inner seam

Modern Sizing Equivalent: XS-SML

Item# DD4724

Reference Photos/Video: Fall 2000 Gucci, Look 3. Model Caroline Ribeiro. 

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George Halley started at Charles James who said of the young designer that he 'was a genius at draping'. By the time Halley opened his own atelier in 1966 he was well on his way to fame. He won the Coty Award in 1968 and his work is on par with couture. He is one of my personal favorite designers. In 2015 I included him in my list of: The 10 Designers to Add to Your Vintage Collection' for Harper's Bazaar, saying; 'If you want old school glamour and to feel like Hollywood royalty, look to this under-the-radar label outside of vintage circles... A Coty Award winner in 1968, Halley was one of the great American Couturiers and his work always feels grand and elegant. Think polished silk and fused velvet's and embellishments that have a touch of the Grand Old South to them. Silhouettes to look for are his sweeping ball gowns and hostess gowns. Rich fabrics and rich colors are used with a master's hand. Feathers, crystals, hand painted fabrics and fine workmanship are all things to expect from a George Halley gown. Slipping one on instantly makes a girl feel special and important. These are the showpieces and while you should expect to pay for the quality and beauty of what you get they are absolute jewels'. The best of his work are the pieces that show his love for Old Hollywood glamour combined with his love for over-the-top opulence. Women's Wear Daily called him 'a designer in a lovely world of his own'.

This dress is spectacular in person and the camera does not capture the depth created by that the extensive applique work that is layered and fused on top of the silk. A George Halley design always starts with the fabric and he chose some of the best that were available. For this dress he has used a silk chiffon that has a soft washed checked pattern onto it that looks like it was painted on. It combines a soft pale pink with a pale green and a greyish colour that covers the entire dress. The pattern changes size in areas and it is really interesting to see. Onto that silk in the same three shades, but a little more saturated, is an ultra soft fused velvet. The velvet creates a floral pattern that covers the entire dress. Then there is a layer of gold thread that intensifies that pattern. This also allows the dress to catch the light in a perfectly subtle kind of way. Tiny gold beads and sequins have been added onto the bodice to emphasize the pattern even more. He also scattered prong set rhinestones in a variety of sizes and shapes over the sleeves front and back of the bodice. This adds yet another incredible layer of embellishment to the dress. The bodice is cut to skim over you to the waist and it has a high neckline with a banded collar that is also covered in the embellishments and gold thread. Each sleeve is long and narrows down to a simple zipped cuff. The waist is seamed but cut on the more loose and easy side. If you wanted to cinch it in and add shape you could add a belt or sash. The skirt is gathered in along the sides and around the back and then falls to the floor. It widens out as it near the floor and there is a surprising amount of volume in it. As you move, this gives the skirt incredible movement around you. The dress is impeccably made to demi-couture standards with hand finishes throughout. In person the gold has a bit more of an impact then how it photographed and it catches the light when you move. This is a remarkable dress that would be impossible to replicate in our modern world. This is almost certainly a one-off and a wonderful find. Excellent condition with a small note below

Fully lined in a hand set pink silk. It closes with a hand set back zipper and each sleeve has hidden set zipper. Some minor grubbiness along the inside of the collar and some fading to the inner lining near one arm. The zipper stick a little bit. Made to demi- couture standards

Sleeves: 23" ad 13" around the upper arm
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Total length: 60" from waist to hem with 3" tunrned under the hem

Modern Sizing Equivalent: SML-MED

Item#DD4722

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