Geoffrey Beene was one of the great American fashion designers and he was recognized for both his artistic and technical skills. He launched his label in 1963 and a piece from his very first collection landed on the cover of Vogue. A Coty award followed a year later. In 1984 the Council of Fashion Designers created the annual Geoffrey Beene Lifetime Achievement award in honor of Beene's fashion legacy. We will be happy to find runway photos of this coat from the fall 1978 collection. It seems that it was a highlight of the collection and was shown layered over several looks. It is an absolutely fantastic coat and one of my favourites that I've ever had come into the shop.

This coat is a dream. As good as it looks in the photos and in the runway does it is even better in person. The photos don't convey how soft the fabric is. It is made from ultra soft mohair with a large oversized plaid pattern woven through it. The cut is huge and oversized. It's like having a blanket wrapped around you. The shoulders are soft and fall down the arm and the sleeve below that is cut wide and straight. You can wear them long or you could roll them up for a really relaxed feel. The body of the coat is equally as easy to wear with a loose and easy cut and cocoon feel. There are pockets hidden along each hip and a neat little collar. The back has a touch of gathering into the top seam for a bit of detailing and at the front there are long attached ties at the top of the neck. This is the only closure of the coat. It is charcoal and will be one of your favourite things I know. Excellent condition

Unlined and closes with the attached ties at the neck. Pockets along each hip. A combination of blanket finished and ribbon finished seams inside. The cut is meant to be oversized and it is meant to be worn that way. It is tagged a size 6 but should fit a range of sizes. It'll just be even more oversized on a smaller frame and feel more fitted on a larger.

Sleeves: approx 22" from natural shoulder
Shoulders: no true define seams
Bust-hips: to 32"+ flat across from side seam to side seam
Length: 51" from neck to hem

Modern Sizing Equivalent: OSFA

Item# C608

Reference Photos: Fall 1978 Geoffrey Beene Runway.

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

This is from the fall 1970 Rive Gauche collection and is very early example of his ready-to-wear. It also has a bit of infamy because it's twin was a photoed on Catherine Deneuve for Vogue that season. That photo of her has become one of her most iconic. It is also found in many books on his work and on her and I have included one here. In our hunt for documentation on this piece we also found two other editorial photos where it was used showing its importance as a piece of that season. This silhouette went on to be one that he repeated in many future collections. I love it's nod to bygone eras but at the same time it still feels thoroughly from the seventies. Pieces very first collection of a decade are always extra interesting to me. They're either one that you never see again or they become an integral direction for that decade.

The coat been worn and loved but it's still in fantastic condition. It's made from a velvet that has ribbing so it almost feels like an ultra ultra fine corduroy. The pile is flat but very soft. This fabric choice let him keep the lines and shape of the coat. It has a very great coat feel to it but with Victorian inspired mutton sleeves and that fantastic fit that Yves excelled at. The front does up with a double row of hand carved buttons. The collar above that is exaggerated. Collars would get bigger later in this decade but at the time even this would have been startling and edgy. It is fitted through the bodice and seamed at the waist. Under that the skirt of the coat flares out dramatically. Pockets are hidden along each hip as you can see in the photo of Catherine. The sleeves are incredible. They are set and gathered high into the top of the shoulder for a slight capped feel. They pouf out dramatically under that to about the elbow and then are slim cut to the wrist from there. It is currently gorgeous and I love it. It is also a remarkable piece of fashion history. Excellent overall condition with a note below

Fully lined in a copper coloured silk. It closes with the buttons at the front. Tagged a 36. There is some wear to the velvet under the buttons and on the slimmer part of the sleeve where someone would've pushed the sleeves up. It's very minor. There's a small spot on the front of the coat and I photoed that for you. Some tiny areas on the back where the fabric has worn through along the hem. I photoed one but they do go across most of the back bottom of the coat. They make no impact when it's on. I see a tiny area of the start of thinning to the fabric on one sleeve. This is still infinitely wearable and such an important piece of fashion history the small flaws don't really deter

Sleeves: 24"
Slightly inset shoulders: 13.5"
Bust: 16" 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 bodice to waist
Skirt: 37" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# C609

Reference Photos: (1) Model in Yves Saint Laurent, January 1970.  /  (2) Catherine Deneuve in Yves Saint Laurent, October 1970.  /  (3) Model in Yves Saint Laurent, 1970.  /  (4) From the book "Saint Laurent Rive Gauche: Fashion Revolution".

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

In 1968 Ossie Clark was designing his own couture line and also designing pieces for Alice Pollock for her Quorum Boutique. The Radley company approached Alice to find out of she could convince Ossie to design a top of the market collection that they would produce and sell to various boutiques and department stores. Dresses like this were the result of that collaboration. Even with this early version of 'ready to wear' the pieces that were made were still never produced in vast quantities and certainly nowhere near whet we think of today as RTW as far as quantities.  I have had black versions of this dress in the shop before and always love finding one of these. It is a classic Ossie design and one of Ossie's most famous and recognizable creations. A similar version in ivory is held in the Victorian and Albert Museum. Lily Sullivan also wore a version and you can see how it is transforms once on the body. Both of those fully button tot eh neck bit this one has a more V front and then has the buttons underneath that. I have included those shots here to give you an idea of just how fabulous the dress looks like on.

The design of this dress seems so simple when you see it on a hanger and yet it has that perfect flow and drape that he was known for. His signature sexuality that he worked into his pieces is displayed in that low front plunge that can be made even lower if you choose to wear it more unbuttoned. I love his pieces that button down the front. You feel covered, but he still somehow manages to make them feel extremely sexual. The buttons have been covered in the same red moss crepe as the dress is made from. They run from the bottom of the V neck, past the waist and down the top part of the skirt. The dress has it original matching fabric tie that wraps around and ties to give you some added shape and definition through the waist. The skirt flows from under there to cascade to the ground. It skims over the hips and then widens out quite a bit by the time it nears the hem. There is a wonderful amount of volume that flows around you when you move. I love that the back is cut slightly longer then the front. This is balanced out by full bishop cut sleeves that puff up above each moss crepe covered buttoned cuff. I own one of these myself and it will always be in my collection and I can tell you from personal experience that it is a dress that you will wear over and over. I absolutely love his red moss crate pieces. The colour is so good and it just makes a fantastic impact. This one is in wonderful condition to which isn't always the case with the red pieces. It easily goes from day to night and is sensational on the body. It is in its original uncut supermodel length which is hard to find with many Ossie pieces you now see out there for sale. Excellent condition with one small note below.

Unlined and slips over the head to wear with it original tie belt for around the waist. It buttons down the front. Each cuff has a fabric covered button at the wrist. There are two very light marks near the front center seam about 16" down from the final button. They are very light and where the skirt starts to get volume so not really seen when on but are visible when it is laid out flat. Please see the photo after the label shot. The red is a bit brighter then how it photoed. It is better in person. Tagged a vintage Ossie Clark UK 10

Sleeves: 28" but come up when cuffs are buttoned
Shoulders: 14.5"
Bust: to 18.5" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam and can be defined more by the tie belt
Hips: 16-18" flat across from side seam to side seam
Length: 61" from neck to front hem and 66" to the longest point of the back hem

Modern Sizing Equivalent: SML-LRG

Item# DD3692

Reference Photos: (1) 1969-1974 Ossie Clark Dress in the V&A Collection.  /  (2-4) Lily Sullivan at the Inaugural Museum of Applied Arts and Sciences (MAAS) Ball in Sydney, February 2018.

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

In 1981 Halston was still in full control of his brand. He had not yet signed the international licensing agreements that would be the beginning of his downfall in 1983. At this point in the Halston history, he was at the top of his game and anyone who was anybody was wearing the Halston label. His prices were sky high and the work put into the pieces was impeccable. This is a fabulous example of his work and it has the added distinction of being a well documented one. On the runway it was styled with a wrapped leather belt and these were sold separately as part of the collections that Elsa Peretti was doing for the label. It is an amazing set and even better once on the body as you can see from the runway shots we included here.

Halston's beaded and sequin pieces were being made in India during this time period. Halston personally chose the fabrics and materials that were used for each piece of his collection and then sent them to India where they were beaded and sequinned to his specific instructions and assembled. The 1981 collection was especially intricate and the majority of the runway garments were heavily beaded and/or sequinned. This set is absolutely gorgeous and all of the bead and sequin work on it is completely done by hand. Silver tube beads in two sizes are laid out in an intricate swirling pattern that covers all three pieces. Each bead has been hand applied onto an ivory silk chiffon that has a bit of transparency. To make it wear able the halter and pants are lined in a nude silk chiffon. I love the boldness of the silver and how all three pieces glitter and sparkle in the light from every angle. Each piece is kept simple in design to work in harmony with each other. The pants have an elastic waist and are cut to skim over the hips. Each leg falls in a straight peg silhouette from there. The halter has a high scooped neck and ends just above the waist. It curves back and around the neck to close and does the same at the waist. This leave the back completely bare. At the front the bust skims over you. The bottom of the halter is finished with a silk panel that has little loops set all the way around it. These correspond to hooks that run around the waist of the pants. You can choose to wear the pants low for your midriff to show, and either let that band on the halter show or flip it under, or you can hook the pants to the top to hold it in place and then wrap a belt around it similar to how it was styled on the runway. It is just incredible. Then you would slip on the jacket over that if you wished. The jacket is cut loose and easy with a closure at the top the neck only so you can see the pieces underneath. The set is very flattering on the body and easy to wear. It is pure glamour. I love the versatility of having all three pieces because you can endlessly mix and match them all with other pieces from your wardrobe. Even just wearing a set with or without the jacket dramatically changes the feel of it. This is a classic example of Halston's work. This would make an amazing wedding piece for the bride looking for a non-traditional choice or as an alternative outfit in a more extended wedding celebration. And of course it could also be worn to any event.Excellent condition

The jacket is unlined and has a hook and eye at the top of the neck. The heart hooks to close at the neck and at the back. You can also hook the pants and halter together as described above. Elastic through the waist of the pants. The bead work is completely hand done. Perhaps the occasional area of loose beads and threads here. The elastic in the waist feel stretched a bit and would be an easy fix if you needed the waist smaller. Its current range of measurements are listed below but it could go down by a few inches if needed. Slightly creamy in colour in person

Halter
Neck: 14" around
Bust: no true side seams but covers up to 14" flat across the front
Seam at bottom: to 13" flat across from side seam to side seam and the hook could be moved to get another inch if needed or made smaller as needed
Length: 15" from neck to bottom seam

Jacket
Sleeves: 22"
Shoulders: 15"
Bust- bottom: 19" flat across from side seam to side seam
Length: 30" from neck to hem

Pants
Waist: 13-18" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 40.5" from waist to hem with 3.5" turned under the hem
Inseam: 29" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4189

Reference Photos: Spring 1981 Halston Runway. Model: Connie Cook. (3rd photo: Crystal beaded cardigan jacket and jumpsuit from the Summer 1981 collection. From the book "Halston: An American Original")

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

The Metropolitan Museum of Art hosted a Jacqueline de Ribes exhibit in 2015-16, giving her work an extra dose of much needed attention. De Ribes was know as 'one of the most celebrated fashion personas of the 20th century'. She began making dresses for herself and eventually opened her own label in 1982 at the age of 53, producing collections for the next 12 years. Which is remarkable in its own right. This dress is a variation of the one that walked the Spring 1986 runway and we have included the runway photo here. I love that you can see just how full and beautiful the skirt is from these photos. It is a gorgeous dress.

I love this dress so much with its incredible volume and amazing use of fabric and contrast with the black and ivory silk. The dress is made from yards and yards of bias cut silk chiffon. The fabric is so late but even with the multiple layers through the skirt you get this fantastic floating sensation all around you with your slightest move. The neckline is cut into a V at the front and dips lower at the back. It is suspended from wide black velvet straps that curve over the shoulders to meet the edge of the back. The back closes with a combination of a zipper and then a ribbon tied corset above that and hook and eye. This is all hidden from view however by draped panels of silk chiffon that are attached to the strap of the front and then go around to drape over your shoulders and curve around your back. At the front I love how the black silk chiffon sits over the ivory silk underneath for this incredible transparency effect the highlights the tiny pleat work done over each cup of the bust. More of the velvet ribbon defines the waist under that and curved up to between the breasts. From under that the dress cascades to the floor in a loose and voluminous cut. This is where the dress gets truly magical. There are three years of silk that make up the skirt. There's an inner silk layer and then over that is an ivory layer and a black layer that is split down the center so that you can see the ivory one underneath. All these layers flow out in an ever widening silhouette to the ground. There are yards and yard of chiffon that make up the lower portion of the dress. The bottom hem of both chiffon layers are finished with an inner wire that lets the hem curve and twist. This adds extra volume to the layers and creates a fantastically romantic and dramatic effect as the layers float over each other. It is amazing. Over all great condition with a small note to review below

Fully lined in an ivory silk jersey and closes with a back painted metal zipper with a tied corset above that. The inner zipper is curved under at the top and I think the corset part was a later addition. There are areas of yellowing to the draped shoulder part of the dress and some marks tot he interior here and there. See the last two photos after the label shot. Hand finishes throughout and made to demi-couture standards

Bust: to 16" flat across from side seam to side seam but can be adjusted upwards several inches if needed due to the corset back
Waist: to 13.5" flat across from side seam to side seam
Inner hips: to 20" flat across from side seam to side seam
Bodice: 14" from top of shoulder to bottom of velvet ribbon at the lowest point
Skirt: 45" from bottom of velvet ribbon to hem

Modern Sizing Equivalent: XS-MED

Item# DD4190

Reference Photos: Spring 1986 Jacqueline de Ribes Runway.

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

This one of the most spectacular Halston dresses I have had in the shop. It's from Spring 1981 and of this point Halston was still in full control of his brand. He had not yet signed the international licensing agreements that would be the beginning of his downfall in 1983. He was at the top of his game and anyone who was anybody was wearing the Halston label. His prices were sky high and the work put into the pieces was impeccable. This is a fabulous example of his work and it really is one of the most special pieces I have had from his label. It is instantly recognizable as being from him. It is a spectacular dress. This 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 event.

Halston's beaded and sequin pieces were being made in India during this time period. Halston personally chose the fabrics and materials that were used for each piece of his collection and then sent them to India where they were beaded and sequinned to his specific instructions and assembled. The 1981 collection was especially intricate and the majority of the runway garments were heavily beaded and/or sequinned. This dress is absolutely gorgeous and all of the bead and sequin work on it is completely done by hand. Silver tube beads and silver sequins are laid out in an intricate and instantly recognizable pattern that covers the dress from neck to hem. Each bead and sequin has been hand applied onto an ivory silk chiffon that has a touch of transparency it's just as beauty of the dress. I love the boldness of the silver and how it glitters and sparkles in the light from every angle. No matter how good this dress looks in the photos it is even better in person. The cut is easy and flattering to wear. The neckline is high and scooped and is edge with tightly space beads. It skims over the bust to the hips and then flares out just slightly as it nears the hem. The sleeves are cut slightly wider at the top and then barrow down to the wrist where they have same border of sequins as the neckline. It is amazingly comfortable to wear because of the easy cut. Every square inch of the dress is finished in that amazing pattern that combines curving rounded patterns with angled bands. It is just incredible and I absolutely love it. Excellent condition

The dress is unlined and closes with a back set zipper. The bead work is completely hand done. Perhaps the occasional area of loose beads and threads here. Slightly creamier in colour in person. The loose and easy cut should fit a variety of sizes. It is incredible.

Sleeves: 24"
Slightly inset shoulders: 14"
Bust: to 20" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 56" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4191

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

The Nina Ricci brand was founded in 1932, at 20 Rue de Capucines in Paris and quickly became one of the top couture ateliers in the world. This dress is from the main Nina Ricci line and it is from the Pre-Fall 2011 collection. and Its twin was shown layered over a black top on model Caroline Brasch Nielsen. Peter Copping was the head of the atelier during this time period and he had been there since 2009. His take over of the label was met with rave reviews and he was asked to reinvigorate the then floundering label. He remained there until 2015 when he departed to take over Oscar de la Renta. That give us a date on this piece to about mid-way of his tenure. In the review of the collection that season by Vogue, this dress was one that was specifically noted  saying; 'Since taking over the reins at the romantic French label in 2009, Copping has had the most success with dresses, and there were lots of lovely options at his intimate show this morning. In addition to that red-carpet stunner, he showed a polka-dot chiffon that fell in tiers to the floor and a bustier hourglass number in tweed, both of which were worn over clingy knit sweaters for a played down, casual look''

This was one of the standout pieces from the presentation and it is gorgeous and even better in person. I know that it was styled over a slim fitting top to give it a more casual feel as Vogue noted above but I think it is far more beautiful worn on its own as the gorgeous dress it was intended to be. The dress is a fantastical confection of dotted silk organza tiers that run from the top of the dress to the hem. The bodice is suspended from the shoulder with straps made of the same silk. Each strap curves over the shoulder and then the first ruffle of silk starts where they attach to the dress. The bodice is cut into a modified sweetheart neckline that has a pretty vertical ruffle running down the center. More vertical ruffles run over and around the bodice to the back. A soft gathered band highlights the waist and acts as a break between the ruffles as they change direction on the skirt. At the bottom it hooks to close and there's an open slit that runs from that hook to the waist for a pretty flash of skin. Under that the skirt falls to the floor in a dramatic sweep of skirts that widen out as they near the floor. Set onto the silk of the skirt is a spiraling band of ruffles that create a slight angle as it cascades down the skirt. This cut is incredibly flattering and ruffles and silk move around you beautifully with the slightest movement. The skirt is cut longer at the back so in addition to all those beautiful ruffles you get this sweep of skirts as you walk away. It is truly magical. It appears you have been worn very little if at all. Excellent condition.

Fully lined in a burgundy silk and closes with a back hidden set zipper. Tagged a 36. It appears to have been worn very little if at all. 

Bust: 18" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: to 19.5" flat across from side seam to side seam
Bodice: 15.5" from top of shoulder to waist
Skirt: 49" from waist to front hem, 62" to the longest point of back hem

Modern Sizing Equivalent: SML-MED

Item# DD4184

Reference Photo: Pre-Fall 2011 Nina Ricci Collection, Look 18. Model Caroline Brasch Nielsen.

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

This embroidered and beaded silk chiffon dress is from the from the Fall 1974 Jean Louis Scherrer Haute Couture collection. We found a version with no sleeves that walked the runway that season and you can see the similar bead work on the bust and that same incredible bias cut full skirt. Jean-Louis launched his own label in 1962 after assisting both Christian Dior and later for Yves Saint Laurent during his time there. He also designed on a freelance basis for Louis Feraud from 1959-1962. He studied fashion at the Chambre Syndicale de la Couture in Paris with the intention of opening his own couture house one day. In 1971 Scherrer that dream came true and he officially became a couturier. His Haute Couture work was some of the most expensive you could buy at the time and women happily paid for it. British Vogue to christen him 'The Aladdin of Couture' and in 1974 he shared his thoughts on the world of couture telling Vogue 'You can use marvelous fabrics, have wonderful, impossible embroidery – in fact, be superluxe, and superluxe is what the couture is all about.'

This dress is gorgeous. The color is a soft, dusty burgundy done in a bias cut silk chiffon that is light as air. The silk is feather light in weight and floats beautifully over the body once on. The neckline has a pointed slightly exaggerated collar and then the neckline dips into a V. It close down the front with a series of hand set, silk covered hidden snaps. Using hidden snaps eliminates the need for buttons and keeps all of the attention on the applique and bead work at the front. The bodice is cut to be very loose and full over an inner silk piece The bead work is all done on that top layer of silk and it's an extensive and detailed floral pattern. They start at the waist and follow the neckline to go up and under that fantastic collar and then they go all the way around to the back of the neck. I love the soft pastel colours and how the appliqué work combines silk floral cut outs along with beautiful embroidery work, beads and the tiniest possible sequins. Having the bodice only partially lined behind the top silk layer also gives you this beautiful see-through feel around the upper chest and back. That feel of transparency is carried over to the sleeves. Each sleeve is a single layer of the silk chiffon and cut to be very full so that they billow out above a buttoned cuff. The waist is seamed and the dress comes with original matching silk sash that you can tie around the waist for added detail and to create more shape. The skirt falls to the floor under that with many yards of chiffon. When you move the lightness of the silk allows the skirt to float and billow around you. You get a sense of the fullness in the runway photo attached. This is a couture piece so that means all of the seams are completely finished by hand and it is beautifully constructed. It a just gorgeous and even better in person. Excellent overall condition with a note below

Lined in a matching silk. It closes with hidden set snaps down the front on the top layer and there is a zipper on the inner layer. The cuffs button to close. Has it original tie belt. There are some faint larks on the skirt hem but you have to lay it flat to see. There is so many yard of silk in the skirt that when on this gets lost in the fold. There are also two pinhead size dots near the front waist which get hidden by the tie belt. Please see the photos after the label shot. Proper numbered couture label present

Sleeves: 24"
Shoulders: 14"
Bust: 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 41" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD4185

Reference Photo: Fall 1974 Jean Louis Scherrer Runway.

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

This exceptional dress is by Marc Bohan for Christian Dior and it is a wonderful example of his work during this time period. This best matches the work that he was doing from about 1969 to 1972 when he was doing these wonderful printed chiffon dresses. We found similar ones to this with variations on the print that this dress has and I have included them so that you can see how perfectly this will drape and fall on the body. I have had a dress with a similar print to this on the shop in the past from Fall 1970 which makes me even more certain that this one falls into that time period. It is a very easy and comfortable dress to wear but it also drop dead gorgeous. I feel that it perfectly represents this time period. His work was integral to the label's development over the decades that he headed the atelier and this is a stunning example of his vision. Beyond that it is just an extraordinarily beautiful dress. I have had this ion my archives for a long time and it is a beautiful piece.

This dress is incredible. I love this version even more then the ones we found for reference. The cut is extraordinary and those sleeves are pure magic. The dress is super light and very easy to wear. The outer layer of it is a fine silk chiffon that has an abstract dot print that covers the entire dress. The neckline is set high and is softly gathered to wrap around the neck. Under that the bodice is meant to skim over you to the seam that is set under the bust for a slight empire feel. It fall loose and easy over the natural waist and the skirt billows out from under that to the floor. It is lined through the body of the dress in a solid coloured burgundy silk to feel like heaven on the body. The sleeves are incredible. They are set into the shoulder with slight gathers along the upper shoulder for a subtle but very pretty detail. They are the full width from the should to that seam under the bust and this gives them incredible movement and drape over the arm. It is interesting to look at the dress from the interior because the inner bodice is almost like a bib shape and then the sleeves come out from the sides of that. Once on the body the entire dress has this stunning movement and yet feels minimalist and elegant. The fabric is so light that it will move with your slightest movement. I love the detailing of that wide band of the solid coloured chiffon that finishes each sleeve and the hem. It is very easy to wear but packs a tremendous amount of style with the that print combined with the lightness of the fabric and that cut. The tag is numbered and the dress made to demi-couture standards. It appears to have been worn very little if at all. Excellent condition

The dress is fully lined through the body in a deep burgundy silk chiffon. It closes with a back zipper. It appears to have been worn very little if at all. The tag is numbered and there is an additional hand numbered tag along an interior seam. Hand finishes throughout

Sleeves: 22" from shoulder to end and fall to 24" at their longest point
Shoulders: 15"
Bust: The inner lined bib covers to 13" across and then because of how the sleeves are set there are no true side seams
Seam under the bust: 15.5" flat across from side seam to side seam
Inner hips: to 22" flat across from side seam to side seam
Bodice: 11" from top of shoulder to seam under the bust
Skirt: 47" from seam under the bust and including the 2.5" band there to hem

Modern Sizing Equivalent: SML-MED

Item# DD4183

Reference Photos: (1) Model in Dior for British Vogue, March 1969.  /  (2) Model Kellie Wilson in gypsy-style Dior, wearing a long chiffon dress in lilac with white batik print, a ribbon belt and massive gold pendant Vogue October 01, 1969. Photo by Bert Stern.

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

This is a gorgeous dress from Alexander McQueen. It is from his Spring 2010 collection and it is a one of the original variations of a dress that they still make to this day. Julianne Hough recently wore a black version from my archives and I have included some shots of her so you can get an idea of how amazing it is on the body. The one that she wore was from a later collection released under the creative direction of Sarah Burton but it was based on the dresses released from this original 2010 collection. I have two versions of this dress in the shop from this season at the moment, you can find the other one here. This is basically the printed version of the one that Julianne wore. It is a fantastic example of his work. I love it

The dress is made from a printed silk chiffon that is covered with one of his signature intricate designs. Prince a trailing design of leaves and flowers that float over the dress and follow the amazing draping that the dress has. It is strapless with a built-in inner cupped bodice that gives you support and holds the dress in place. The cups are shaped and these cups are one of the things that you see that is different from the later versions of this dress. These earlier piece have distinctively shaped cups The seams in the inner cups are exaggerated and this gives them this beautiful curving angle shape at the sides and peak at the front. The silk that drapes over that is all cut on the bias. The dress glides over the inner structure and falls in column to the skirt. The silk is gathered in towards the center of the front and the back so that there is more draping there and then it fall in draping curves down the sides. The choice of silk chiffon for this one gives it a lighter than air feel and as you move the silk billows and floats around you. It also creates this incredible movement when you walk. The dress is original supermodel length and looks to have been worn very little if at all. It is spectacularly beautiful.Excellent condition

Fully lined in a black bias cut silk and has a built in cupped corset. The inner corset closes with its own zipper and the dress zips to close over that with a hidden set zipper. Tagged a McQueen 44. The inner corset has some stretch. You could have the inner corset adjusted if you needed more or less room. Buttons on the inner bodice to add straps if you wanted. 

Bust: to 18" flat across from side seam to side seam with a B-C cup
Inner corset waist: 13-16" flat across from side seam to side seam
Inner hips: to 24" flat across from side seam to side seam
Length: 64" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD4181

Reference Photos: Julianne Hough in Alexander McQueen from the Shrimpton Couture Archives for the Vanity Fair Oscars Party, 2022.

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

As with so many of Pheobe's pieces for Celine, this dress was very well documented and photoed when it came out for the Pre-fall 2018 collection. It is instantly recognizable as being Phoebe's work and is one of her more iconic looks. When I started to hunt for references for it I found all the ones that are here, plus there are probably more out there. It was a definite favorite among the fashion set and was a regular look in do many street style shots of the day. All of Phoebe Philo's pieces for Celine have reached cult status and the prices are just continuing to rise. Her work is a must have for the vintage collector and this is a particularly hard to find dress that is rare and collectible.

This is one of the easiest dresses to wear that has ever existed. You just slip it over the head and then adjust the shape around the waist with the tie belt and walk out the door. That tie belt allows you to wear it low and loose or you can cinch it in and wear it higher up on the waist and have the top blouse over. The jersey is fantastic quality and is covered in that iconic python / boa snakeskin print. The neckline is high with a collar that is notched at the back so that it sits out from the neck a bit. It is yoked across the front shoulders and then it falls loose and easy over the body. The body of the dress has yards and yards of fabric in it. The sleeves are equally as voluminous and they come out from the waist area and narrow down to buttoned cuffed wrists. Tons of subtle details like a strap that extend from the shoulder of each sleeve, and french finished outer seams that add weight and keep the lines of the dress in place even with all that volume. And it has pockets. This is the genius of Phoebe where she manages to have something be so perfectly simple and easy and yet have so much drama at the same time. I love it. It appears to have never been worn or worn very little. Excellent condition 

Unlined and slips on to wear with a short hidden set zipper at the back of the neck. Original tie belt included. Tagged a 42 but very generous in cut. It appears to have been worn very little if at all. It should fit a wide range of sizes as long as the neck works.

Sleeves: approx 31" and meant to scrunch up on the arm once on
Shoulders: no true defined seam
Bust - hips: to 40" flat across from side seam to side seam
Length: 52" from neck to hem
Neck: 19" around

Modern Sizing Equivalent: OSFA

Item# DD4180

Reference Photos: (1) Pre-Fall 2018 Celine Collection, Look 45. / (2-6) credits unknown.

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

This is the twin of the piece that walked the runway for the Fall 2000. I have, and have had, several Couture pieces from this collection now from the same client and she often ordered her pieces in a different colours from the runway but for this one she did stay true to the runway vision. The jacket is incredibly beautiful and so perfectly and sharply tailored. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. It is an incredibly beautiful and historically important example of the work that Karl was doing for Chanel during this time period. It is absolutely gorgeous to see in person.

This car length evening jacket / coat is absolutely stunning. I am just in love with it. The length makes it so versatile and you can mix and match with almost anything in your wardrobe from jeans to evening pieces. It is made from a combination of a very high end black silk with that fabulous silk tulle ruffle at the front. The tailoring on this piece is immaculate. It slips on and has a hook at the top of the neck. There are shoulder pads for structure. The sleeves are long and I love how the shoulders are set into the body of the jacket so that they peak just slightly above the shoulder line. This is a very Karl signature that only got stronger as time went on. It has meticulous seaming set in curving lines to create the shape that you see. I took some closer shots of the seaming around the sides and arms of the jacket so that you can see how incredible it is. There is a hook and eye at the neck to close. I love the ruffle set at the front. It cascades down the front from the neck right to the hem. It is made of multiple layers of silk tulle so that it has volume. It is very full at the ruff of the neck and then gradually narrows down as it reaches towards the bottom hem. This adds unexpected detail and romance to the jacket. It is hand lined in a black silk and it is heaven to wear. This is a classic and exceptional piece of Chanel. The fact that it is true Haute Couture is just the icing on the cake. It is meticulously made to the highest standards. It is a beautiful piece showcasing the work that the Chanel ateliers are capable of and of Karl's time there. Excellent condition.

Fully hand lined in a fine black silk and has a hook and eye at the top of the neck. It appears to have been worn very little if at all. Appropriate Haute Couture label and numbered tape present. It is completely made by hand

Shoulders: 14"
Bust: 19" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 38 3/4" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4179

Reference Photo: Fall 2000 Chanel Haute Couture Runway, Look 34.

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

My client purchased this coat and it was actually her husband who found it for her that day in the shop and brought it over. I'm sharing this story because there is a little additional component to it that I love. Alexander was in the shop that day and as her husband was walking it over, he noticed and came over and held it while she slipped it on. She was debating whether to go with this size or the size up and Lee insisted that she wear this size. She told me that he wanted it as fitted as possible on her and she went with his opinion. I asked her to be able to share this memory with you because I feel like for his pieces especially it is an important part of the provenance to know that he actually handled this coat himself during the buying process that day. That just makes me incredibly happy to know and it makes me feel like this coat is a little extra special because of it. 

When I saw this coat I literally gasped out loud. It is that amazing. This is a magnificent example of his tailoring skills and sense of cut and line. The coat is made from a  beautiful 100% cashmere in a rich deep black. My client only wore the coat a couple of times and it is pristine. The cashmere is rich and thick. The coat is immaculately tailored. The sleeves are long and each ends in a turned up cuff. The shoulders are soft with perhaps the barest minimum of inner structural padding to hold the shape. The cut is shaped by long vertical  seams and the ones at the back are curved to add some shape through the waist. At the front a 6" wide collar extend from around the neck and falls the full length of the coat on either side of the opening. At the bottom the outer edges of that long collar detail are tacked into place so that it stays perfectly in place no matter how you move. This also allows the collar to slightly sit out from the base of the coat underneath to give it a slight bit of volume. It is just genius. A glossy black fur collar wraps around your neck and falls to the waist. I think it is a dyed fox and the pelt is supple and glossy. It is as immaculate as the day it was made. This collar buttons into place so you can easily wear it without the fur if you wished. Pockets sit along each hip and then the final perfect detail is that incredible braided rope belt. The belt is extra long and made from a braided soft black leather it is thick and beautiful. Three tassels extending out from each knotted end and each tie is finished with a long tassel in a black yarn. This is a mix of textures along with the beautiful cut of the coat all come together to create one of the most magnificent coats I've ever seen in my life. This is machine at his best mixed with a wonderful story of his personal involvement with this exact coat. Excellent condition

Fully lined in a black silk with white piping detail where the silk meets the cashmere. It closes with the leather tie belt and otherwise has no closure. Tagged a McQueen 44.

Sleeves: 27"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 48.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4178

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

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

This dress is from Karl Lagerfeld's own label. He launched his self-named label in 1984 and this dress is from 1991 making it a fairly early example of the work he was doing for his own label. Pieces from his personal label were far edgier then the work he did for Chanel. It was a label where he explored a more avant garde feel with his designs and pushed the envelope more. This is a fantastic example of that yet is still cut with the sharp tailoring and flattering lines he was known for. This one he's a little special because we found the photo of its twin on the runway worn by Yasmeen Ghauri. I love having this reference photo because it allows you to see just how fabulous this dress is once it's on a body. It is a seriously stunning piece. 

The dress is out of a combination of a lightweight black crepe combined with densely applied ivory coloured sequins. It has an almost graphic colour block feel to it. The main body of the dress is done in the black crepe and it is cut in a shift shape with just a bit of curving in at the waist. It has a V at the front and then dips down into an angled deeper V at the back. The sleeves are capped and extend out from the shoulder without any seams to break the line. It skims over the bust waist and hips and flares out just a touch at the hem. I love how one side of the dress is covered in those tightly spaced rows of sequins. This goes over the shoulder to include the sleeve and then continues down to the back. It fully wraps around your side. On the side opposite to that is a low slung top set pocket. The pocket is also heavily embellished with the sequins and it is fully functional. I love how both the pocket and the sequins on the other side have the same curve along the bottom to define their edges. It is an absolutely gorgeous dress and an important part of Lagerfeld's history. Excellent condition

Fully lined in a black silky rayon and closes at the back with a zipper. Tagged a 42. The pocket is functional

Shoulders: no true defined seams
Bust: 18" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 36.5" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4173

Reference Photo/Video: Spring 1991 Karl Lagerfeld Runway. Model: Yasmeen Ghauri.

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

Yves Saint Laurent opened his first ready-to-wear boutique on September 26, 1966 in Paris. For the opening he showcased his Fall 1966 Rive Gauche collection but what a lot of people don’t know is that he already had a rtw line. He created his first ready-to-wear collection for the Fall of 1964 with an in-house boutique collection of 35 designs including accessories. This dress is from one of those extremely rare collections that pre-dates the opening of the shop. It is from the Spring 1966 collection and represents one of the earliest ready-to-wear pieces he would have made. Because it pre-dates the actual boutique opening it would have only been made available to you if you were an existing couture client. Only a few of these would have been made. The numbers are probably along the same lines as the couture pieces as far as quantity. This one is extra special because it’s documented which is even more rare. We found a copy of the original sketch and fabric samples in one of the the Saint Laurent books and even they did not have the actual dress to show with that sketch. He did two pieces for the collection in this fabric. The first photo after the label shot here is the twin to this dress and the second is the other similar one that was a part of this collection. Finding a piece that was a forerunner to the boutique launch when that boutique concept went on to revolutionize the world of fashion is truly something truly special. This is a dress made valuable by its place in history.

The dress is beautiful in its simplicity. It is made out of a loose woven cotton feeling fabric that has a stunning and vivid floral print screen onto it. The print is the same that you see in the sketch fabric samples in the attached reference photo. It is a bright combination of blue, green, pinks, corals and yellows all done in an intricate floral pattern that covers the entire dress.The sleeves are cut to go to just past the elbow and are cuffed. On the cuff they have two sets of little snaps spaced close to each other so you can bring the cuff in a little bit to hold them in place in case you wear them pushed up higher on the arm. Above that they pouf out above the cuffs for a pretty fullness. The neckline is scooped at the front and at the back. At the back that scoop dips a little lower for a bit of skin to show. I love how it buttons to close above the zipper at the back with two matching fabric buttons. At the front there is a seam that is set just under the bust. You were meant to tie a ribbon under there as you can see in the sketch. I added a pretty blue grosgrain ribbon but you could add any colour ribbon that picks up on any of the colours of the dress or the accessories you choose to wear with the dress. The dress falls from there and widens out to be very loose and easy over the waist and hips before falling down to the floor. This beautiful A-line baby doll feel is a perfect representation of this era. It would have been the height of chic to wear this shape of dress at the time and its still a classic silhouette now. I photoed the dress without any ribbon so you could see how it looks that way and I also took a shot of it with the ribbon tied around the natural waist. The look of the dress changes completely depending on which of the three ways you wear it and I love the versatility that this adds. The simplicity of the cut lets that stunning floral design take center stage. This is a stunning museum worthy example of his earliest RTW work and it is fabulous. Excellent condition with one tiny note below

Fully lined in a black silk and closes at the back with a zipper and buttons above that. Each cuff has snaps as seen in the photo before the label shot. The hem is finished with a finished edged seam and may have been let down at some point. There is a tiny area on the bodice where a couple of the threads of the weave have broken. It is backed by the lining so only seen upon close inspection but I am pointing it out for accuracy. Please see the photo after the label shot

Sleeves: 23"
Shoulders: approx 15"
Bust: 17.5" flat across from side seam to side seam
Seam under bust: 17.5" flat across from side seam to side seam
Natural waist: to 20" flat across from side seam to side seam
Hips: to 22.5" flat across from side seam to side seam
Bodice: 9.5" from top of shoulder to seam under the bust
Skirt: 48" from seam under the bust to hem

Modern Sizing Equivalent: XS-MED

Item# DD4171

Reference Photos: Drawings of the Fall 1966 Yves Saint Laurent Collection. From the book "Saint Laurent Rive Gauche Fashion Revolution."

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

This is an interesting dress because Yves used the same pink feather styling that he did in this collection for a longer but very similar Haute Couture version that season. On the runway this dress was styled with a pink feather collar and then produced without. From a practical stand point it does make it far easier to get multiple wears out of it. It otherwise is identical to the runway version in design. Yves was a designer who mixed and matched ideas from couture to ready-to-wear with ease. More so than other designers I find. Sometimes the crossover details like this one has are just fascinating to see because of that. It is also a great way to get the design and look of a couture piece at a the price of ready-to-wear. The dress is absolutely gorgeous and I'm happy to have a video reference as well as photo reference so that you can see just how beautiful this is on an actual body.

The dress dips into a V at the front and skims over the bodice to meet the slightly high set curved seam at the waist. A wide black silk satin ribbon wraps around the waist following the curved seam. Where it meets in the center there is a large bow with five loops and a knot in the center. Under the skirt falls in three tiered layers of a black textured silk chiffon what a fourth layer acting as a lining under all of those. The top layer has extra fabric in the center and dips down for a pretty line that helps give the illusion of length. It also add some more chiffon that can float and move around you when you move. The layering of the silk makes it opaque enough to wear but still allows for the transparency and the lightness of the fabric to be apparent. The sleeves are beautiful. Each one poufs above an elastic cuff. Under the elastic there is a full circle ruffled cuff with two more layers of the silk for the prettiest feminine finish. In theory you could have a tailor or seamstress add a button in collar made of pink feathers if you really wanted to emulate the look of the runway piece. Either way the dress is absolutely gorgeous. Excellent condition with one small note below

Fully line in a black silk through the bodice. The skirt has an inner lining of silk chiffon. It closes with a side set zipper that goes up and into the underside of the arm. And waist stay hooks to close. Elastic in each cuff. Tag and YSL 38. A tiny spot of thinning of the silk at the back above the band. It looks like the bodice at the V was taken in a bit. Please see the photo after the label shot.

Sleeves: 26"
Shoulders: no true shoulder seam
Bust: 16.5" flat across from side seam to side seam
Inner waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 14" from top of bodice to inner waist stay
Skirt: 25" from inner waist stay to hem

Modern Sizing Equivalent: XS-SML

Item# DD4167

Reference Photos/Video: Fall 1993 Yves Saint Laurent Reference Collection.

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

This is a beautiful dress from the Christian Dior label that showcases the elegance the best of the brands work has always displayed mixed with the youthful spirit that John added to the house. John Galliano went from Givenchy to Dior in October of 1996 and stayed there until he was dismissed in February of 2011. During John Galliano's years at the house of Christian Dior he arguably produced some of the most amazing dresses in the house's history. His work is always beautifully cut and this one is no exception. It has that minimalist spirit of the nineties and early 2000s and it is stunning. This was a piece that was produced in limited quantities for retail. It was based on the dress that walked the runway that season for look 52. The runway dress was far more elaborate and it is always interesting to see how John translated his over the top runway collections into elegant, wearable and yet still glamorous pieces like this one.

This dress is fantastic and I think that its simpler lines it gives you more wearability than the runway version would have. This is a dress that you can dramatically change by what you accessorize it with. It can go from a gorgeous little more dressier day dress with flats to have a bit of a Grecian feel and then at night time you can full on glam it up and it suddenly becomes this sexy little cocktail dress. The bodice of the dress is elaborately pleated. The black silk jersey that it is made out of has been draped and gathered over an inner corseted bodice that is formed and cupped inside. There is a strap that knots at the base between the breasts and then curves up and over your shoulders and runs down the back. The straps are made out of the same jersey as the rest of the dress. The waist is seamed and you could add a wide belt to really cinch it in and add more shape if you wished. The skirt falls from under there in a beautiful biased cut. When you stand still it falls in a sleek column but when you move you realize that it is actually tremendously full. Your slightest movement will make it swirl and float around you. The intricate and elaborate pleats and gathering continue all the way around the bodice to the back. It is just a gorgeous little dress. It is very chic and minimalist. It appears to have been worn very little if at all. Excellent condition

Fully lined with an inner silk skirt and a fill built in cupped and boned inner corset bodice. It zips to close with a hidden set zipper. Tagged a US4 GB8 FR36 IT40. It appears to have been worn very little if at all.

Bust: 16.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Inner hips: 17.5" flat across from side seam to side seam
Bodice: approx 15" from top of bodice to waist
Skirt: 24.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD4168

Reference Photos/Video: Fall 2005 Christian Dior Runway Collection, Look 52. Model: Irina Bondarenko.

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

This is an incredible dress with its matching stole lands somewhere in that time period between the end of Christian's reign, Yves Saint Laurent's time there, and Marc Bohan's appointment as the was head of the Dior atelier. The closest I have found was a 1958 piece by Yves and I have added that reference photo here for nothing else but to give you an idea of what it will look like on the body. Regardless of under whose directorship it falls, it is a beautiful and early example of the work being produced by Christian Dior in this time period. This is the Christian Dior - New York label and is considered to be demi-couture from this time period of Dior's history. These where made for the American market based on the runway designs and with many of the same high standard finishes that Haute Couture pieces incorporated. This would be an incredible dress for any collector and it might even make an amazing dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. It is seriously beautiful

This is a dress that makes you draw in your breath the first time that you see it. The dress is made out of a very high end ivory silk that feels like it has some weight to it. It's not so heavy that is unwearable it just is that fantastic earlier silk that has a richness to it that is hard to replicate in modern fabrics. The dress is strapless and the bodice is simple and perfect. It is boned and shaped but that is all hidden inside. This hidden interior shaping allows it to perfectly mold to your shape. The waist is seamed and nips in. The dress falls to the floor from there and here is where it really gets incredible. The upper portion of the skirt is the same silk as the bodice so you get this sleek feel from the waist to just about the knee. Below that the silk has been sewn into horizontal ribbing. Each individual section of ribbing has interior padding inside of it so that they stand out for an incredible 3-D feel. This gives it this incredible texture. Besides being a beautiful design detail it also weights the fabric so that it holds the shape once the dress is on you. These are techniques that you often see in older couture pieces that you just don't see as often anymore in modern design. Inside, the dress is lined in silk and silk organza and it is almost completely finished by hand. There's also a wide inner waist stay that hooks to close and acts as an inner support so that the dress stays perfectly in place once on. The dress comes with its original matching stole. The stole is finished with the flat silk on one side and the same puffed ribbing technique on the other. These were worn to cover the shoulders and act as a evening wrap against cooler nights. It is wonderful to have this original extra piece still with this dress. The stole is also an exact match to the bottom of the skirt so in theory you could also add all or part of it the bottom if you needed more length. The colour is a touch richer feeling in person than how it photoed. Incredible in person. There are endless couture level details put into this one and the workmanship throughout is perfectly and meticulously done. It is an amazing example of the fine workmanship and attention to detail of this time period and it is a true piece of fashion history. Excellent condition

The dress is fully interlined in an ivory silk organza and then lined again with an ivory silk. Hand set hidden and exposed boning in the bodice. A wide waist stay hooks to close. Hand finished to demi-couture standard throughout. It closes with a hand set, back zipper. I see a tiny repair on the inner lining of the bodice above the center boning.

Bust: 17" flat across from side seam to side seam with a A-B cup
Inner waist: 12" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 10" from to waist
Skirt: 41" from top of bodice to hem
Stole: 14.5" wide x 60"

Modern Sizing Equivalent: XS-SML

Item# DD4160

Reference Photo: A model poses for the presentation of the first Yves Saint-Laurent's Dior collection, 04 February 1958, Avenue Montaigne in Paris.

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

A full shoulder version of this dress in black was shown as Look 78 for the 2015 Resort presentation. This was a piece that was produced in limited quantities for retail and I love this chic ivory version. In 2015 Valentino was headed by both Maria Grazia Chiuri and Pier Paolo Piccioli. They had stepped into Mr Valentino's shoes and were breathing new life into the brand. In the Vogue review for this collection they said: "Monastic, artistocratic, modest, and even prim have been terms applied to Maria Grazia Chiuri and Pierpaolo Piccioli's Valentino almost since they took over in 2009." In this particular collection the pair definitely ventured off into colour and print. Most of the looks in the show followed that more exuberant feel but the black two shoulder caped dress was one that maintained their more simple approach. For retail production it was also made in this ivory version that had one one single shoulder. I'll absolutely love this dress. In addition to runway photo I have included a photo of Louise Camuto  in a red version that she wore to the Valentino Gala that year so you can see how it looks on the body.

The dress does not have a single unnecessary seam. It really shows how sometimes absolute minimalism is best. 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 too. The dress is made from an ivory silk crepe that has a beautiful drape. This is what 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 skirt falls to the floor in a sweeping expanse of fabric. When you stand still it looks more like a sleek column but when you move you realize how much fabric is in there as it billows out behind you. The bodice drapes softly over you at the front. One arm is left bare for a bit of an expanse of skin to show. I love how the neckline curves up on an angle to the other shoulder. The shoulder that is covered is down by having the back panel of fabric wrap around from the back to the front of the arm. It them falls to the floor to create this elegant and still dramatic caped feeling over your arm. It is very beautiful. Excellent condition

Fully lined in an soft ivory coloured silk and closes with a hidden set side zipper. Tagged a Valentino 46. A minor grubbiness to the hem and the occasional small pull in the fabric. I don't think it has ever been worn. These are more from being hung with the skirt dragging on the floor. Very minor and just mentioning for accuracy. It otherwise appears to have been worn very little if at all.

Bust: to 20" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: approx 60" from top of shoulder to hem

Modern Sizing Equivalent: MED-XL

Item# DD4162

Reference Photos: (1) Resort 2015 Valentino Collection, Look 78. Model: Maartje Verhoef.  /  (2) Louise Camuto at the Valentino Gala, December 2015.

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

This is the all white ready-to-wear a version of that famous 1992 Valentino dress in black and white. Linda Evangelista wore the original on the runway and just recently Zendaya wore its twin to a premiere. It is one of the most instantly recognizable Valentino dresses and I love this more unusual all white version. This is the kind of dress that you can dress up or down and it might even make an amazing dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. Absolutely gorgeous and you can't go wrong in a piece this well-known. It is gorgeous

Like its famous graphic black and white counterpart this dress is made of multiple long vertical panels pieced together. Each panel has a tiny seamed piping along its edge and slightly overlaps its neighbor. Where the panels meet there is the slight three dimensional feel. The bodice is strapless and I love how the top of each panel has been rounded off to create a pretty and feminine scalloped effect along the neckline. Inside the bodice there is a full built-in shaped corset that helps to give you support and to keep the dress in place. This inner piece closes with its own zipper and holds the dress on the body. From there it starts to widen out and skims over the waist and the hips. It then flares as it reaches the hem. When you're standing still the panels create this gorgeous soft ruffled feel. But when you move you get a kick of fabric around you that is fantastic. The dress highlights the body but in that very refined and classic Valentino kind of way. I love that there are so many reference photos out there of the other version of this dress. It really gives you an idea of what it's going to look like on the body but just in an all white. This is one of the most recognizable Valentino dresses that there is and it is an incredible find. Excellent condition

Unlined with a full inner built-in corset. The dress closes with a side zipper and the inner bodice closes with its own side zipper. Ribbon edge finishes at the hem. The fabric has a slight stretch to it. The dress is perhaps a tiny touch more ivory in person than how it photoed. There is the tiniest bit of darkening to the edges here and there that I am just mentioning for accuracy. The exterior layer of the dress has more room through the waist than the inner foundation piece. So if you needed more room in the waist you could add to the inner piece and probably get at least another inch if not more

Bust: 17.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Length: 52" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD4161

Reference Photos: (1-3) Spring 1992 Valentino Runway Collection. Model: Linda Evangelista.  /  (4-5) Zendaya in Vintage Valentino at the Euphoria Premiere, 2022.

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

I think at this point in time everyone pretty much recognizes certain Celine pieces from the Phoebe Philo days and this fringed black dress is one of those iconic looks. This was Look 15 in the Fall 2017 show and was one of two looks in the show that had this fringing detail. The second was for look eight where she wrapped a fringed scarf under a long jacket and over pants. When the collection went to production they also made a dress with sleeves that had this same fringe at the bottom. This one I have today is the twin of the one that was shown on the runway. On the runway they styled it with an added ivory under skirt that peaked out below the fringe. Without that under piece you will see a flash of skin through the fringe as you walk. This show is interesting to research as it is the second show after the Pre-Fall one where Phoebe went completely silent. She once again offered no press quotes, gave no background on her inspiration and was not present at the press previews. It drove the press mad and reviews that you can find online for this time period make that quite clear... but her loyal fans loved here even more for it. Her work has spoken for itself ever since and still garners the same devotion from her fans if not more.

This is such a beautiful dress. You just slip the halter neck part over your head, zip it to close at the back and walk out the door. It is in a black fabric that has some slight weight to it so it holds the shape very well. The neckline is slightly asymmetrical where it slips over your head and at the back of the collar it's notched so that it sits comfortably on the back of your neck. It skimmed down and over your body widening out as it nears the bottom seam before the fringe. At the back it's zippers to the side to follow a seam set there. The back is scooped and open and it is also cut on a slight asymmetrical curve. These are the small little things that people love about her designs. She has these little details that are so subtle but they have this wit and quirkiness and work perfectly to give her pieces that signature Phoebe vibe. The dress falls loose and easy over the body and then is that killer fringed bottom. The fringe that you usually see on things is almost always a braided cord but for this dress it is actually done with an ultra a fine black thread. Hundreds of thousands of threads are attached all around the bottom and they are so fine and light that they give it is incredible movement. They are also amazingly soft in feel. There is a tactile sensation that you just don't get with the fringe out there that you usually see on pieces. And it has pockets. This is the genius of Phoebe where she manages to have something be so perfectly simple and easy and yet have so much drama at the same time. I love it. Excellent condition 

Unlined and slips on to wear with a hidden set zipper set offside at the back. Tagged a Celine 38. Pockets hidden along each hip. It appears to have been worn very little if at all.

Bust: 16" flat across with no true side seams
Waist: 13" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: approx 62" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4159

Reference Photos: Fall 2017 Celine Runway, Look 15. Model: Birgit Kos.

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

In 2004 Mr. Valentino still headed the label and the work he was doing was fantastic. The twin of this dress in white walked the runway for Look 76. I love that I have tons of photos and the video of it so you can see just how fantastic this dress is on the body. It is a killer dress. The show was a huge success and the Vogue review for this collection stated in part; "When the fashion chat is all about the "new ladylike," it's not hard to give in to the methods of seduction Valentino has perfected. He's had "lady" down pat for years—for the genuine ones of the yacht-owning class, that is. His Spring collection covers the waterfront for that society, and those who aspire to it.... It all looked romantically pretty in the just-so mode that his clients adore." And what's not to love? The dress moves beautifully, is elegant and chic, and yet with that open side feels insanely sexy. This is the magic of original Valentino and this one is just tremendous.

This is such a gorgeous dress. It's simplicity combined with that almost shocking open side and its elegant deep blue colour that is so good on so many skin tones, add up to an incredible piece. It is in its original supermodel long length and made of a beautiful silk crepe that gives it its sleek sculpted feel. The dress is very sexy and shows off some skin but still feels very elegant and refined. The fabric has just a touch of a bias cut to it through the body so its very comfortable to wear. It is really a dress meant to be on an actual body and not a mere dress form. As good as it looks here it only really comes to life once on. I love the way that it curves up and over your shoulders and scoops at the neckline. It skims over the bust and then starts to widen out and skim over the waist and hips. The skirt falls to the floor under that and it is all cut on the bias. By the time it reaches the hem it has widened out into that beautiful sweeping line that you see. A high slit up one leg gives it additional movement. The bias cut and that slit make the hem of the skirt move and float around you at your slightest movement. The open side is on the same side as the slit. The silk of the dress has been gathered up and around that fantastic cut out on the one side. The opening of the cut out is piped in the same fabric for a bordered and finished feel. Then more of the piping is used to created a laced web feel that sits inside the circle. This gives you a touch of coverage and makes the skin that shows through feel even sexier. Extending out from that opening are long ties that trail down to the floor. These give the illusion of be able to tighten and adjust the lace. It is absolutely gorgeous. Excellent condition.

Unlined and  closes with a side hidden set zipper. It appears to have been worn very little if at all. Tagged a modern Valentino 6. The fabric is bias cut so does have some movement.

Waist: 12-14" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 67" from top of shoulder to hem
Slit: 31" from hem up

Modern Sizing Equivalent: XS-MED

Item# DD4164

Reference Photos/Video: (1-5) Spring 2004 Valentino, Look 76.  /  (6) Portia de Rossi in Valentino at The 61st Annual Golden Globe Awards, January 2004.

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

This was the closing look of the prefall 2010 presentation by Stefano Pilati. When Vogue reviewed the collection Sarah Mower said; 'There are two ways of looking at pre-fall in terms of what it means in the great relay race of fashion. A designer can follow through on designs from the season before, but also perhaps start trying out ideas that will determine the look of the next show. In YSL's extensive new collection, Stefano Pilati had plenty of scope for both.' She also mentioned the draped dresses in particular saying; 'Anyone with a hankering for rushing ahead will, however, want to study Pilati's ankle-length A-line skirt, wide-leg pants, and draped wrap satin dress. Whether the Saint Laurent seventies that these pieces referenced is a fleeting transitional moment or something Pilati will commit to for Fall, they were the most interesting pieces in the collection.'

This was the strongest dress of the collection and its twin was worn by Halle Berry that year and also in a blue version by Jennifer Garner. Several years later one was also worn by Martha Hunt. I love having all of these reference photos for you because you can see just how beautiful this dress is on the body. The silk is biased cut and it is suspended from one shoulder. Starting at the top of the shoulder a twisted rope extends down one side of the back leaving the rest of the back bare. This strap ties in a knot at the low back on the side. Long panels of fabric drape down from the knot to cascade down one side. The front of the dress wraps around you and it is seamed and secured underneath the base of the edge of the back waist. This wrapping effect leaves a high slit up the back of the leg that you can see in the runway presentation photo. The shape at the front is created through a combination of the bias cut and the way the fabric has been gathered up and underneath the base of that knotting detail. The boas cit lets it skim over and fall down the body highlighting your curves but without being tight. The biased cut also gives this incredible movement as you move and is an extremely sensual and sexy feeling dress once on. That deep red colour is amazing. I love the panels that drape down on the one side. They add incredible movement floating out behind you as you move. I think this was one of the strongest dresses of his time at this label and it is a stunning dress. It appears to have been worn very little if at all. Excellent condition

Unlined and completely cut on the bias. It slips on to wear. The bias cut of the fabric allow it some stretch and movement. Tagged a YSL 36 but the bias cut makes it more flexible in sizing. It should accommodate a range of sizes. This was incredibly difficult to measure so I have given the comfortable range of the fabric laying flat. It may have additional give beyond that. The length may come up once on due to the bias cut

Bust: 15-18" flat across from side seam to side seam
Waist: 12 or smaller-18" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Length: to 60" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4159

Reference Photos: (1) Pre Fall 2010 Yves Saint Laurent Collection, Look 41. Model: Yulia Kharlapanova.  /  (2-3) Halle Berry in Yves Saint Laurent at the 32nd Annual Carousel of Hope Ball, October 2010.  /  (4-6) Martha Hunt in Yves Saint Laurent at The Double Lover Premiere, Cannes, May 26, 2017.  /  (7) Jennifer Garner in Yves Saint Laurent at the BAFTA Brits to Watch in July 2011.

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

This special red jersey dress by Yves Saint Laurent is very well documented. We always love finding pieces that have a solid history behind them. It's from the Spring 1982 collection and its twin was shown on the runway and it was also featured in ad campaigns that ran in various magazines. It's interesting that we actually found two different shots for ads that feature the same three dresses but with the models depicted in different positions. The end that year was shot by helmet Newton which as yet another layer to the history of this dress. The dress is not perfect but it's completely wearable as is and its gorgeous lines and easy to wear cut combined  with its place in fashion history easily offset any small flaws.

The dress is made from a cherry coloured red silk jersey. It is an extremely easy dress to wear. There is elastic through the waist and you just slip the dress on and tie it at the one shoulder and you are ready to go. When the dress is off the body the waist looks dropped but once it's on you realize that this is what allows the bodice to drape over the waist line like you see on the runway and in the ad photos. The silk jersey is fine and light and I love this colour of red. It has an almost pink undertone to it in person and it's very flattering on almost any skin tone. The fabric is gathered along the upper neckline and this gives it the drape and slight gathered look that you see. The upper neckline edge is finished with a piped tie and this extends out and is what is used to tie it at the shoulder. I love how the ends of the long ties just fall down your back from there. The bust is loose and easy and it drapes over that inner elastic waist line. The skirt falls from under there and widens out as it nears the hem. Is incredibly easy to wear and incredibly flattering once on the body. Excellent overall condition but please read the condition notes below.

The dress slips on to wear with elastic through the waist. It ties on the top of one shoulder. Tagged a vintage YSL 40 but the generous cut and elastic waist should allow it to fit a range of sizes. The dress has some marks on the silk jersey of the skirt. It's mostly in the lower areas of the skirt. I also see grubbiness and a couple of pinholes around the hem. It has been cleaned of course and the marks may come out more with additional cleaning. The extent of fabric in the skirt hides it and the dress is perfectly wearable as is. The price is far less then what it would have been otherwise for this well documented dress. The fabric has stretch and movement. The measurements are given with a comfortable range laying flat.

Bust: 15-26" flat across from side seam to side seam
Waist: 12-23" flat across from side seam to side seam
Hips: 17-30" flat across from side seam to side seam
Bodice: 24" from top of shoulder to waist but meant to drape over
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4158

Reference Photos/Video: (1-2) Spring 1982 Yves Saint Laurent Runway.  /  (3-4) Spring 1982 YVes Saint Laurent Ad Campaign photographed by Helmut Newton.

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

This wonderful cape is from the Fall 1973 collection and its twin in a green colour resides in the YSL museum permanent archive collection. I have a copy of a video shared by a former YSL employee that shows it behind the scenes and the sketch I have included here is a shot from that video. I love having that extra documentation on the piece. It is just stunning to see it in person

The cape is this wonderful rich shade of brown and the fabric is extremely soft and cozy. The chenille is heaven to the touch. It is so easy to wear. You just slip it over your shoulders and it drapes in place. A tie in the same chenille sits at the neck  and you use this to tie it in place and to control how loose or tight it sits. A wide set hood extends out from the neck and I love how it drapes over your shoulders for added detail and drama. And of course of you wear it up. It is absolutely dreamy and has all the drama. If that was not enough it has chenille fringes that go all the way around the edges. I love this detail and the movement it adds. The cape is made out of a loose net that has a honeycomb feel to it that gives it a ton of movement and volume. When you're standing still it feels very sleek but the second you move that honeycomb technique expands it out as much as it needs to go. When you move you get wonderful movement as it floats around you. I also the softness and richest the chenille has. I feel like this makes it a lot more versatile than some of the more traditional wool fabric capes. It has this sense of whimsy that YSL really excelled at. I can't say enough good things about this one and the fact that it's twin is held in the YSL museum collection is just icing on the cake. It is a great piece of fashion history. Excellent condition

Unlined and drapes over the shoulder to wear with a tie at the neck as described. The easy open cut should allow it to fit just about any size. It appears to have been worn very little if at

Length: 53" from shoulder to hem

Modern Sizing Equivalent: OSFA

Item# C605

Reference Photo/Video: (1-3) Fall 1973 Yves Saint Laurent Runway Collection.  /  (4-5) Taken from Instagram - credit unknown.

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

My couture client had this stunning silk chiffon dress made for her and it was one of the last pieces she acquired from the house. It is an interesting thing in that it shows how the client can really direct and combine different runway elements to make a one of a kind dress like this one is. When we look at the runway from that season we can see that skirt is taken from one dress, the top from another, and the colour from a third. It's a dress that combines the runway looks 25 ,26 and 27. The experience of couture is really client driven and I love how this dress takes elements from the three Valentino's pieces, stays true to his vision for this season and yet is completely unique. We found video of the dress that shares the skirt design of this dress and I've included it so you can see how beautifully this will move once it's on the body. Being a custom piece that was made specifically for her also means that it truly a one-off-a-kind which makes much more special. It is an extraordinarily beautiful piece of Haute Couture. The workmanship is exquisite.

This dress is divine. The lines of it are beautiful and as good as it looks on the dress form it will only truly come to life on an actual body. The bodice of the dress is fitted and nipped in at the waist. It is cut in a sweetheart neckline that softly curves at the top. The bodice is done in an extremely intricate manner. Panels of the silk chiffon are hand gathered and placed in soft pleats to form that complicated pattern that wraps around the entire bodice. Sitting at the top of each shoulder is a rounded soft cap sleeve done in the same pleating technique. This painstaking manner of pleating and gathering would have taken hours and hours to accomplish. It is of course all done by hand. There is a silk band around the waist and then the skirt flows out to the floor from there. The skirt is made from many yards of a beautiful bias silk chiffon. The inner skirt is made from four layers of the bias cut chiffon and then over that are two more layers of silk. At the front the top layers are cut to just under the hip and then they trail and curve down the sides to the back. If you look at the video we have included you can see how much movement this adds to the dress. The fabric is feather light and the fact that is is made from six layers of silk chiffon allows it to catch the slightest bit of air and float around you. It is incredible. The interior of the dress is made to couture standards with a full built in cupped corset that is boned and shaped to the waist. I am obsessed with the soft degrade ombre effect that dress has because of how the silk gradually changes from a soft deeper green at the top to the palest green near the bottom. It is one of the most beautiful dresses I have seen and looks to have been worn very little if at all. It is an amazing example of original Valentino Haute Couture. Excellent condition. 

The interior bodice is boned and corseted. The skirt has six layers of silk as described above. The interior corset closes with a zipper and then the dress zips to close over that. The top silk layer of the skirt snaps to close over. Two inner waist stays that hook to close. Finished with Haute Couture construction techniques throughout. 

Bust: 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of shoulder to bottom of waist seam
Skirt: 45" from bottom of waist seam to hem

Modern Sizing Equivalent: SML-MED

Item# DD4156

Reference Photos/Video: Spring 2005 Valentino Haute Couture Runway, Look 27, 26 & 25.

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

This fabulous caftan dress would have been designed by Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been noted as one of fashion’s 'great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential.' His time at the Lanvin label is one of my personal favourite periods for the house. I especially love his work during this period. He was a genius at colour and he pushed the envelope in his work with his cuts. This caftan dress dates to the earlier part of the 1970s and it is incredible. It is numbered and the inner seams are all edged and finished by hand. I love that it could easily worn by just about anyone with the way it is cut. It is just incredible.

The caftan is cut to be big and oversized so it is exceptionally easy to wear. It's generous and open cut will suit a large range of body sizes and types. On a smaller frame it will have an over-sized feel but could also easily work on larger frames. No matter what size underneath this incredible piece will billow and float around you as you move. The sleeves are cut to be very wide and full and billow out above the elastic at each cuff. The neckline is so unusual. It is gathered up into an elastic around the neck line that has a ruffle about it. This creates this interesting draping and soft pleating texture on the green silk just underneath the neckline. He then dropped another seam below that top portion with another ruffle that runs all the way around the shoulders. This gives you this off shoulder feel even though you're completely covered up to the neckline. It's so unusual and so beautiful. From there it falls to the floor widening out to be quite full as it nears the hem. It is cut to be very loose and easy through the body. The caftan is a made out of a spectacular printed silk that has a paisley pattern running over it that is insanely beautiful. At the hem it has a wide felt finish that gives weight to the hem so that it holds the shape and gives that sense of volume. I love that inside that hem it is trimmed with a silver lame ribbon on the top and the bottom. This is a detail that you don't see right off but as you walk or sit you get that tiny flash of silver. For some of the photos I added a green velvet ribbon to show you how dramatically the dress changes by adding a belt to add shape. I love that you can wear this loose and easy as a caftan or by belting it you suddenly have a dress that feels like it has a completely different look. The colours combine of different tones of green with a deep red and pops of white. It is just spectacular and so beautifully made. All of the inner seams are finished by hand and this is a numbered couture piece. This is an exceptional piece of Lanvin during this time period. Excellent condition

Slips over the head to wear with no closures. Set the net and both cars. The silk is very light in weight. The belt is not original to the dress but will be included. The loose and easy cut should work on a variety of sizes.

Sleeves: approx 27"
Shoulders: no true shoulder seam
Bust: to 33+" flat across from side seam to side seam
Waist- hips: open
Length: 60" from neck to hem

Modern Sizing Equivalent: SML-XL, OSFA

Item# DD4157

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

It is almost a miracle to find runway confirmation from address in the late 1970s by Oscar de la Renta. Photos of those shows during this time. Are not as readily available so whenever I can actually date of peace and have a runway confirmation it's very exciting. I also love that having that photo shows just how fabulous this dress is on the body because it's gorgeous as it looks on the dress form it's only really going to come to life once it's on. It's truly one of my favourite little Oscar dresses I've ever had in the shop.

This is such a gorgeous dress. It's made out of an inky black velvet that has bright little coloured rhinestones that are set in groups of two and then scattered over the entire dress. Each little cluster has been hand sewn into place. The way these catch the light as you move is just gorgeous. It also gives the dress this incredibly festive feel and elevates what would otherwise just be a normal little black dress. Inside there is a full built in cupped corset to hold the dress perfectly in place when it's on. It is cut to fit more snuggly to your bodice and then drops to a seam set just across the top of your hips. The skirt flares out from there and widens out a bit as it nears the ham. It's very flattering because it shows off your body but it's not skin tight everywhere. I love the wide grosgrain ribbon bow that sits at the center of the neckline. It's just this perfect little detail that Oscar excelled at. The dress is gorgeous and a favorite. Excellent condition with a small note below

Fully lined in a black silk and has a full built in cupped corset that is boned and closes with hook & eye at the back. It closes with a back zipper over that. I see two areas on the back where the velvet has flattened slightly and catches the light a little differently. One is near the zipper and the other on the skirt below that. Please see the photos after the label shot. If you change the inner corset or remove that you could probably get it at least another inch through the bust and the waist

Inner bust: 15-16.5" flat across from side seam to side seam
Inner waist: 12" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 30" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD4153

Reference Photos: Fall 1979 Oscar de la Renta Runway. Model: Kirat.

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

This spectacular piece is from the Spring 2015 Christian Dior runway presentation by during the Raf Simons era. It was shown on the runway layered as a long vest but you can fully button it and wear it as a dress, or even as a sleeveless evening coat. I love the versatility of that. This was the second of the closing group of these pieces. Vogue's Tim Blanks said of the show; 'In the venue for the Dior show today, one of the most extraordinary feats in recent fashion history took place. In the Louvre's Cour Carrée, the ancient heart of an ancient palace, a mirrored tent was erected, perfectly rendering its environment in such a way that the tent was invisible. It was like the present had ceased to exist. An appropriate cue for the collection that Raf Simons showed, in which the 18th century and the 22nd century knocked boots, bypassing everything in between... Simons liked what he did in July's Couture so much that he wanted to extend the experiment into ready-to-wear. Finding the future in the far past—it's a challenge that would engage an artist in any arena. But addressing that challenge in everyday clothes produced a new poetry.' Blanks went on to talk about these last look specifically saying; '(they) referenced an 18th-century court coat, which evoked the historicism of Christian Dior's original Bar silhouette. Fashion present floats on an ocean of fashion past; Simons simply chose to ride the time machine a little further back. But he paired his gilet with Bermuda shorts. It was a look you could imagine piquing the interest of the women he's drawn to Dior. A judicious blend of fantasy and reality.' The piece is spectacular in person.  It is a fabulous piece of fashion history and of Raf's time at the label.

The gillet is made from a metallic finished pink silk mixed fabric that allows the dress to keep it shape. It's light in weight but the fabric still has enough structure to hold the shape and volume that you see. It has this incredible metallic finish to it that's quite beautiful. It is almost like a muted foil in person. This is when you see the magic that the larger labels have in being able to create these fabrics that are so unusual. It is sleeveless and the top is cut to skim over you and then comes in at the waist. The skirt flares dramatically outwards under that and it has the feel of a great coat in the way that it is set. There is a lot of volume in skirt and it is cut so that it hangs in that gorgeous expanding line that you see. The seaming through the bodice and waist to create shape is minimal and it buttons down the front with a row of tightly spaced silk covered buttons. Fabric loops sit on the other side that the buttons slip through to give it that feel of the past that Tim mentions in his review above. There are pockets on each hip which allows you to wear it with that fantastic ease that you see in the runway photos. I love that the runway video shows you how fantastically it moves and how gorgeous it is on. It is open under the buttons so if you did want to wear this as a dress you would have to wear something underneath and that could be anything from a sweeping skirt yo pants or even boy shorts if you dare. Inside it is lined in a black silk chiffon and that shock of the black contrast when it moves around you adds to its fabulousness. Excellent condition with a note below

Fully lined in a black silk and closes at the front with the button as seen. I see some light marks on one side around the pocket on each side of the seam. please see the photos after the label shot. There's slight grubbiness under each arm that is minor.

Waist: to 15" flat across from side seam to side seam
Hips: open
Length: 53.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4150

Reference Photos/Videos: Spring 2015 Dior Runway, Look 49. Model: Hanne Gaby Odiele.

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

I have had tucked away in my archives for quite some time. This is it gorgeous little caftan dress that can play double duty as a light evening coat. It is a little extra special as I believe it is an early piece from her Greek Street shop in London that she opened in 1964. I was pleased to find a photo of a 1966 piece in a similar feeling vein in the 2015 book "Thea Porter: Bohemian Chic". by Laura McClaws Helms. These button front pieces that fully open down the front were especially loved for their versatility. Of all of Thea's pieces, her caftans have come to represent Thea's work like no other piece of her clothing that she designed. Elizabeth Taylor was a huge fan and collector. This one is just spectacular.

The caftan is very beautiful and is made from a stunning light cotton voile fabric. This fabric is extra special because it's actually signed along its edges and you can clearly see that on the inner seams. The fabric has a glorious floral print with a pink backdrop and then beautiful coral and pink flowers and green leaves run over the entire thing. Around the neck and across the upper back is an added antique gold metal cord embellishment. This goes all the way across the upper back and around to completely cover the shoulders. It then is set all the way down to the waist. It is amazing and it gives a caftan an elevated feel. Thea was known to hunt antique stores and markets during her extensive travels and use what she found in her designs and this is certainly a found antique textile. The dress buttons down the front almost to the hem and then the back has pleating for extra volume that falls from under the gold cording there. The sleeves are magnificent. They have their own lining and then the top layer of floral fabric falls over them and widens out an extremely wide cuff. The caftan is lined and the fabric over it is semi-transparent. This see-through quality gives the fabric depth and a floating feel over the inner lining. You can easily add a soft or structured belt to add shape if you wished and add even more to its versatility. I love that you can wear this in so many ways and one its own or over so many things. This is very special and are early piece of Thea's and  it is also very beautiful. Excellent condition with a minor note below

Fully lined and slips on to wear and then buttons down the front. It's easy and open shape should allow it to fit a range of sizes. Finished by hand throughout. There is some wear, discoloration and shininess to the lining here and there and I see one older repair on the shoulder. Please see the shots after the label photo

Sleeves: 25" to the longest point and the inner lining is 13" around the upper arm
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 52" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4151

Reference Photo: Actress Fenella Fielding in a paisley kaftan on a matching Chesterfield couch in the shop. Photographs from this series ran in every major UK tabloid. Greek Street, London, October 1966. Photograph by William Lovelace. From the book “Thea Porter: Bohemian Chic” by Laura McLaws Helms and Venetia Porter.

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

This is a stunning suit that has all three original pieces and is the twin of the piece that walked the runway for the Fall 2000 show. There is nothing more classic then an iconic Chanel suit and there are incredibly beautiful and chic once on. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. It is an incredibly beautiful and historically important example of the work that Karl was doing for Chanel during this time period. It is absolutely gorgeous to see in person.

I love that this has all three pieces - the jacket, skirt and the inner silk chiffon tank. It makes it so versatile since you can mix and match all of pieces and wear them in so many different ways. The inner tank is made of a deep blue silk chiffon and then the suit is constructed from one of Chanel signature boucle fabrics. From a distance it presents as a black with a touch of a secondary colour running through it to create a pattern but as you get closer you see that there is actually a riot of colours woven through the fabric. The colours in there are a bright and vivid turquoise, pink, green and a peach mixed with navy and black and it is absolutely beautiful fabric. The jacket is that classic and perfect Chanel cut with every seam meticulously executed. The sleeves are long and the shoulders have soft padding inside for a touch of structure. The seaming is set in curving lines to create the shape that you see and there are little pockets hidden along the seams at the front. It has a small rounded and neat collar and it hooks to close down the front. What really makes it exceptional is that ruffled netting that goes from the neck right to the hem on both sides of the front. The ruffle gradually narrows down as it reaches the bottom hem. This adds an unexpected touch of detail and softness to the jacket. It also creates movement as it slightly moves as you move. The skirt is precisely and simply cut with that slight flare as it reaches the hem that the best Chanel skirts have. Both the jacket and skirt are lined in an extremely high-quality black silk. There is a signature Chanel chain set around the hem of the jacket. This is a classic Chanel suit that will never go out of style and it is exceptional. The fact that it is true Haute Couture just makes it better and the workmanship is out of this world. 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 fully lined in a black silk. The tank is made of a single layer of a deep blue silk chiffon. The tank slips over the head to wear with no closures. The skirt closes with a side zipper and hook and eye at the waist. The jacket has hidden set hook and eye down the front. The jacket has the appropriate Haute Couture label and numbered tape present. All three pieces are completely made by hand.

The Chanel boucle is 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: 23.5"
Shoulders: 15"
Bust: 19.5" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam
Length: 27" from neck to hem

Tank
Bust: to 17.5" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 22" from shoulder to hem

Skirt
Waist: 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 23" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4146

Reference Photos: Fall 2000 Chanel Couture Runway, Look 18. Model: Roos van Bosstraeten.

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

This amazing set is the twin of the piece that walked the runway for the Fall 2004 collection. Vogue said of this collection; 'Trust Karl Lagerfeld to rise above the cacophony of questions about the relevance of haute couture. At Chanel, he floated an argument that insouciantly covered the issues and showed what couture can be now: a beautifully thought-out, long-term investment that also addresses our multitasking world. “This is reality couture,” he said.... Though fully of the twenty-first century, his best pieces were also timeless Coco-isms: of the moment, yet guaranteed to outlast this and many seasons to come.' This set is just that. A completely timeless and beautiful suit that will never go out of style. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. It is an incredibly beautiful and historically important example of the work that Karl was doing for Chanel during this time period. It is absolutely gorgeous to see in person.

The versatility of this set comes from a few elements. First of all it is made from a classic black and white boucle that will never go out of style. Then you have the fact that is made from two pieces. A chic and simple dress along with an amazingly perfectly cut jacket that goes over top of that. This all adds up to make these pieces very versatile. You can mix and match both pieces and wear them in so many different ways together or apart. Even just a change in colour of the accessories and shoes that you wear are going to make either piece look completely different. Both of the pieces are made from a stunning black and white version of the Chanel signature boucle fabric. The dress is edged with a fringe made of the two wools that circles around the hem, arms and neckline. When the two pieces are worn together this extra little detail softens the feel of the set and gives it a pretty and romantic touch. The inner dress is cut in a sleek and simple shift that skims over the body and has a more pencil skirt cut. Clever and subtle seams shape the dress around you so that it's very flattering. It is hand lined in a rich black silk. The jacket slips over that and has structured shoulder pads for shape and the sleeves are long. It has meticulous seaming that creates that famous Chanel box cut. It closes down the front with carved out metal buttons. The collar is neat and high. There are two shallow flap pockets that sit one atop of the other at the front. I love the contrast of the very structured jacket with the softness of the dress underneath. The jacket is lined in that same extremely high-quality black silk as the dress and there is a signature Chanel chain set around the hem. This is a classic Chanel set that will never go out of style and it is exceptional. The fact that it is true Haute Couture is just the icing on the cake. It is meticulously made to the highest standards. 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 fully lined in a fine black silk. The dress closes with a back hidden set zipper. The jacket closest with the buttons down the front that you see. All four pockets on the jacket are shallow but functional and all but one still has their tacking in place. It appears to have been worn very little if at all. The jacket has an appropriate Haute Couture label and numbered tape present. Both pieces are completely made by hand

The Chanel boucle is 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: 24"
Slightly inset shoulders: 14.5"
Bust: 19" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 22" from neck to hem

Waist: 17" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 38.5" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4148

Reference Photos: Fall 2004 Chanel Couture Runway, Look 9. Model: Audrey Marnay.

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

This wonderful cape is from the Fall 1977 collection and versions of it were shown on the runway that season. We found runway shots of it on the catwalk in both a red and a blue and I wish I had the entire show to see if the purple was also shown. The cape was also used for the ad campaign that year making it an integral piece of the Fall 1977 collection. 

The cape is this wonderful shade of purple and the fabric is extremely soft and cozy. It feels like the fabric is a mix of a soft wool and mohair. It is so easy to wear. You just slip it over your shoulders and it drapes in place. A wide set ruffle extends out from the neck and drapes over your shoulders for added detail and drama. A black braided rope circles through the loop around the neck and you use this to control how loose or tight it sits. At the end of each braided rope is a large pom pom. I took a shot of me holding it so that you can see the size. I love this bold detail. There is a ton of fabric in the body of the cape so that when you move you get wonderful movement as it floats and billows around you. The cut is impeccable and it is a great piece of fashion history. Excellent condition

Unlined and drapes over the shoulder to wear with a tie at the neck as described. The easy open cut should allow fit just about any size

Length: 53" from shoulder to hem

Modern Sizing Equivalent: OSFA

Item# C603

Reference Photos: Fall 1977 Yves Saint Laurent Runway & Ad.

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

Vogue said of the Spring 2018 'La Bomba' show that 'Jacquemus: the young designer, his models, his friends, his sun-drenched South of France Instagram—they’re everything about the French which makes foreigners writhe with envy. Welcome to Paris! ....Not to mention the fact—for goodness sake—that we were all in the Musée Picasso, a national landmark never before used for fashion.' Simon Porte, the man behind the label is self-taught and this collection in particular cemented his cult-like status. The collection was a tribute to his mother who he lost at a young age. 'You see, Jacquemus is my mother’s name,' he said as his models surrounded him at the end of the show. 'She was shy, and she was sexy. It will always be about her, I don’t care! That’s me.' This was the closing look of the show and it was one of the strongest pieces of the season. It was photoed for vogue that season and shown extensively on their social accounts. And one is one of the hardest pieces to get a hold of.

The dress was one of his first examples of using this modified and updated hoop-skirt. It is made out of a raw feeling cotton linen mix that has a slight texture to it and was left in a natural linen color. The dress is suspended from the shoulders with two tiny straps of the same material. The neckline is cut straight across and the body of the dress is cut slim and more tubular giving it a shape reminiscent of the 1920s. The fabric is softly gathered around the bodice giving it a subtle detail that feels easy and natural over the body. It runs down and past the waist and then flares out to meet the seam set below the hip line. The skirt flares out from that dropped seam and it has incredible volume to it. There is built in heavy stiffened net structure underneath that helps to hold that exaggerated shape through the hips. This gives it the feel of a modified version of the hoop skirts of the 20s and 30s that designers like Paul Poiret and Jeanne Lanvin were doing. The ease and casualness of the fabric give it this great contrast between that historical feel. It is a beautiful dress to wear and I'm glad that we found some video clips so you can see the incredible movement that it has. It is the perfect summer dress and a definite important future vintage piece. It might even make an amazing dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. It appears to have been worn very little if at all. Excellent condition with one note below

Fully lined in a matching cotton through the bodice. It closes with a hidden set side zipper. Internal structure under the hip in stiffened tulle helps to hold the shape along with the seaming. Tagged a modern 38. I see a couple of tiny scattered blue spots at the front that look like they are in the actual weave of the fabric. A small mark inside the bodice. Please see the photo after the label shot

Bust: 16.5" flat across from side seam to side seam
Under bust: 15.5" flat across from side seam to side seam
Natural waist: 13" flat across from side seam to side seam
Natural hips: 19" flat across from side seam to side seam
Length: 54" from top of shoulder to hem

Modern Sizing Equivalent: XS SML

Item# DD4144

Reference Photos/Videos: (1-2) Spring 2018 Jacquemus Runway, Look 48. Model: Naki Depass.  /  (3) Photo by David Luraschi.  /  (4) Vogue, February 2018.  /  (5) Woman wearing Jacquemus during Paris Fashion Week SS19, September 24, 2018.  /  (6-8) From the Jacquemus Instagram.

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

This exceptional dress is by Marc Bohan for Christian Dior and it is a wonderful example of his work during this time period. We’ve dated it to the Fall 1979 collection based on the runway photo we found that shows a dress with the same fabric. It is a very easy and comfortable dress to wear but has such a beautiful glamour to it. I feel that it perfectly represents this time period. His work was integral to the label's development over the decades that he headed the atelier and this is a stunning example of his vision. Beyond that it is just an extraordinarily beautiful dress.

This dress is incredible. It is super light and very easy to wear. The outer layer of it is a fine silk chiffon that is shot through with a gold and silver thread pattern that covers the entire dress. The metallic thread is woven through the silk and it catches the light from every angle as you move. The neckline is softly scooped and the dress has no sleeves. It is cut in a very twenties silhouette with a long bodice and dropped waist seam. It is meant to skim over you. The skirt billows out from under that with two wide layered tiers of chiffon. At the back it buttons at the neck and then has a keyhole for a glimpse of skin to show. Below that is a row of silk covered buttons. You can wear the dress in this very loose and easy way or you can use its matching silk tie belt to cinch it in and add shape through the waist. The dress actually comes with two separate ties. One very skinny extra long sash that you can use around the waist and then there is also a very long wider cut scarf/sash that you can wrap around the neck. You can also wrap the wider one around the waist for a softer look and to draw in the shape more as a wider belt. I've shown it in the photos a couple of different ways for you. The wider one could probably even be worn it as a turban. I love that these extra pieces give you a lot of versatility on how you can wear the dress. Once on the body the skirt in particular has incredible movement. Each layer in the skirt is made of several yards of fabric and there's another layer of a blue silk chiffon underneath the bottom layer. The fabric is so light that it will move with your slightest movement. It is very easy to wear but packs a tremendous amount of style with the two tone metallic thread and that spectacular fabric and cut. It is made to demi-couture standards. Excellent overall condition with one note below.

The dress is line with a blue silk chiffon. It buttons at the back as described above. It comes with two sashes as described above. Hand finishes throughout. The bias cut and easy shape should allow it to fit a range of sizes. There is a bit of a fade mark that runs down one side that is very light. Please see the photos after the label shot. Once on you would never notice it.

Waist: 18" flat across from side seam to side seam
Seam at dropped seam: 20" flat across from side seam to side seam
Bodice: 25" from top of shoulder to dropped seam at top of skirts
Skirt: 32" from dropped seam at top of skirts to longest point of hem
Total length: 57" from shoulder to longest point of hem

Skinny sash: 156" x 1.5"
Wider sash: 124" x 19"

Modern Sizing Equivalent: SML-MED

Item# DD4140

Reference Photos: Fall 1979 Christian Dior Runway.

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

This beautiful Yves Saint Laurent top is a true piece of Haute Couture amd comes directly from the original owner. It is a remarkable example of his work during this time period. I am hoping to find it exact date and then can also find the sketch of it which I will share with its new owner.

The workmanship on this top is absolutely exquisite. The top is entirely hand made and it is a work of art. It is made from a fine black silk velvet that is layered over a black silk chiffon inner base. The level of workmanship is extraordinary. The velvet is cut and embroidered to form an intricate floral and leaf pattern. Where it is open between the flowers and leafs you get that bit of transparent black with the silk chiffon. So it gives the illusion that you can see the bare body underneath while still completely covering you. It is an effect that is very sexy once on an actual body. Seeing it on the dress form just gives you a hint of it. The workmanship is extensive and the time it would have taken to create this piece is extraordinary since it would have all been pieced together by hand. The cut is kept simple so that the pattern takes center stage. The neck is scooped and the shoulders have light padding. I took a photo of one so you can see how even the shoulder pads are made by hand. The waist is brought in a touch but it really is meant to just skim over the body.  It is an absolute work of art and a stunning example of Haute Couture during this time period. Excellent condition

Backed in a black silk chiffon and closes down the back with a hand set zipper and then it snaps over that. The snaps are set to follow the pattern so that there is no closure shows at all. Entirely made by hand. Hand made light padding in each shoulder. Haute couture tag and numbered tape present.

Shoulders: 15.5"
Sleeves: 22
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 23" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# S979

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

This is a beautiful dress from the Christian Dior label that showcases the elegance the best of the brands work has always displayed mixed with the youthful spirit that John added to the house. John Galliano went from Givenchy to Dior in October of 1996 and stayed there until he was dismissed in February of 2011. During John Galliano's years at the house of Christian Dior he arguably produced some of the most amazing dresses in the house's history. His work is always beautifully cut and this one is no exception. It has that minimalist spirit of the nineties and early 2000s and it is stunning. This was a piece that was produced in limited quantities for retail. The main line runway pieces that season where based on his own couture work and then the actual production pieces included a group of more refined and elegant pieces like this one. It is always interesting to see how John translated his over the top runway collections into elegant, wearable and yet still glamorous pieces.

When I looked through the collection for that season I think they made a mistake by not including this one in the show. It is fantastic. The dress combines a sleek finished wool that lets it hold the shape that you see with a knit for the upper shoulders and sleeves. Where the two meet across the top of the bodice gives the illusion that you are wearing a strapless dress with a turtleneck sweater tucked underneath. But because it is all one piece you don’t get the bulk that doing that would give you. Instead it sims perfectly over the body once on. The upper portion of the dress is in a sleek turtleneck and the knit has a ribbon through it for texture. It’s fitted across the upper bodice and the sleeves are long. I love the chunky silver zipper detail that runs across the top if the shoulder and up the side of the turtleneck. Underneath the knit part the dress is sculpted and sleek. It skims over the bust and nips in at the waist. The skirt flares out on a curve to end just above the knee depending on your height. Pockets are hidden on each side of the hips. The colour is the deepest possible blue. I had to look at it in a few different lights to decide whether it was blue or a black. Its very chic and minimalist. It appears to have been worn very little if at all. Excellent condition

Fully lined under the wool part in a matching blue silk and the knit parts are unlined. It zips to close with a hidden set zipper at the back and the zipper at the neck is functional. Tagged a US6 GB10 FR38 IT42.

Sleeves: 23"
Shoulders: 13.5-15"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 35" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4130

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

In 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 photo on the runway and we even found one that shows the twin of this dress just behind Oscar for the finale of the show.

Like most Haute Couture, this is a dress that only truly comes to life when it is on an actual body. No matter how good it looks in the photos, the impact it has in real life and how it moves once on is undeniably beautiful. You can see in the runway shots that the dress sits lower on the sides of shoulders then where it sits on the dress form and this simple difference changes the look of it tremendously. The fabric is a fine silk in a pale baby blue that gives it the weight it needs to perfectly hold and to shape you through the bodice. The dress is sleeveless with wide straps that curve up and off the shoulder. It is fitted to be like a corset with built in boning and seaming to shape you. The neckline is scooped at the front and dips into a V at the back. There are attached underskirts to hold the volume of the skirt and if you wanted even more there is room to add a crinoline. The bodice is shaped with long vertical seaming that curves into the dipped waist seam. At the back it closes with a corset detailing and matching coloured ties. The skirt is set along the waist seam in a series of big soft inverted pleats that give you this lovely curve around the top of the hips. Then as they open out the volume of the skirt is achieved to give it the incredible volume that you see. Each layer of the fabric is light but when all the layers, and the sheer volume of fabric that has been used, is combined the overall weight of the dress is substantial and it feels like a couture piece. You can see how stupendous this is one in the runway photos and the massive sweep that the skirt has. This comes to me from one of his the original couture clients. This dress is definitely a dress that could walk a carpet and it would also make an amazing dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. Excellent condition with a minor note below

Fully hand lined in a pale blue silk through the bodice. The skirt has an inner silk lining and then two layer of tulle over that and a partial layer around the inner hips. Hidden boning and corseting through the bodice. It closes with a hidden inner zipper, a half zipper at the exterior waist and then laces to close over that. A waist stay inside that hooks to close and a second hooked stay above that this sits just under the bust. Hand finished through out to Haute Couture standards. Proper couture tag present Couture tape #172438. I see some teeny marks on the grommets which would be a natural part of normal use. One yellowish mark near the seam above the hem. A couple of very faint marks here and there near the hem. A small lightened spot on the front edge of the center fold. All of which you only see if you lay it out flat and look for them. Perhaps a slight darkening under the arms but it very faint and only in very bright light. Please see the photos after the label shot

Bust: 17" flat across from side seam to side seam
Inner corset waist: 13-14" flat across from side seam to side seam
Hips: open
Bodice: 14.5" from top of shoulder to side waist
Skirt: 44" from side waist to hem with 3.5" turned under the hem 

Modern Sizing Equivalent: SML-MED

Item# DD4136

Reference Photos: Spring 1994 Pierre Balmain Haute Couture Runway.

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

This is the third print version of this dress I have had and I am so pleased to have another one so soon. This one is even a little more special because it is an exact match to the one that walked the runway. The dress in the slightly different print to this one was used for the 1992 ad campaign that was shot by Helmut Newton. That campaign featured the beautiful Karen Mulder. It was also featured in Vogue that season on the equally stunning Beverly Peele. And if that was not enough we also have the original runway footage so you can see just how gorgeous it is on and moving. In the Vogue editorial it also included some interesting information that tells us that the original retail price of the dress was $1695USD, which would be the equivalent of $3000+USD in today's dollars. Yves pieces are only increasing in value each year and this one is still a bargain even at its higher price. It is pristine and a very collectable vintage piece due to its strong provenance. This was one of the iconic pieces of that season and I am very pleased to have this one come into the shop.

The dress is made from a soft cotton that has a slight texture to it. This gives it the perfect amount of weight to hold the shape and feel fabulous once on the body. It simply skims over your curves in a chic and simple line. The dress perfectly represents this time period and you can see the transition from the stronger, more angular shaped of the eighties slowly moving into simpler shapes for the 1990s while still retaining the emphasis on the shoulders that the eighties had. That touch of excess from the 1980s is still there, but the shape is softening. The neckline is scooped into a soft V and set wide so that you get a glimpse of collar bone. Vertical seaming runs down the front on either side so that is has some shape but there is no break in the line that a waist seam would have made. The skirt is slim and straight. The sleeves are the star of the show and each has an elastic at its end and lots of gathered fabric above that that gives it the volume you see on the dress form and the two reference photos provided.  It is amazing on the body and a rare find. Excellent condition

Fully lined in a green silk through the body. It closes with a side set zipper. Elastic at the end of each sleeve. Tagged a YSL vintage 40. It appears to have been worn very little if at all

Shoulders: 15"
Bust: 18.5" flat across from side seam to side seam
Waist: 14.75" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 37.5" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4127

Reference Photos/Video: (1-2) Spring 1992 Yves Saint Laurent Runway.  /  (3) Karen Mulder for Yves Saint Laurent, Spring 1992. Photo by Helmut Newton.  /  (4) Vogue US, March 1992.

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

Sybil Connolly was based in Dublin and she was known for creating fashion from Irish textiles especially linens that she used both with and without pleats. Her first major US fashion show was in 1953. She quickly became a darling of the American market and was dubbed by the media as 'Dublin's Dior'. Jacqueline Kennedy wore Connolly for her official White House portrait and Connolly was a particular favorite of Carmen Snow, the editor of Harper's Bazaar. All of her pieces were made in her atelier in Ireland, even the ready-to-wear pieces. This was the opposite to all the other European designers who had the American market pieces made in America due to the stringent and high costs of customs. But Sybil wanted to keep employment in her own Irish workrooms. Sybil Connolly pieces are rare things to find and I love this one so much.

The dress is a dream. It is made out of a fine silk gauze chiffon that is very light and airy. This is a dress that you have to see in person to fully appreciate its beauty. The fabric has such lightness that is is just magical once on. The colour is a soft pale lavender with a darker large shade of the same colour screened onto the silk in the pattern that you see. The bust is cut to skim over you and it has an inset the at the front that contrasts with the rest of the print. This is just a pretty little extra detail. The waist is seamed but it is set slightly low and it is generous in cut. You could change the look of the dress by adding a belt or ribbon around the waist for more shape. Or wear it more loose and easy as you see it in these photos. The skirt billows out underneath that with a tiny bit of gathering around the waist seam. It opens out to the floor from there and has quite a bit of fabric by the time it reaches the hem. Circling the hem is a deep ruffle with a smaller ruffle set just above it at the joining seam. The same ruffle technique is also done at the ends of each sleeve. This gorgeous ruffle technique adds to the feeling of lightness the dress has. Above those pretty ruffle the sleeves are very full and billow out and around the arm.  The sleeves are not lined so you get a pretty glimpse of the arm through the sleeve. It is wonderful and rare example of her work. Excellent condition with a small note below

Fully lined in a white silk organza with the sleeves left and lined. It closes with a back zipper. The bodice is lined with a pale lavender silk. All of the interior seam edges are finished to Haute Couture standards and are completely done by hand. I see what looks like a tiny bit of a repair near the base of the zipper amd near the seam under one arm but both are extremely minor.

Sleeves: 23"
Shoulders: 15"
Bust: 16-18.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Inner hips: to 22" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4133

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

This is a gorgeous dress by Pierre Cardin and I absolutely love it. These printed silk gazaar dresses that he did on the early seventies are among my very favorites of his work. Even more so for me then the mod pieces he is often associated with. Pierre Cardin was actually a designer that had a huge range and could produce pieces with high level of glamour. I also love that we found a reference photo of this dress so that you can see just how spectacular it is on. I love it

This dress is extraordinary and any collector of Pierre Cardin will instantly recognize it for the every special piece that it is. The dress is made out of a printed silk gazaar and this fabric choice keeps the dress as light and airy as it could possibly be. It's hard to even realize how light the fabric is until you see it in person. The fabric also holds the shape extremely well so the fullness that you see are there by the placement and the way the dress is constructed. I didn't have to add anything under the skirts to give it that touch the volume. The dress is cut to skim over the body with just a suggestion of curves as it works it way over the bust, waist and hips. It is generously cut and you could add something at the waist if you wanted a really defined shape. Doing that would also exaggerates the shape and curve of the skirt underneath more. The sleeves are long and a single layer of the silk. The entire bodice is made from a series of precise, flat knife pleats. The sheer level of technicality that would be needed to achieve this is mind boggling. Each pleat is the exact same size the one next to it and they are stitched into place from shoulder the just past the waist with tiny hidden stitches. The volume you see in the skirt is created once the silk is released from these pleats. It is a stunningly beautiful and rare piece that I am very excited to have in the shop. It also comes with its original wide sash that you can see was wrapped around the neck in the reference photo. You could also use it at the waist or even as a head wrap. This is a stunning piece of Pierre's work and it looks to have been worn very little if at all. Excellent condition

Fully lined in a purple silk and closes with a hidden set back zipper. Hand finished throughout.

Sleeves: 23.5"
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: open
Length: 56" from shoulder to hem
Scarf: 72" x 24"

Modern Sizing Equivalent: SML-MED

Item# DD4134

Reference Photo: Model in Pierre Cardin, Vogue, 1972.

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

Norman Hartnell was a British Couturier who is known for his long relationship dressing Queen Elizabeth dressed the royals and the aristocrats. Hartnell opened his couture house in 1923 and by 1947 his house was thriving. Besides his appointment as a dressmaker for the Royal Family he also had a loyal following with Hollywood starlets and socialites. The dress is of particular note as it is from the same collection as the one made for Queen Elizabeth. The Queen originally wore her version in 1961, 1962 and then again in 1966 with a revised hem. It was then lent to Princess Beatrice by the Queen to wear as her wedding dress where it was altered yet again. You can see in the original photo of the dress from 1961 that the skirt shape and volume are the same. There is also similarities in the way that the crystals on the dress are laid out on the bodice and upper skirt. It is an absolutely stunning example of his work and one of the best dresses by him that I have seen.

Norman Hartnell was known for his evening wear. The best of his work incorporate lavish embroidery and intricate details like this one has. The dress is made out of a black silk taffeta and has that distinctive skirt hem that it shares with the Queen's dress. The top is cut to skim over the bodice and has wide straps that gracefully curve up and over each shoulder. They can be worn higher up like a proper strap or to sit slightly off the shoulder to give just the suggestion of a capped sleeve feel. The  waist is seamed and I added a ribbon to give it a little more shape. Under that the skirt falls to the floor in a widening sweep of silk as it nears the hem. Several yards of silk are used just for the skirt. At the hem the silk is swept up and under to create that unusual full rounded hem. This technique gives the skirt extra volume. It also create this stunning movement once on the body. When you walk or move it floats and moves around you. It is incredible on. The dress is detailed with sharp and precise knife pleating around the waist that extend and then opens up and into the bodice and then does the same under the waistline down into the skirt. For the perfect bit of a glitzy finish there are hundreds of hand set crystal rhinestones scattered over the dress. They are each individually prong set and there are couple of different sizes so that they catch even the smallest bit of light. It makes you think of a sky full of stars. The dress is very beautiful. It is an extraordinary example of British Couture from this time period. Excellent condition

Fully lined in a black silk and closes with a back metal zipper. There is an additional hook & eye closure just inside the zipper area and an inner waist stay. All the inner seams are hand finished to couture standards. The inner skirt is silk and has a tulle finish to the bottom half. There is an additional layer of tulle in the inside of the outer skirt. Each prong set rhinestone has been hand placed and hand set. Hand finished throughout to couture standards

Bust: to 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of shoulder to waist
Skirt: approx 45" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3071

Reference Photo: (1-3) Queen Elizabeth in Norman Hartnell.  /  (4) Cherie, Owner of Shrimpton Couture by Erin Leydon.

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

Alexis Mabille graduated from Chambre Syndicale de la Couture Parisienne program in 1997 and then apprenticed for Ungaro and Nina Ricci before landing at Christian Dior. He spent nine years there and then launched his own label in 2005. He started with RTW and then in 2008 was granted guest membership on the official Haute Couture schedule. In 2012 he was granted Haute Couture appelation by the Commission de Classement Couture Création. His label at this time period was called Impasse 13, and under this label he did both a unisex and ready-to-wear collections mixed with new couture pieces. This dress is the twin of the piece that walked the runway for the Fall 2018 Couture collection and it is a stunning example of his work. On the runway it was shown in a pale lavender. I love this stunning soft blue version though. It is just stunning.

This is an absolutely gorgeous dress that is easy to wear and still very flattering. It has an easy to wear caftan feel to it but at the same time the silk moves with you as you move and suggests the body underneath. It is made of a dusty blue silk mix that has enough weight to make it flattering as it skims and drapes over you but that is still light enough that it easily moves. The silk is self backed in a satin finish that makes it feel amazing once on the body. The dress has minimal seaming and is cut to simply fall from that one single shoulder in a cascade of fabric. The other shoulder is left bare and exposed. On the side that is covered the fabric falls over the arm and down to the floor. There is an inset of lace that runs down the top of that arm and then continues to the floor. I love that you get just a peek of bare skin through this inset. Once it starts its descent to the floor he has inserted a panel of a semi-transparent blue chiffon. This allows a glimpse of your leg to show when you walk or sit. It a subtle sexiness that is fabulous. I have included runway footage of the couture version so you can see just how fabulously this one moves. It is just a fantastic dress. Excellent condition with one small note below.

Unlined and slips on to wear with a hidden set zipper under the arm. The easy fit should allows it to work on almost any size. Tagged a 42. In its original uncut supermodel length. There are a couple tiny marks on the back near where it folds in. You see then laying flat but not when on. Please see the photo after the label shot

Bust: to 25" flat across from side seam to side seam
Waist to hips: open
Length: 70" from shoulder to longest point of the hem

Modern Sizing Equivalent: OSFA

Item# DD4117

Reference Photo/Video: Fall 2018 Couture Alexis Mabille Runway, Look 13.

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

There are hints of this dress from both the 1986 collection and in the 1988 collection. The original owner did buy it in the 1980s but I do not have the exact day. I tend to lean towards the earlier date for it but I have included reference photos from both the above mentioned collections. It is a stunning example of Valentino's work during this time period.

The dress is beautiful to see in person. It flows over the body from the more fitted bodice and the lightness of the silk allows it to move and float around you when you move. The bodice is a stunning example in shaping and couture techniques. Inside it is boned and has built in cups. This interior structure holds it perfectly in place over the body once on. On the exterior the silk is hand set and gathered over the bust and all the way around you. Each individual gather is meticulously hand stitched into place. Above this more structured part of the dress is a single layer of the chiffon. At the front it scoops in a higher set neck and at the back it is set with a keyhole running down to the top of the gathered bodice. The skirt flows out under that in four layers of the silk and each layer is bias cut. This is what allows it to have such beautiful movement when you move. The final touch are those pretty sleeves that are cuffed at the wrist and pouf out around the arm above that. It also has its original very large silk shawl piece. It is beautiful. The dress does have some flaws but is structurally sound. Please review the notes below.

The interior bodice is finished is boned and corseted. The skirt has four layers of silk as described above. The interior corset closes with hook and eye and the silk layer zips to close over. Each cuff buttons with two silk covered buttons and loops. Three buttons at the top of the back neck. There are areas of fading through the skirt that go through the layers. I have photoed the worst of them. There are some faint areas of the same fading in areas on the silk above the corset and on the sleeves. I see one tiny repair near the hem at the back of the skirt. Some stress to silk near the shoulder. I think you could potentially remove the sleeves and upper bodice and use the shawl to create a layer over the worst of the fading or just have it redyed and it would be perfect again. Sold as found and final and the price is according to the description above

Sleeves: 25"
Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: open
Bodice: 16.5" from top of neck to interior waist stay
Skirt: 45" from interior waist stay to hem
Shawl: 54" x 52"

Modern Sizing Equivalent: MED-LRG

Item# DD3018

Reference Photos: (1) From the book "A Grand Italian Epic, Valentino", 1988/1989 collection  /  (2-3) The "Degradè" Dress from the Valentino Haute Couture 1986 collection. (4) Cherie, Owner of Shrimpton Couture, by Erin Leydon taken on location at JohnMel Stables 

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Halston did variations of hos famous one shoulder dresses over the course of several years and they are still among the most collectible of all of his pieces. Nothing says Halston like this classic and when you find one in a silk chiffon and this stunning shade of blue it is a joy to see. Versions of this dress have appeared in several museum exhibits of his work and I have included a photo of a similar one from The Met. These are still one of his best and most impactful designs. This one is from his main label. I have had versions of these in the past and some reside in my own personal collection and this one in its brilliant blue colour is one of the best. It is a very special piece of his work and it is gorgeous. It is not 100% perfect but its beauty outweighs it flaws.

The dress is entirely cut on the bias and utilizes his signature minimal seaming. Halston defined how woman dressed in the 1970s and these one shoulder dresses in particular were tremendously flattering to the body. It is also insanely sexy while still being extremely comfortable to wear. It is feather light and you are barely conscious of wearing anything. The fabric is a fine light silk chiffon that moves and drapes beautifully. The silk has been hand dyed to that brilliant blue color. The camera came close to capturing the colour but in person it is better. The blue is more saturated and the colour has more depth. The blue is one that is flattering on most skin tones and it is a beautiful pop of colour to wear. The inner dress is made of three full layers of bias cut silk and then that top caped layer is attached along the neckline to lie over those. The inner dress is made to drape over the body and the bias cut allows it to move with you as you move. The top layer is cut on a soft curve above the hem on one side and then sweeps upward to cover the shoulder and cascade down all the way to the hem. The bias cut and that caped effect on the one side give it tremendous movement as you move. It is spectacular. This is a rare example of Halston at his very best. Presents as excellent condition and is 100% sound but please review the full condition notes below

Constructed in multiple bias cut layers as described above. It slips on with no closures. Hand finished and the bias cut should allow it to fit a range of sizes. There is fading down the top of the caped side and some marks near the neckline and on that side of the cape. If you wore it the other way around you would not see most of these. Once on these fade more into the fabric that is there. There is one mark on the inner dress under the overlay as well. Please see the photos after the label shot. Priced with this in mind.

Bust: 15-21" flat across from side seam to side seam
Waist: 12-19" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Length: 63" from top of shoulder to hem

Modern Sizing Equivalent: XS-LRG

Item# DD4116

Reference Photos:  Silk chiffon dress worn by Lily Auchincloss at the French-American fashion show, Palace of Versailles, 1973. Now part of the collection at the Metropolitan Museum of Art. (First image from the book “Halston”.)

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

Norman Norell was one of the great American designers. His clothes were wildly expensive in their day and he was credited for the unique ability to translate Paris couture into American ready-to-wear. He started in the film industry and then was hired by Hattie Carnegie. In 1941 he left and and joined Anthony Traina where the Traina-Norell label soon appeared. Upon Traina's retirement in 1960 he launched his own self-named label. He won the very first Coty American Fashion Critics' award ever given in 1943 and then won it again in 1951. In 1956 he became the first designer to earn a place in the Coty Hall of Fame. His signature styles for day ran the gamut from shirtwaists, suits, beautifully tailored coats and clothes that seemed simple at first glance but were logistically complex. Norman himself once said 'To qualify as a designer one should not be afraid to repeat a good design, and certainly must have his own signature'. He achieved that and more. I think every serious vintage collector should have a piece of his work in their archives.

Judy Garland wore the twin of this dress in 1963 and I wish that I could tell you this was the actual dress but I have no provenance to tell me that it is. This was one of Judy Garland's most iconic photos and it is amazing to have found the twin of it. It is a stunning dress and despite being almost 60s years old it still feels chic and modern

Norman Norell dresses were cut with an exception eye. Every line and seam is placed exactly where it should be to flatter the body. This particular dress is a fabulous example of his work during this time period. The dress is made from a wool crepe that is light in weight and has a bit of texture to it. The neckline is squared off and the sleeves are capped. There is an attached piped belt made in the same fabric that hides the seam under the bust and adds a pretty little detail. It is cut to hug the bust and the squared off neckline is fairly low to show some skin. It skims over the wait and hips and then from there it falls to the floor and gently widens out as it nears the hem. It closes with a row of tightly spaced buttons that run down on side. These start at the top of the neckline and  and run all the way down to about the knee leaving an unbuttoned area that you get a flash of leg seen below. All of the buttons are functional and each has a perfectly and properly tailored buttonhole. The dress is made to demi-couture standards and the finishes within it are superb. I love it and it is a wonderful and beautifully documented piece of his work from this time period. Excellent condition.

Fully lined in a fine black silk and closes at the front with the buttons as shown. The attached belt ties into place. Proper button holes finishes on all. Hand finished throughout and made to demi-couture standards.

Shoulders: 14"
Bust: 16-17.5" flat across from side seam to side seam
Seam under the bust: 14" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 10.5" from shoulder to seam under bust
Skirt: 43" from waist to hem, with 2" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3377

Reference Photo: Judy Garland in Norman Norell by Richard Avedon, New York, January 7 1963.

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

The twin of this gorgeous Spring 2001 Chanel dress was worn by Bridget Hall on the Runway. The show that year took place in the Carrousel de Louvre where the Chanel team constructed a multi-coloured Neon Staircase for the models to walk down. The Chanel 'Catwalk' books noted that the models sported tons of colour to go with that staircase and the collection showcased red, pink, blue, coral and purple besides the standard black and white used so often by Karl. Models had logos written on their faces and even their nails with a 'specially produced varnish embellished with diamante chips'. I love that you can see just how fantastically the dress moves in the footage. It is an absolutely stunning dress and I love it

This Chanel dress is phenomenal. This is the kind of dress that you see in real life and it makes you swoon. As good as it looks in the photos it only really comes to life on the body. When you move in it the air around you picks up the silk chiffon that it is made out of and it has the most beautiful movement. The dress is cut with a very soft and easy feel much like the dresses of the twenties and thirties. The bodice is cut to skim over you. The neckline is cut wide across and it softly drapes down a touch at the center dips softly down with angled seaming under that. The main colour is a soft dusty rose and there is a second deeper pinky red wherever he added a ruffled effect. The sleeves are one of those places and they drape around the top of the arm and are so pretty. The dress is entirely cut on the bias above and below the seamed waist so that it drapes down and over the bust and then around the hips and to the floor to show off your curves. On the runway it was styled with a classic Chanel chain belt and you could add something similar or wear it as it is. The skirt is seamed on angles to again give a nod to the seaming of the twenties and thirties. The hem curves around you and dips up at the front to show some leg. From the waist down to the top of that front where it curves up are two more rows of ruffles in those two tones of pink. These move so prettily when you walk. There is a seam just under that and this seam curves around you and the lower skirts are set into that. This allows the lower skirts to really flare out and move as you move. You can see that in the runway video. I love that the inside of the lower skirt is also lined with the deeper toned chiffon. He then extended the back to go just past the hem to create a slight trained effect behind you. If all of that wasn't enough the dress closes with a row of domed pearl buttons at the back. Each button is embossed with a tiny pink Chanel across its surface too. The entire dress is as light as a feather once on and it is almost like having nothing on at all. All of the added ruffles and layers of silk move with your slightest movement. It is just amazing and even better in person. It appears to have never been worn or worn very little. Excellent condition 

Fully lined in the same silk chiffon as the main body of the dress and then some parts are accented with the other colour silk as seen. It closes with a low set side zipper at the back and buttons above that. Tagged FR40. It appears to have been worn very little if at all.

Shoulders:
Bust: 16-19 " flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 18" from shoulder to dropped waist
Skirt: approx 42" from dropped waist to the front hem, 49" to longest point of the back hem. The opening at the front is 22" down from the waist

Modern Sizing Equivalent: SML-MED

Item# DD4110

Reference Photos/Video: Spring 2001 Chanel Runway, model: Bridget Hall

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