The Resort and Spring 1977 collections were some of the few that Halston worked prints into the collections. He normally focused on a solid color palette and I love seeing this side of his work. I found a runway reference of a piece from the Resort collection that season that has a similar print and a page from the Halston book that shows some of the variations of this print that he used for this collection. It is such an easy to wear set and feels very modern. There is a quote that I love by Grace Mirabella where she talks about his cuts. She said; 'Halston's proportions were perfect. His clothes followed the shape of a woman's body without being tight; they held the body while still retaining a certain langour' and this really sums up how they sit on the body once worn. 

This is an amazing set from this time period. It is made up of three pieces. There is a soft cut pant, a sleeveless top and then a jacket that you can wear over those. All three pieces are made from a lightweight silk that has that stunning print over its surface. The silk is almost weightless and feels effortless to wear. The ease of the pieces and the way they are cut make this a great way to be full on glamorous while still being entirely comfortable. This is the kind of outfit that will easily take you from an evening out with heels to entertaining at home with flats. You can wear the pieces together as shown or as separates. The pants are cut with a slightly tapered leg but are easy and soft. They slip on to wear with elastic at the waist and pockets on each hip. The sleeveless top that goes over the pants has a angled cut for the shoulder/arm opening and then it simply wraps over itself and hooks into place at the waist with snaps above that. The collar is neat and small and extends down the front on both side. Last is the jacket/top that has a very loose and soft cut. It buttons down the front and has that same neat rounded collar. There is elastic in each cuff and running through the bottom hem but it is set to be very full, loose and wide rather then cinched. This final piece is cut very wide and full through the body so if worn over the other pieces and open it will billow out a bit when you move. Very chic. There are endless styling possibilities with a set like this and it will really come to life once on an actual body. A wonderful and rare piece of his work during this time period. Excellent condition.

All three pieces are unlined. The pants slip on to wear with elastic on the waist and pockets on each hip. The top closes with hook and a snap at the waist and snaps above that. Elastic through the waist as well. The jacket/outer top buttons to close as described above. The loose and easy cut should allow it to fit a variety of sizes. There is the tiniest touch of a grubby feel to the inner collars, along the bottom edge of the jacket and near the arm opening of the inner top. 

Top
Bust: to 19" flat across from side seam to side seam
Elastic waist: 12-18" flat across from side seam to side seam
Length: 20" from neck to hem

Jacket/top
Sleeves: 22" approx.
Shoulders: 15.5"
Bust: 20" flat across from side seam to side seam
Waist: 19" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 26" from neck to hem

Pant
Elastic waist: 14-19" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 40" from waist to hem with 2" turned under the hem
Inseam: 29"

Modern Sizing Equivalent: SML-MED

Item# DD3741

Reference Photos: Spring 1981 Halston 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.

Anne Fogarty designed pieces for young women at affordable pricing. Her work always has a touch of femininity to it. She started her career as a fit model for Harvey Berin while in her twenties and it was while there that she decided to try her hand at design. She designed dresses for Youth Guild up to 1950 before joining Margot Dresses and then by the 1950s, she designed for Saks Fifth Avenue. In 1962 she launched her label under her own name, Anne Fogarty, Inc, followed by a boutique line. This dress is from that secondary line. Her business closed in 1970 which gives us a window that this dress would have been from. Through the 1960s and 1970s the Empire cut was a favourite of hers and this is a lovely example of that time period. 

The dress is so cute and it will be even better on an actual body. It is always hard to fully capture pieces with this off the shoulder cut as they really need to be on to come to life. The dress is made out of a light cotton voile in a soft lavender colour. There is a design of little white dots and flowers that runs over the entire dress. The edges of the flowers are finished with a slightly more opaque white line that gives the fabric a hand painted effect. The top is cut with a higher set empire waist and it is meant to skim over the bust. The neckline is ruffle and it is cut wide enough that depending on your shoulders it can sit fully on the shoulder, to the edge of the shoulder, or fully off the shoulder to leave the most skin bare. The sleeves are capped and puffed. It is gathers just under the bust for a touch of shaping and then the dress falls loose and easy around the body on all sides. Two ribbons are attached at the waist, one purple and one white, and you can use these to tie it at the back. This lets you ties them loose and easy or you can really cinch it in. The skirt falls from there and gently widens out as it nears the hem. The hem is finished with a wide ruffle in the same fabric to create the perfect finishing touch. It is darling. Excellent condition. 

Fully lined in a white silky rayon. It slips over the head to wear and you can tie the ribbons to add shape. 

Bust: to 20" flat across from side seam to side seam
Empire waist: to 18" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: approx 10" from top of shoulder to ribbons waist
Skirt: 43" from ribbons at empire waist to hem
Neckline opening is 40" around

Modern Sizing Equivalent: SML-MED

Item# DD3740

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

Loris Azzaro founded his label in 1967 and quickly was dressing women like Raquel Welch, Brigette Bardot, Tina Turner, Liza Minnelli, Sophia Loren, Marisa Berenson and many more. His label gained international recognition and was known for his bright, clear colour choices and daring cuts. He once said in an interview; 'When a woman has found her style, she should stick to it. We forget too often that it is the dress that must serve the woman and not the opposite.' He is one of my favourite designers to find and with all of the emphasis on recreating these looks from the eighties by many modern designers you can't beat these original vintage version on terms of cut, style and quality. 

This is a fabulously bold and sexy dress. Azzaro chose a vivid pink silk taffeta for the fabric. It is the perfect fabric to help to hold the shape and give the dress structure while keeping it light in weight. The silk is draped over the body and set in a series of tightly spaced horizontal gathers that run from the top of the bodice to bottom of the hem. You can see the hidden set stitching where the gathers have been lightly caught in a line down the front. This is mirrored by an actual seam that runs down the back. The dress is strapless and the bodice is shaped into an exaggerated sweetheart neckline that plunges down in the middle to meet the centre stitching detail. The waist nips in beneath this by the way it is cut rather then having a waist seam that would break the line of the dress. Below that the skirt skims over the hips. It is cut to be short so that you get a mile of leg showing. You can even hike it up more around the hips of you want to wear it shorter and by doing that it makes the bows at the back have even more volume. The bows at the back create a modified bustle. Three panels of silk have been set stacked in folded loops one over top the next below it. They start just under the low back and end at the hem. Each loop is finished with a touch of an inner netting to help hold their shape. This adds a very dramatic and quirky detail to the dress that I love. Excellent condition.

Fully lined in a pink silk and closes at the back with a painted metal and nylon zipper. The bodice is boned and the back bustle panels have in inner lining of netting for shape and snap into place over the zipper. Hand finished.

Bust: to 17" flat across from side seam to side seam
Waist: to 12.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 27" from top peak of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD3305

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

Loris Azzaro founded his label in 1967 and quickly was dressing women like Raquel Welch, Brigette Bardot, Tina Turner, Liza Minnelli, Sophia Loren, Marisa Berenson and many more. His label gained international recognition and was known for his bright, clear colour choices and daring cuts. He once said in an interview; 'When a woman has found her style, she should stick to it. We forget too often that it is the dress that must serve the woman and not the opposite.' He is one of my favourite designers to find and with all of the emphasis on recreating these looks from the eighties by many modern designers you can't beat these original vintage version on terms of cut, style and quality. 

I love how this dress combines the sexiness of the fitted strapless dress with the drama of that flared skirt. The dress is made out of a printed silk taffeta that combines a bold pink with a deep purple in a soft washed print that covers the entire dress. The silk keeps it light in weight but at the same time is the perfect choice to help to hold the shape and give the dress structure. The top portion of the dress has been gathered in soft folds from the bust to just past the top of the hips. The folds are set to help to highlight the hourglass shape of the dress. They have the illusion of being wrapped around you and they are set on dramatic curves to really emphasize the shape of the body underneath. The neckline is strapless and the top of it curves over the bust to make a sweetheart neckline. The centre plunges down and is set to perfectly meet where the draping crosses over on each side. Inside the dress there is one of his signature built in strapless bras for extra support. The waist nips in beneath this and the shape you see is created by the cut rather then having a horizontal waist seam to break the line of the dress. The gathers continue down and over the top of the hips for shape. Below that the skirt flares out in soft folds and volume. There are two layers of the skirt and this lets the skirt move with your slightest move. It is even better on an actual body. Excellent condition.

Fully lined in a pink silk and closes at the back with a painted metal and nylon zipper. The bodice is boned and there is a strapless bra set into the inner bodice. Hand finishes throughout that are to the demi-couture standards his main line pieces were made to.

Bust: to 17.5" flat across from side seam to side seam
Waist: to 14.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 34" from top peak of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3307

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 such a beautiful dress and the combination of that huge print and and the bright pink is just gorgeous. It dates to 1969 and a version of a caftan with this same print is held in the Iwami Art Museum's permanent collection. It was also shot for Vogue that year and as a result is one of her most recognizable prints. Hanae was the first woman of Japanese descent to have presented on the Paris and New York Runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Her work is exceptional and a personal favorite of mine

Flower prints are closely associated with the work of Hanae Mori and her designs and this one with its oversized chrysanthemum print is in particularly wonderful. It is a stunning example of the work she was doing during this time period. This is everything you look for in a Hanae piece. She custom designed all of the prints that she used on her work and the flowers on this one have been screened onto the top silk chiffon overlay and onto the inner silk twill part of dress. This allows the two prints on each layer to be slightly offset and gives the print an extra dimension of depth. The cut of the top layer has a draped and flowing feel to it. When you move even slightly it catches the air and floats around you. The inner dress is made of a scarf weight silk twill that is lined in silk. The dress falls from the shoulders in a simple line, skimming over the body and gently widening out as it nears the hem. It is very easy to wear. At the front the silk chiffon is open up all the way to the neck and this really lets it float and flow around you when you move or walk. I love it. Excellent condition with a note to review below

The inner dress is lined in an ivory silk. It closes with a back painted metal zipper and the outer chiffon layer closes at the back with her signature tiny silk covered snaps. Hand finishes throughout There are a couple of tiny storage marks on the exterior silk and a couple of marks on the inner bust that the exterior layer covers when it is one. A slight yellowing to the upper part of the back and the faintest smudge under one arm. A tiny repair near the neck. None are outstanding or detract once it is one. Please see the photos after the label shot.

Bust: to 18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 56" from neck to hem with just over 3.5" turned up under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3471

Reference Photos: (1) Benedetta Barzini in Hanae Mori chrysanthemums printed evening pajamas photographed by Richard Avedon, Vogue, November 1966.  /  (2) 1966 Hanae Mori Chrysanthemum Pajamas from the Iwami Art Museum.

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 bright pink chiffon dress by Jack Bryant. The pink has a bit of a coral undertone to it and is an even better color in person. It photoed a touch deeper pink than it is and I think its new owner will be very pleased. The top later of the dress is a gorgeous overlay done in the chiffon. This gives it lots of movement. Onto the bodice there is a dramatic feather trim that covers the entire front from shoulder to waist. It is plunged almost to the waist and the feathers keep it from feeling to scandalous. The dress is made from two attached layers. The inner dress acts like a lining and is more opaque. Having this interior lining also gives it a slight bit of structure. The outer layer is just a single layer of the chiffon and there re many yards of it through the skirt. The top overlay layer floats to the floor over the inner dress and it moves with the slightest bit of air. The front bodice is then trimmed with elaborate and dramatically dyed-to-match pink feathers and there is a chiffon blow that sits partially hidden at the base of the feathers. It's just fabulous. Excellent condition

Fully lined in a silky rayon dyed to match. The chiffon is a synthetic so easy to care for. The dress closes with a back painted metal zipper. I see no signs of excessive shedding of the feathers at all. Some slight grubbiness and water marks to the interior lining.

Bust: to 17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Inner hips: to 18.5" flat across from side seam to side seam
Bodice: 15" from shoulder to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3733

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

Ceil Chapman was an American designer of classic cocktail and party dresses who successfully took the revered Christian Dior 'New Look' haute couture designs that most woman could not even hope to afford and reworked them into designs that American woman could attain. She won the Coty American Fashion Critic's Award in 1945, the John Wanamaker Award, Foley's 'Golden Year' Award, and the Strawbridge and Clothier seal of confidence, for creative contribution in the area of American fashion. In 1955, she won the Mademoiselle Merit Award, after a poll asking college girls to cite the country's most popular designer for the young. She won by a landslide. Her self-named label was launched in the mid-1940s and continued to the to the mid-sixties.

I think this might be one of the most incredible Ceil Chapman that I have not only had but that I have ever seen. It is cut into a classic cocktail dress silhouette, with a fitted bodice, nipped in waist and a very full skirt. The bust has wide straps that curve up and over each shoulder to sit wide and expose the collarbones. A panel of fabric extends out from the tip if each shoulder and then curves across the bust in a soft drape to create a shelf bust feel. This is a very flattering look once on and it really highlights the bust and creates a lovely shape. At the back the fabric is gathered in soft folds to edge the V that dips down from the neck. I have styled the dress over a light crinoline so that you can see just how full the skirt is. It could go even fuller and if you really wanted to exaggerate the fullness you could easily use a a very very full crinoline underneath. The fabric is a lovely creamy ivory silk satin that helps to give the dress the structure it needs to hold its sculpted shape. The dress is covered with this incredible detailing made up of a cotton thread lace edged in gold, gold metallic thread, prong set rhinestones and faux pearls that have all been hand stitched into place. The main part of the design is created by the thread lace edged in gold. The edging is an actual metal and is set on its side so that it sits out from the dress to give it the 3D feel that it has. Parts of the design have been cross thatched with a metallic gold thread and other parts have the rhinestones and pearls hand set into place. In person the effect is a touch softer overall feel then how it photoed. The camera creates a bit more of a shadow and in real life the dress has a more ivory and soft gold feel. It is just incredible. The entire dress catches the light and the jewels sparkle and shimmer with your slightest movement. It is like being dressed in a jewel box. I especially love how they have used the detailing across the waist to create a belted effect. It gives the dress a lovely polished finish. These early Chapman pieces are very hard to come by and this one is in wonderful condition too. I also love the level of craftsmanship put into the dress. Truly an incredible find. Besides being a very wearable cocktail dress this would make a stunning wedding choice for the bride looking for something not as traditional or as an option for an event over a wedding weekend. Excellent condition with a couple of minor notes below

Fully lined in a combination of a cream silky rayon through the bodice and dressmakers paper through the skirt. The interior bodice is lightly boned and shaped. It closes with a back painted metal zipper. The crinoline it is photoed over is not included. There is the barest hint of a mark under one arm and i am being extremely picky on that. A water mark in the skirt that gets lost in the design and perhaps a scoff or two on the fabric. I see one missing rhinestone. It is really in wonderful condition. Please see the shots after the label shot

Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from shoulder to waist 
Skirt: 28" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3731

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 jacket is from John Galliano's own label and is an incredible example of his work from this time period. The label in the trench dates this to the Resort 2002 collection and this was the second last collection they did before they stopped using this style label. From a historical and development point of view of his ideas it is also interesting to see how he built on the ideas developed for this resort collection and then expanded on them and did more denim pieces for the Spring show that were also stitched and embroidered.

This Is an amazing trench coat that has all the elements of John's work that you would want it to have. It has this amazing oversized feel to it and there is this play on proportion that it has while still staying balanced and very wearable. The fabric that it is made out of is a very light weight soft blue denim that really plays into that slouchy feel while giving it volume and shape. The fabric was top-stitched in a rainbow of colors over the denim. These are little stacked abstract lines of color that work their way over the trench to add the most interesting design element. The styling is a play on the trench with those classic front panels over each shoulder. Even there he has added his own twist and added a top set pocket that is functional and just quirky and genius. There is a curved panel that buttons into place just under the neck and the way this all lies in place is fantastic. It is a testament to his skills that it still all looks equally genius when you wear the trench open and unbuttoned. The waist is cinched in with a buckle belt and that is picked up with straps that buckle and wrap around each cuff. Pockets sit on each hip and there is a double row of buttons to the waist at the front to close it. It is meant to be slightly more oversized so should work on a range of sizes. The denim is very light in weight and I think you could easily style this to wear it on its own as a dress so it has an entirely second life as far as styling it goes. It appears to have never been worn or worn very little. Excellent condition

Unlined and buttons to close at the front and then you cinch on the waist with the belt. Tagged a US 4 but cut to be worn oversized and it cinches and gathers in easily. It should work on a variety of sizes. 

Sleeves: approx 24"
Shoulders: no trued defined seam
Bust: to 22" flat across from side seam to side seam
Waist-hips: open
Length: 39.5" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3726

Reference Photos: SS 2002 John Galliano Runway 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.

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks by using ornate beading, sequins, daring cut-outs and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. By the eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a stunning example of his work during this period. This is a label that I really love and am always happy to find pieces of.

This is a killer dress. It is really one that will come to life once on an actual body and I hope the photos convey enough of how fabulous it is because when worn this one will be even better. The upper bodice is made out of a black netting that has embroidered flowers worked through it. Each flower design is finished with a series of curved and looped rows of sequins. There is no backing to the netted parts of the design and it is set to dip well under the bust at the front and then dips low at the back. This same netting has been used to make up each long cut sleeve. This gives you a semi-transparent coverage over these areas and this is where that mix of sensuality and sexuality that his work always has becomes so apparent. Since your bodice is left exposed with the way the netting is laid out, you have the choice to wear it as bare as you dare.... you could wear nothing under it, wear just nipple covers, or do as much or little coverage as you wish with bras, bandeaus or camis. The rest of the dress is made from a bias cut black opaque silk that sits and drapes beautifully around the body. It is set to give the illusion that it simply wraps around you like a sarong and has a hip swag on one side that gives it a bit of a forties feel. The skirt is curved and wrapped and the edges of the skirt and the swag are finished with a band of the same sequin netting as the top. The skirt is cut to narrow in around you as it nears the hem. This brings all the emphasis to the curves of your body above. The way the skirt is wrapped leaves it open right to the swag and there is a built in mini skirt underneath to keep it from exposing everything when you walk or move. If there was ever a dress that needed a body inside of it to bring it to life, this is it. It is stupendous once on. Excellent condition

There is a partial lining set from under the netting part of the top to the top of the thighs. The rest of the dress is unlined. It closes with a back set zipper and each sleeve has a button and loop closure. It appears to have been worn very little if at all

Sleeves: 22"
Shoulders: 15"
Bust: 16-19" flat across from side seam to side seam
Waist: 13-15" 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 longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3723

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

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

This dress is extremely striking with its graphic red and black striped design that runs over the entire dress. I love how the stripes are set on both horizontal and vertical lines to highlight and emphasize the different parts of the cut of the dress. The mix of the red and black is such a bold and strong choice and the use of satin as his fabric choice just makes it better. It gives the dress the most amazing finish and the fabric has just a touch of weight to it that helps to hold the shape. The bodice is fitted and strapless and cut to curve around the bust. The waist nips in and the hips are emphasized by that wonderful attached peplum just below the waist seam. It also has its original tie belt in a matching fabric that allows you to cinch the waist in further. From there the skirt falls to the floor and widens out as it nears the hem. There is quite a lot of fullness and volume to the skirt created by the addition of an attached tulle underskirt inside and you could add even more fullness. For these shots I have added a light full length crinoline so that you can really get an idea of the skirt. There is room to add an even fuller one if you really wanted to go full on volume. I also shot it without a crinoline for you to see that and you can see that in the final shot in the series of the full length photos included here. It is really an incredible dress and is even better on an actual body. Excellent condition

Fully lined in a black silky rayon and the skirt has an attached layer of tulle to help hold its shape. The bodice is fully lined and lightly boned.  The dress closes with a back zipper. It has its original matching fabric tie belt. It appears to have never been worn or worn very little. The crinoline used in the shots is not included.

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

Modern Sizing Equivalent: XS-SML

Item# DD3458

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

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 the cover of Vogue. A Coty award followed a year later and in 1984 the Council of Fashion Designers created the annual Geoffrey Beene Lifetime Achievement award in honor of Beene's fashion legacy.

This dress is gorgeous. It is one of his signature looks to use lace  backed by a nude chiffon to create the illusion of bare skin underneath. We have all seen countless modern designs take their inspiration from his pieces like this and here we have a really exceptional original. It is really one of the best cocktail dresses from this period I have had. The workmanship is very fine. The dress itself is light in weight. It is made from a fine black netted lace that has black silk ribbon worked over the surface to make up the floral feel that the lace has. This also gives the dress a slight 3D texture that is very beautiful. Under all the parts of the dress that has the lace is a lining done in a nude silk that is very light and fine. The illusion lace is used for one sleeve, half of the bodice and the skirt. The other sleeve is a solid black silk. The solid silk then goes over the bodice as panels on both the front and back and then these extend out to ties that you wrap over to one side and tie just above the hip. I love how this is cut to curve slightly above the waist seam. Doing doing so creates this subtle secondary line between the curve and the seam that most designers would not have done or thought to do. The contrast that the play between the solid back and the lace creates is fantastic. Add to that the perfect fit where every seam is done to highlight and flatter the body. It is really an amazing dress and a testament to Beene's genius. Excellent condition with a minor note below.

Fully lined in a nude silk and closes with  back hidden set zipper. Each cuff zipper sot close. The exterior shows no wear. Inside the is a repair under in arm in the silk with very slight/minor change of colour there. Please see the photo after the label shot. It does not show at all on the exterior

Sleeves: 24
Shoulders: no defined seam
Bust: 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 16.5" from top of bodice to waist
Skirt: 19.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3814

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

Ted Lapidus began selling his designs in the 1950s in Paris. By 1963 he was an official member of the Chambre Syndicale de la Haute Couture and he debuted his Haute Couture label in addition to his already high end ready to wear. This dress is from his initial, main ready-to-wear line that commanded very high prices in its day and is not to be confused with the later boutique line. It is beautiful.

This is a wonderful example of how romantic his work could be. The dress has a soft and flowing feel to it yet it is fitted through the waist and constructed to be flattering on the body and give you shape. It is made of a silk chiffon that has a ribbon weave fused directly into the silk. This gives it a thatched woven effect. In between the ribbon weave the silk is semi-transparent and the play between the two opacities is stunning in person. The body of the dress is backed with a black lining but where the dress is unlined through the upper bodice and sleeves you really see the square pattern the ribbon silk creates. To highlight the design that this creates even more, the fabric has a thin strip of gold thread that runs along the edges of the ribbons. This catches the light and gives the dress a subtle shot of extra glamour. Inside the bodice is a simple tank that is suspended by tiny straps. The top of the dress is set over this so that it blouses over the waist. The neckline is scooped and that sleeves are cut to billow over the cuffs. The waist nips in and then the skirt flows out from there to the floor. Yards of bias cut silk are used in the skirt and it is very full when you move. To finish the dress there is a stunning floral print that runs over the bodice on both sides. More flowers run down the front and the back of the skirt. This pop of colour is fabulous and it would have had to have been all pre-planned before the construction of the dress was done so get the flowers to lie just so. The dress is very well made and even better in person. On an actual body where the fabric can really move and flow it is fantastic. Excellent condition

Fully lined in a black silk and closes with a painted metal and nylon zipper on the interior and then the exterior buttons to close over that. Each sleeve buttons to close. 

Sleeves: 23"
Shoulders: 14"
Inner bust: 16.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Inner lining hips: 18" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist but meant to drape a touch
Skirt: 42" from waist to hem

Modern Sizing Equivalent: XXS-XS

Item# DD2884

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

Flora Kung was on of THE designers to wear in the eighties for the MTV generation. In an interview with the Chicago Tribune in 1985 she said 'I think it's my .... particular sense of daring and cleanness that appeals to the younger group... and the clothes continue to be spontaneous because I personally design everything.' She loved silks and satins for the way they draped on the body. This is a fabulous jumpsuit by her in a muted silver. No matter how much you like it on the dress form in the photos it is only going to truly come to life on an actual body where the fabric can drape and move with you. The shoulders are strong and the sleeves cut to slim down as they near the wrists. The top is cut with the loose and full volume that was the hallmark of the eighties. It has soft drapes coming out from the shoulders and falls in a deep plunge at the front. There is a snap that you can use to close the plunge a bit more or you can leave that open and wear it very open. I photoed most of these with it open but there is one shot with it snapped so you can see. It cinches in at the waist and has a sash in a matching fabric that you can tie around you to create more shape. The legs are cut in a long peg and depending on your height might fall slightly cropped on you. The fabric is the perfect soft silver and the satin choice makes it as light as a feature and easy to wear. Excellent condition 

Unlined and slips on with elastic through the back of the waist. Crosses over and buttons onto place at the front with a zipper underneath. You can cinch in the waist more with the matching fabric sash belt. Tagged a M and looks to have been worn very little if at all 

Sleeves: 22"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam with elastic at the back for extra room 
Hips: to 20" flat across from side seam to side seam
Bodice: 18" from top of bodice to waist - it drapes over a bit and will come up a touch when on
Pants: 40" from waist to hem
Inseam: 28"
Rise: 13"

Modern Sizing Equivalent: SML-MED

Item# DD3711

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 likely the work of Elinor Simmons before her name went on the labels. She designed for the Malcolm Starr label from the early 1960s to 1972. You can see her influence in this gorgeous Malcolm Starr set with its almost sculptural lines and elaborate embellishments on the tunic.

I love that it this comes as two separate pieces. They look amazing together as a set but it gives you the freedom  to break them up and wear them individually with other pieces in your existing wardrobe. This foundation of this set starts with its fabric choice and it is a beautiful choice of fabric indeed. Both piece are made from a white silk brocade whose pattern is done in a silver thread. The weave is quite close to the top of the fabric so that it has a bit of a sheen and a very flat and smooth surface. This allows the light to bounce off of it and give it a high metallic feel that is lovely. The pants are flat fronted and have a sleek fitted leg that taper down into a neatly cropped peg leg. Depending on your height this will fall to the ankle or just above. The tunic sits over the pants and is cut to skim over the torso and flare out at the hip. It has a high scooped neck and no sleeves. Darts at the front shape the tunic over the bust and it sits loose over the waist before skimming over the hips. Each side is notch quite high in an open slit. Running across the back and front hem of the tunic is a wide band of silver bead work that is all done by hand. Where it is open at the sides the bead work runs up and follows the slits. I love it and it has that perfect sixties chic feel to it. Excellent condition

Both pieces are fully lined in an off-white silky rayon. The tunic closes with a hand set back painted metal zipper and the pants close with a side hand set zipper and hook & eye at the waist. Hand finished throughout. The bead work is hand done and very dense. It looks to have been worn very little if at all. 

Tunic
Bust: 18" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: 22" flat across from side seam to side seam with open sides
Length: 28.5" from neck to hem

Pants
Waist: 12" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 36" from waist to hem
Inseam: 25"
Rise: 12.5

Modern Sizing Equivalent: XS-SML

Item# DD3712

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

An illustration of this dress done in a pink was used in the 1985 ad campaign which gives us an exact date on it. I love that we get to see how the dress translates from his illustration to real life. It is rare the you have a copy of the original sketch to go along with a dress. That plus the fact that it was the sketch used for the ad campaign makes this dress that much more special. Bill Blass worked for the Maurice Retner label for 10 years as the chief designer. In 1968 the Bill Blass Inc label became a subsidiary of the Retner label. Then in 1970 he fully bought out his partners at the Maurice Retner label and re-launched it under his own name as Bill Blass Ltd. 1970 was the same year that he won his third Coty American Fashion Critics' Award and with it, his lifetime membership in the Coty Hall of Fame. By 1980 the company was doing 20 million dollars in revenue. He was arguably one of the most famous of all the American designers. By the eighties his work was even more ornate and luxurious than what he had done in the past. Prices for dresses could be as high as $5000 (which would be about $15,000 today). He was once asked why his clothes were so expensive and he replied, 'I'm an avid believer that we have to have clothes made in this country. Therefore we pay more money. ... The cost of labor and fabrication is what makes the clothing expensive.'

The dress is made from a hand dyed silk organza that has been coloured to the most beautiful shade of yellow. The colour alone makes the dress a showstopper. It is strapless with a very full skirt. On the bodice the yellow silk makes up one half of the top and then the other side is a slightly off-white ivory coloured silk. It is lightly boned and then the fabric has been gathered and wrapped all the way around the bodice. The neckline is curved and the line where the two colours of silk meet on the bodice the resulting line is set on a curve which is very flattering. Under the strapless bodice the skirt falls to the floor in a light and airy pouf of volume. To achieve the volume that you see the skirt has been set into the waist with soft gathers that allow the fabric to have volume and movement. This sits over an inner silk lining but the dress does not have a formal crinoline. The shape created is all from the way it has been constructed. If you wanted it to be very full you could easily add a separate underskirt to really pouf it out more. The dress came with a long matching silk organza sash that wraps around the waist and ties. In the ad they have tied it at the back but for these shots I chose to tie it more towards the side and at the base of the curving line on the bodice. I have tied it in a large bow and because it is made from that same light weight silk organza as the dress it easily holds the shape of the bow. I love the dot and waved line print on the yellow silk. It adds just enough visual interest to the dress without distracting from the beautiful cut. It is gorgeous. Excellent condition with one small note below

Fully lined in a white silk and closes with a back painted metal and nylon zipper. Hand finished throughout. very minor marks on the silk along the back opening over the zipper closure. Please see the photo after the label shot. I see a teeny area of fading and thinning on the scarf. 

Bust: 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 10" from top of dress to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2596

Reference Photo: Illustration by Bill Blass, Vogue, April 1985.

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 Frank Usher dress is wonderful. It is full length and the skirt sweeps to the floor with several yards of a bright orangey coral jersey. The colour is bright and happy and the fabric choice means that it drapes and moves fantastically. It is easy to wear and travel with. You just throw it in your suitcase anti is ready to go when you reach your destination. The jersey is synthetic so you can wash and wear it. The fabric of the skirt is all cut on the bias and once it is on it moves with you. Above that amazing skirt the waist is set a bit higher to to sit just under the bust. There are three long skinny ties that are made out of the same fabric and these run through an opening that runs across the front. They let you pull and cinch in the front for more shape and and then you can either leave the ties hanging down on either side or tie them at the back. The top is made from two triangle shaped halters that plunge right to where the front ties meet and then just a little below to make a small keyhole. They are set wide across the chest and then curve up and around to tie behind the neck. This leave the back completely bare. It is an amazing colour on almost any skin tone and its very sexy on. Excellent condition

The bodice is a double layer of the jersey and the skirt is unlined. It closes with a low back set zipper and also ties around the neck. Three ties runs through the front that can be adjusted for the perfect fit. The loose and easy cut should allow it to fit a range of sizes. The color is a touch more coral then how it photoed in person

Bust: variable since it has no true side seams and has stretch
Underbust: to approx 14-16.5" flat across from side to side
Natural waist & hips: open
Length: somewhat adjustable but approx 58-60" from neck to hem it will vary a little depending on how you tie it at the neck

Modern Sizing Equivalent: SML-LRG

Item# DD3335

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 late 1970s, early 1980s that showcases his ability to do sportswear feeling pieces, but in a very glamourized kind off way. Here he takes the style of a simple and classic sweatshirt and then he extended it out in length to make it a dress and did it in a gold knit. Ease but with high glamour. Everything about the cut is done to make it feel effortless to wear and still have a beautiful and easy silhouette. The shoulders are soft and the sleeves are finished with a ribbed cuff. The dress is cut to just skim over the body underneath so that nothing is tight but it still highlights the body underneath. The fabric is a soft knit in a gold thread so the entire dress shimmers and catches the light. There is soft angled seaming near each shoulder in a nod to the way a sweatshirt is designed. You just slip it over the head and you are done. The super simple cut is in direct contrast to the high evening glamour that is created by the gold knit. This would have been from one of his more accessible lines at the time but is still very well made and the quality is great. It is simple, yet striking, and has not a single unnecessary seam. Excellent condition

Unlined and slips on to wear. It appears to have never been worn or worn very little. The fabric does have a bit of stretch. The easy cut should fit a range of sizes. It has a slightly more gold feel in person 

Sleeves: 25.5"
Shoulders: 15"
Bust: 18-20" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 62" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# DD3704

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 such a great little summer outfit and the type of thing that you only ever see with vintage. It has its original Saks Fifth Avenue label in it but no other label to give us an idea on who it would have been by. It is a two piece set and these cropped pant and top sets were THE thing to wear at the height of that early seventies flower power hippie movement. The pants are cut with an extra, extra wide leg and they have a slightly cropped feel to them depending on your height. By the time they reach the hem each pant leg is a full 44" around. The waist is more on the generous side and set a little low. This allows you to wear it more low slung on the hips. The top is cropped and it is cut to be fitted to the bust. The short length of it shows off a bare expanse of skin between the hem and the waist of the pants. It buttons down the front with little round pearl looking buttons and loops. The sleeves are cut to slightly pouf out above their buttoned cuffs. The pants are not lined and are slightly transparent all the way up the waist. To make them wearable there is a built in bottom that is made out of a nude stretch lingerie jersey that is completely opaque. The fabric that it has been made out of is a synthetic ivory lace on a cream chiffon and I love the play of it being slightly see through while you are still covered underneath where it counts. It is very unusual and killer on. Excellent condition with a minor note below

The top is lined in a white organza through the body and the sleeve are unlined. The pants are unlined with a built in inner bottom that has the cut of a 1960s bikini bottom. The inner bottom is made from an opaque nude stretch jersey. The top closes with a series of buttons at the front and the pants zip to close. The back bottom seam of the top has elastic so its has a small range it will stretch to. There is a slight darkening to the lace near some of the seams but the inner gusset is fresh and clean and looks to have never been worn. 

Top
Sleeves: 23"
Shoulders: 15"
Bust: 17" flat across from side seam to side seam
Bottom seam: 12.5-15.5" flat across from side seam to side seam
Length: 12" from shoulder to hem

Pants
Waist: 14.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 39.5" from waist to hem with 3.5" turned under the hem
Inseam: 28.5"
Rise of inner bottoms: 12.5"

Modern Sizing Equivalent: SML-MED

Item# D628

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 dated this gorgeous Bill Blass dress by the shot of Lauren Hutton who was photographed in a shorter version of this dress for Vogue in 1972. This longer version has the same open back feature as that one has and it also has a beautiful organza skirt that snaps into place over the silk taffeta dress underneath. If you loved the look of the Vogue shot you could even add your own flower to the base of the back and recreate it. 

By 1972 Blass was only two years into running his own company after buying Maurice Rentner Ltd in 1970 and relaunching the label under his own name. Even then you could see just how strong a designer he was. The dress is  gorgeous and is made from combining a black silk taffeta base with a silk organza skirt that attaches over the inner dress. The fabric choices keeps the dress light in weight but it still helps to hold the shape and volume that you see and gives the dress some structure and shape. The front bodice has a more formal feel to it with a high neckline that is slightly scooped across the front and set wide. The sleeves are attached with a slight bit of volume at the tops of each shoulder and then narrow down to a ruffle finish at each cuff. Set along the neckline is a high ruffle that adds beautiful detailing. The ruffle then curves back and over each shoulder and extends down your back to completely frame the open cut out that leaves your back bare. I love this unexpected bare skin moment that is in stark contrast to the coverage at the front. The skirt deserves it own moment. The inner skirt is a part of the main dress and it is made out of the same silk taffeta as the bodice. It is cut longer at the back and then curves up at the front so that when you walk you see a bit of leg. The entire hem is finish with a wider band of ruffles that picks up on the ruffles at the neck and around the open back. Then there is a second skirt that snaps into place around the waist line. This layer is made out of a black silk organza and adds a beautiful light fullness to the skirts. It floats over the inner silk taffeta skirt of the dress with more ruffled edges that curve around and follow the hem. The photos on the dress form do not come close to doing it justice. This is a dress that needs an actual body in it and then it really comes to life. When you walk the organza layer catches the air and creates this stunning billowing effect and when you turn to leave you have that flash of bare skin. It is utterly amazing. Excellent condition

The bodice is lined in a layer of silk taffeta. The dress closes with a low set zipper at the back. There are zippers at each cuff. The organza skirt layer snaps into place around the waist. Hand finished throughout.

Sleeves: 25" including the 3" ruffle
Shoulders: 15"
Bust: 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of shoulder to waist
Skirt in the dress: 43" from the waist to the back hem and 30" at the front
Detachable skirt: 46" from the waist to the back hem and 43.5" at the front 

Modern Sizing Equivalent: XS-SML

Item# DD2990

Reference Photo: Lauren Hutton in Bill Blass, by Irving Penn. Vogue US, January 1972.

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

This is a fun and sexy piece from Normal Kamali. It is part of her OMO (On my Own) label that she formed in 1978 after divorcing her husband. In the eighties she excelled in twisting the idea of athletic wear and fabrications to come up with new innovative pieces that were easy to wear and high on impact. This is an exceptional example of her work during this time period. It is not 100% perfect but it's flaws are small and fixable and it is in otherwise amazing condition. It is a stretch and fit jumpsuit that fits to the body, molding to your figure when you put it on. The front is cut high to the neck and curves around to hook at the back. The back has a large round cut out that leaves your bare skin exposed. The jumpsuit hugs the waist and hips and then the legs are long and lean. They flare out as they reach the bottom for added shape. It is completely covered in hundreds of thousands of sequins. The ones on the front are a black and then on the back the legs are finished in a blue. I laid it out flat so you can see the interesting patterns that has been worked onto the back of the legs. Its only flaw is that it is missing some areas of sequins around the waist, lower bodice and front of the hips. It could be worn as is and just feel a little raw and deconstructed or you could easily replace the sequins. 

Unlined and slips on to wear. Hooks at the back of the neck and at the back strap. Tagged a vintage OMO Small but the fabric does stretch so should accommodate a bit of a range of sizes. The measurements below show the comfortable range while laying flat. Missing sequins on the front and sides. Please see the last three photos after the label shots and the overall shots for the areas of sequin loss. Priced with this in mind

Bust: 14.5-17" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: 16-20" flat across from side seam to side seam
Length: approx 63" from neck to hem but it stretches so will come up a bit once on
Inseam: 31.5"

Modern Sizing Equivalent: XS-MED

Item# DD3702

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 Danskin label was launched in 1882 in New York City by Joel and Benson Goodman who were brothers. They started the company to create goods specifically for dancers. It grew tremendously and went onto to make dance and activewear for millions of people around the world. It is so rare to find an early and original set in such great condition as these were often worn to death and loved until they fell apart. I have dated it to 1987 from the reference photo I have added that ran in Vogue. In that photo is what looks to be the twin of this body suit .

Both pieces are made from a stretch jersey. The finish of the body suit is slightly different from the skirt. It has a slightly shinier look to it and this gives it a tone that is a slight shade different from the skirt. The body suit slips on and because it stretches it conforms to fit the body. It is scooped low at the front into a plunging V and has seams under the cups. The legs are cut low but not quite into a boy short. Little straps curve up and around the neck and then you cross them over each other at the back and hook them into place on each side. The skirt is a large and long panel of fabric that is cut on a curve. You simply wrap it around you and use the attached long ties to cinch it around the waist. It has lots of movement when on and would have been the perfect thing to walk to and from the dance studio in. Both pieces have the original Danskin label in them. This is a rare and nostalgic find. Excellent condition 

The body suit is a medium and the skirt is a small. Both are unlined and slip on to wear. The bodysuit straps hook into place and the skirt wraps and ties. The fabric has stretch. 

Bodysuit
The dress form that it is on measures 33" bust, 25" waist, 36" hips and is 26" from the shoulder to the inside gusset inseam. The body suit has some stretch and it could accommodate someone smaller that that by a couple of inches, or larger, probably up to an inch or two more. The straps are adjustable and can be made longer or shorter so you can increase or decrease the length as needed

Skirt
Waist: variable with ties 
Hips: open
Length: 32" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD3698

Reference photo: Alberto Rizzo for Vogue (internet sources dated this to 1977 but given that the company formed in 1982 I think it must be 1987) 

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 and happy feeling dress is one of my favorites from the pieces of Malcolm Starr that I have had in the shop. It was designed by Elinor Simmons, who was a young designer that Malcolm brought in to the company to design a higher end line for him in 1965. She eventually left in 1972 which giving us a window within to date the dress. Everything about this dress suggest the late 1960s or early 1970s.

The print on this dress is a wonderful mix of cherry red pinks mixed with mustards and a deep purple. The pretty Batik feeling print was then screened onto a crisp cotton. I love the mix of colours and the happy cheery feel that it gives the dress. You can also see how extremely well thought out and planned as evidenced by how closely the pattern matches at the seams. To accomplish this it would have had to have been all pre-planned out prior to cutting that fabric so that the print would exactly follow the cut and lines of the dress. This is a technique that is not as common to see anymore in modern ready-to-wear since it uses extra fabric and adds to the production cost. The dress is beautifully cut. The front bodice is cut to skim over the bust and the fabric crosses over itself to create a deep V. The sleeves are long and slim. I love how the print is laid out so that it creates a border around the neckline. This then runs down the centre of the skirt and curves around the bottom hem. The skirt flows out from the waist and it is quite full. The fabric choice helps it to keep its angled shape that you see as it widens out at the hem. The front of the skirt is slit up the centre to the top of the legs. It was most likely meant to be worn over a pant or shorts. If you preferred it closed it would be easy to add a series of hooks or just close the seam. It comes with its original matching fabric belt that has been densely covered in hand applied beads. These add a little touch of glitz and glamour to the dress and it cinches in the waist for added shape. It is gorgeous. Excellent condition with one note below.

Unlined and closes with a back metal zipper. The belt closes with hook and eye that could be adjusted or moved to get the perfect fit. There are a couple of beads missing near the hooks at the back of the belt. Please see the photo after the label shot.  

Sleeves: 22"
Shoulders: 14.5"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 14" from top of shoulder to waist
Skirt: 34" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3697

Reference Photos: Amanda Lee Shirreffs for her weekly column on our blog, Curated. (Photos by Erin Leydon) Click here to see the full column >

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

I love when I find these earlier examples of Oscar de la Renta's work. He would have been more personally involved in them and they really showcase the designer he was to become. It reminds me of the butterfly front dress jerry Hall wore for the Fall 1979 show and I suspect that this was made in and around that time period. The dress really showcases the the genius of his work and attention to detail. I love it.

This is an amazing strapless dress that is extremely sexy and flattering. The base of the dress is made of a deep rich jewel tone velvet. This fabric choice give the dress a wonderful depth and texture and the red of it is amazing. The shots are close to the actual colour but it is even better in person and richer feeling. The strapless bodice is cut in a slightly dipped sweetheart neckline and inside there is an attached inner corset to hold the dress in place that hooks to close under the zipper of the exterior dress. It falls over the bust and then is cut to skim over the waist and hips. The waist is slightly brought in to create shape but there is no horizontal seam to break the lines of the design. The skirt is incredible and is cut so that it curves out as it nears the hem. When you stand still it falls in a beautiful column but when you move and walk it kicks out around you for some volume and movement that is gorgeous. The effect of this is far more dramatic and fabulous on a real body. If you even remotely love it in the photos you will love when you see it in person. The finishing touch is of course that stunning large beaded bow that has been added across the entire front of the chest. It follows the neckline perfectly and then curves over the bust. The work is all hand done and made up of thousands of tiny black glass tube beads. Excellent condition with one note below

Fully lined in a red silk and it closes with a painted metal and nylon back zipper. Hand finished throughout. The bust has a built in inner cupped and lightly boned bra corset that hooks to close. I see two small areas on the velvet where the pile has flattened slightly. One on one hip and the other at the back near the seam at the bottom. Please see the photo after the label shot. Tagged a vintage OLDR 10

Inner bust: 17." flat across from side seam to side seam
Inner waist: Will stretch from 15-17" flat across from side seam to side seam
Hips: to 21." flat across from side seam to side seam
Length: 52" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3694

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 Valentino that is from the time period of Valentino when it was being co-designed 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. I love that they still adhered to the label's heritage in keeping with using the classic Valentino red colour.

The dress is made from a light stretch silk crepe chiffon in the signature shade of red that Valentino is so well known for. The fabric choice lets the dress light in weight while still holding that beautiful shape that you see. The bodice is strapless and is kept very simple and elegant. It is cut straight across the edge at the top and then the silk has been gathered across and over the bodice. The outer layer of silk is set so that it wraps over one side of those gathers and and then is caught up in a curve below the bodice. It follows along the waist line in a soft curve and is caught up on the opposite hip. There it drapes down the skirt in a pretty soft panel that creates a slight ruffled effect down the full side of the dress. The back is cut to fall in a smooth sheath so you get the feeling of length. It is the perfect mix of simplicity and elegance. The skirt falls to the floor in a graceful column and gradually widens out just a touch as it nears the hem. The lightness of the silk combined with the open panel on the one side allows the fabric of the skirt to move with the slightest bit of movement on your part and it is so pretty when you walk. Inside it is beautifully constructed. There is a built in full interior corset to hold you in place. It is lightly wired and boned and that is combined with a stretch lingerie netting for comfort. It is a beautiful and romantic dress. It is a very wearable size and looks to have been worn very little it at all. Excellent condition

Fully lined in a red stretch silk and closes with a back zipper that is covered with a red silk satin ribbon. The interior cupped and boned corset closes with its own separate zipper. The interior bodice has some stretch so I have measured the comfortable range laying flat - you could probably get a little more out of it if needed. No size tag bit I would guess that this is a modern Valentino 44 or 46

Interior bust: 20-22" flat across from side seam to side seam
Interior waist: 15-18" flat across from side seam to side seam
Hips: 22-23" flat across from side seam to side seam
Length: 55" from top of the bodice to the front hem, 56" to the back hem

Modern Sizing Equivalent: LRG-XL

Item# DD3696

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 Maurice label was a contemporary of labels like Pucci and Leonard in the seventies. Maurice used the same type of prints in his pieces to get the feel of those other brands but his pieces where made with a more affordable synthetic jersey rather then the silk jersey his contemporaries were using. His pieces were still very well made and because they were targeted towards a younger audience they tend to be a little brighter and have a little more fun in the way they are cut. The fabric choice also has the added bonus of making them easy to wear and care for. They  are wash and wear and they travel very well. You can throw it in your suitcase and it is ready to wear the day you unpack. I love the nod to the kimono and caftans of the day in the cut and print of this dress. The bodice is cut so that it crosses over itself to create a V at the bodice. The turquoise follows the V of the neck and below that the waist is highlighted and nipped in with a wide printed band in the same fabric. The fabric for the skirt follows the same wrapped over design from the bodice. It also wraps over itself and is edged with a wide band of the turquoise print. It is open the entire length of the wrapped over edge so you you will get a flash of leg showing when you walk or sit. The sleeves are cut to flare out as they near the ends and they are finished with more of the turquoise. The two bright colours against each other are amazing. Excellent condition with one small note below

Unlined and closes at the back with a painted nylon and metal zipper. The fabric is signed throughout the design. There is one faint mark near the elbow. Please see the photo after the label shot. Otherwise looks to have been worn very little if at all. The lower seam at the waist has no give so the waist measurement is firm. The dress has slight stretch otherwise. 

Sleeves: approx 20
Shoulders: no true seam as the shoulders are dropped
Bust: variable as there are no true side seams
Waist: 13.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 13" from neck to top of waist band + 4" band
Skirt: 39" from bottom of waist band to hem

Modern Sizing Equivalent: SML-MED

Item# DD2895

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

Pat Sandler was an American designer whose label existed through the 1960s and 1970s. He launched his label in the early 1960s after working for the Leonard Sunshine label. His label was very well followed and was often used for editorial work during the time period, most notably on Lauren Hutton on several occasions. He was known for his more opulent pieces that featured bead work or gold lame thread like this dress does.

The dress is stunning and it is even pretter in person. The pink is a slightly softer shade then how it photoed and the gold and rhinestones on the bodice have more of an impact. It really is far more magical then how the camera captured it and I think the girl that buys it will be very happy. The dress has a high set bodice that is sleeveless and cut to follow the curves of the bust. It comes down in a V at the front that is set on a slight curve. The bodice is covered with a lattice pattern that is made from several elements. There is embroidery work down in a gold toned metal thread and gold cording. To create the 3D effect it has there is a layer of a metal feeling gold braided cord that is laid over that. Seed beads are worked through the design and then it is finish with large prong set glass rhinestones. It is gorgeous to see and I love how it is all slightly raised off the silk so you get that wonderful added sense of texture. Set in under that elaborately detailed bust the skirt flows out and flares to the ground in a cascade of pink silk chiffon. There are yards of fabric in the top layer so that when you move it moves and floats around you. This lies over an inner opaque silk lining in the same shade of pink. I love it. Excellent condition

Fully lined in a pink silk and closes with a back painted metal zipper. There are some area of very minor fading inside the bodice and it otherwise looks to have been worn very little. 

Bust: 17.5" flat across from side seam to side seam
High set waist: 15.5" flat across from side seam to side seam
Inner hips: 18" flat across from side seam to side seam
Bodice:13 " from top of bodice to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3693

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

Emilio Pucci is one of my favorite designers and every single dress is a work of art. His colors and prints are mixed with a masterful hand and when you get a good piece of Pucci, it is a piece that you can wear for a lifetime. This one is gorgeous. The dress is made out of one of his signature lightweight silk jerseys, a fabric that he preferred because of the way it moved and took colour. It is screened with one of his custom prints that he has laid out onto the fabric to highlight the cut and line of the dress. The sleeves are long and slim and the bodice is cut to skim over the bust with a V neckline. This flows past the hips to the floor in a fairly straight column of fabric.The colour is a bright salmon pink and over that is a floral and vine print in a white that is edged in black. The flowers and vines trail over the entire dress in the prettiest of ways. His signature band of a contrasting print comes into play to highlight the edges and cut of the dress. It defines the neckline, circles the cuff and runs around the hem. I love the wide band of print that wraps around the top of the hips to separate the bodice from the skirt without having to have an actual seam there. This gives it visual definition but still keeps the easy to wear cut. Another printed band runs up the upper back of the dress. You will note that there is also a band along one side of the skirt. This is an incredible detail as that entire side snaps open or closed. If left open it is open all the way to where the print circles the top of the hips so that when you walk it will show your full leg. If that's too much for you, you just snap it to close as far down as you like. The entire dress weighs ounces and it looks to have been worn very little if at all. Excellent condition.

Unlined and closes with a back hidden, painted metal zipper. The fabric is a silk jersey and does have some stretch. Note that the color is more intense in person - better then how it photoed. Hand finished

Sleeves: approx 23"
Shoulders: are slightly dropped and are approx 17"
Bust: 17-19" flat across from side seam to side seam
Waist: 15-17" flat across from side seam to side seam
Hips: 20-22" flat across from side seam to side seam
Length: 60" from neck to hem
Side Slit: can be fully closed or opened to be 33" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD3111

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 gar as quantities.  I have had the twin 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 version in ivory is held in the Victorian and Albert Museum. Lily Sullivan wore a version and you can see how it is transforms once on the body and especially if you wear it with the buttons left open like she did. Those shots give you a great 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 still retains the flow and drape that he was known for. His signature sexuality that he worked into his pieces is displayed in that ultra low front plunge if you choose to wear it open and buttoned. What I really love about this particular style is the ability to fully button it. When you do, it had an almost puritanical feel and you are fully covered, but somehow he still managed to make even that feel sexual. The buttons have been covered in the same moss crepe as the dress is made from. They run from the top of the neck all the way to the waist so you can control just how plunged it is. An attached tie wraps around and ties to give you some the shape and definition through the waist. The skirt flows from under there to cascade to the ground. It widens out quite a bit by the time it nears the hem and there is a wonderful amount of volume that flows around you when you move. This is balanced out by huge bishop cut sleeves that puff up above each cinched wrist. More moss crepe covered buttons close each wrist and there is even an extra button sewn into an inner hem. 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. It easily goes from day to night and it can be worn to feel very sexy or more covered. It is in its original uncut length which is hard to find with many Ossie pieces you now see out there for sale. Excellent condition.

Unlined and slips over the head to wear with attached ties at the waist. It buttons down the front. Each cuff has two fabric covered buttons at the wrist. An extra button is sewn on an inner seam. There is the slightest sense of pressing to some of the seams. The easy cut should fit a variety of sizes

Neck when buttoned: 14"
Sleeves: 29" but come up when cuffs are buttoned
Shoulders: no defined seam
Bust: to 20" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam and can be defined by the attached tie
Hips: to 22" flat across from side seam to side seam
Length: 61" from neck to 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.

I have had the twin of this dress in the shop a couple of times now and it is one of my favourites. It is also a very well documented dress and our research turned up two different ads that it appeared in for Vogue. It also made an appearance in one of Vogie's party round up editorials. The ads were from the September issues of both 1980 and 1981 and this one with its more solid designed gold belt is the 1981 version. Countless celebrities own and have worn this dress. Lady Gaga wore a version, as have girls like Rachel Zoe & Nicole Richie and every girl that has bought one through me has loved it. It is one of those fail safe pieces that you know is going to work every time you put it on. 

The dress is insanely sexy and bare feeling with a halter style front that plunges right to the waist. It ties behind the neck and then the back is left completely open and bare. The dress is made of a wash and wear black liquid nylon jersey. It is so light and slinky and it feels amazing on the body. The fabric is almost weightless. Despite its bareness it is cleverly cut so that when you have it on it stays in place. At the front of the skirt there is a high slit that shows lots of leg when you walk or sit. I love the signature wide top stitched gold fabric belt at the waist. The belt is attached all the way around the back and then ties at the front to cinch you in exactly to where you want. The belt is really what gives it that signature Bill Tice look. The dress has the added bonus of traveling very well. It is the kind of piece that you can throw into your suit case and slip on with either flats or heels when you reach your destination and be instantly ready to go. It packs down to almost nothing and barely wrinkles. Excellent condition.

Unlined and slips on. Ties at the back of the neck and at the waist. Elastic through the front portion of the waist. The easy fit allows it work on a variety of sizes. The gold is a true bright gold in person

Bust: variable as there are no side seams
Partial elastic waist: 13-18" flat across from side seam to side seam
Hips: open
Bodice: approx 16" from natural neck to waist but can be tied to adjust the length if needed
Skirt: 42" from top of back waist to hem
Front slit: 23" from the hem up

Modern Sizing Equivalent: SML-LRG

Item# DD3691

Reference Photos: (1) Bill Tice for Swirl Ad. Vogue US, September 1980. / (2) Bill Tice Ad. Vogue US, September 1981.  /  (3) Nancy Kissinger in Bill Tice, Vogue, October 1980.

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 Paganne jersey dress is the cutest little dress and it is a dream to wear. It is made from a simple synthetic stretch jersey that is wash and wear. This makes it the perfect travel dress. You can just throw it into a suitcase and it is ready to go at the other end. The jersey gives it a little stretch so that it is super comfortable to wear. It has been worn and loved so has a soft vintage patina to it. For example it looks like the skirt was once pleated but the pleats have softened out with time. It is still completely wearable and I love it just as it is. The top is cut to be more fitted around the bust and then widens out to a looser cut waist. The skirt skims over the hips and flares out as it nears the hem. I love the single sleeve that hugs the arm and how it leaves the other shoulder and arm bare. The print is gorgeous and covers the entire dress. The colour combination mixes a soft red with white, pink, blues and a pale yellow and this is set over the dress to highlight its cut. It is a great little dress and so easy to wear. Just slip it on, add fabulous flats or heels and go. Excellent condition with a minor note below

Unlined and closes at the side with a metal and nylon zipper. No label present but the fabric is signed. The fabric does have some stretch. The pleats in the skirt have softened and i see a tiny dot that looks like a pen mark on the bodice. Please see the last photo. 

Sleeve: 25"
Bust: 18-21" flat across from side seam to side seam
Waist: 15-19" flat across from side seam to side seam
Hips: open
Length: 40.5" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3689

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

James Galanos was known as the designer that could rival the French in terms of construction and design. He launched his atelier in 1951 and though he was never a designer that was formally acknowledged as a Haute Couture atelier he certainly was producing clothing with many of the hallmarks that define couture. This gave him the reputation of being known as one of the 'American Couturiers' and women flocked to buy his creations. The label on this dress is the one used between 1963 and 1977 giving us a window into when it would have been made. It is a gorgeous dress and even better on an actual body.

The dress is constructed from a very unusual fabric combination that gives it the soft and romantic feel that you see. The base layer of the dress is a lightweight silk that is printed with the floral print that covers the dress. That layer is then covered and attached at all the seams with a layer of white silk chiffon. The creates a soft washed filtered effect over the print and softens it. It is a technique that would have been very expensive and time consuming to execute. He then did the same to the interior of the dress which is remarkable because no one would know expect the person wearing it. This inner layer acts as a lining and it is also completely attached at all the seams. The entire dress was then cut on the bias. As the white silk chiffon moves over the middle layer in the small way that it is allowed by the bias cut, you get this pretty and romantic diffused feel to the print. It is such a simple but extremely clever way to create an illusion of softness. The dress is cut to skim over the body and then it flares out from the hip with the back of the skirt cut slightly longer then the front. The skirt has more fabric in it then you would at first think. It falls in a more sleek way when you stand still and then when you move and it flows around you and you realize just how much fabric is there. All of the seams are set vertically and all of them are done by hand. Around the neckline sits an attached panel of silk that floats over your shoulders and arms. At the back it curves around and behind the body for a beautiful capelet feel. It is a very romantic feeling dress that is even better on. Excellent condition with one small note to review below

Fully interlined in white silk chiffon. It closes at the back with a hand set metal and nylon zipper and a silk covered button and loop at the back neck. Hand finishes throughout. I see two very faint marks on the front of the cape. Please see the photo after the shot of the label. It looks to have been worn very little if at all otherwise.

Bust: 17-18.5" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 56" from neck to front hem, 58" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3404

Reference Photos: Cherie, Owner of Shrimpton Couture.

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

John Bates founded the Jean Varon label in 1960 and it became known for the futuristic designs that Bates created. By the late sixties and into the seventies his work tended more towards more floaty, feminine designs. Some of the very best pieces were made during this time period and his caftans and caftan dresses are some of my favourites to find.

This is one of the best caftans I have seen from this label and it is made even better because it should fit just about anyone and any shape. It is made from a silky synthetic that has just enough weight to it to help give it some shape once you slip it on. It is seamed all around the edges so it is closed down each side. The neckline is done in a wide boat cut across the top seam and there are slits along the side to slip your hands through. The entire body of the caftan is loose and easy cut inside so it's heaven to wear. An elaborate and beautiful leaf and flower design runs over the entire caftan. The backdrop is a creamy ivory colour and then the print is done in soft tones of a blueish grey. As it nears the bottom of the caftan the flowers suddenly start to turn to soft reds and the colour contrast between the two is spectacular. Everything about this piece feels pretty and romantic while still managing to feel strong and bold. The edges of the caftan are all finished in a red piping that matches the color of the print. Attached to one side of the neckline is a piped strip of fabric that has a long corded tassels laced through it and then the cord falls down to almost the hem and ends in the tassels. The exact same detailing is set on the back but on the opposite side of the neckline. When it is on the entire caftan flows around you and the tassels move as well. I love how the bottom hem is cut on a curve and slightly comes up on each side. It is really an exceptional piece. It appears to have been worn very little if at all. Excellent condition

Unlined and slips over the head to wear. The ties and panels are attached. The open cut should fit a wide range of sizes. It appears to have been worn very little if at all. 

From widest point flat across edge to edge: 52"
Length: 54" from shoulder to hem

Modern Sizing Equivalent: XS-XL OSFA

Item# DD3688

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 Bessi company was launched in 1950 but it was not until 1968 that it started producing the printed pieces that the label is now associated with. Like Pucci he signed all his prints and created them himself. In terms of style, construction and quality, Bessi dresses were often on par with Pucci and Leonard, especially the ones from the late sixties to mid seventies. This one is just lovely

This dress is made from a fine silk jersey and the colour combination is a little unusual as it is not the typical super bright prints that you more often see with Bessi. The main colour of the jersey is finished in several tones of soft greys. Worked into the print are little pops of ivory mixed with a pale turquoise and a pastel pink. The floral and leaf design covers the entire surface of the dress. A contrasting border defines the cut of the dress and runs around the loose cut waist, up the back, and then circles the collar, cuffs and hem. The sleeves are cut very wide and full. This really allows the print to be shown to the maximum advantage and also gives the dress a beautiful soft feel. That same border was added to each sleeve and runs down the outside to meet the border that circles around each cuff. The bodice is cut to skim over the bust with a high neckline. The collar is finished with a slight pleat detailing that gives it just a touch of volume. The waist is cut loose and easy and the skirt falls and widens out as it nears the hem. Depending on how tall you are the skirt will be more of a long midi or feel more full length. It is really quite beautiful and even better in person. Excellent condition

Unlined and closes at the back with a painted metal zipper. Hand finishes throughout. The fabric is also signed throughout. Very well made and it looks to have been worn very little if at all

Sleeves: 20"
Shoulders: 15.5"
Bust: 19" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of bodice to waist
Skirt: 36.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2660

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 gorgeous dress is by Alfred Bosand who was one of the great American designers but whose work is not as well known as some of the other more prominent American designers. His clothes where made to demi and couture levels with lots of hand finishes and detailing to them. Bosand started his career after World War II by attending the Fashion Academy in New York City. He then worked with several designers before launching his own label. By the time he retired in 1986 he was one of New York's last privately owned couture designers with his own label. His work is of very high quality. I just recently sold the twin of this dress in a cream and it is lovely to have another one land in the shop so soon. 

Bosand dresses always have a sense of romance to them and this dress with its matching caplet is no exception. Both pieces are constructed from a lightweight silk net that has little dots woven through it. The top netted layer sits over an inner lining that is finished in a pale peach colour. This softens the brown a touch as the peach colour peaks through the netted layers and adds to the illusion that you are perhaps bare underneath. The entire top of the bodice is covered in iridescent sequins that have all been hand applied. They are set be spaced more densely together towards the empire seam and then scatter up to the neckline. The dress is suspended from tiny double straps that curve over each shoulder. The bodice is kept simple with a low scoop at both the back and the front and a high seam under the bust. From under the empire waist seam the skirt cascades to the floor and widens out as it nears the hem. There are yards and yards of fabric in the skirt and it is made up of three layers, the top net layer that floats over an inner silk chiffon layer and then under those two layers is the lining. The dress comes with its original matching caped scarf piece. This has a built in collar that hooks to close and then the collar has the same sequin detailing done to it. The caplet is cut to end just at the empire waist seam at the front and then hangs with long panels that trail over each arm and around the back all the way to the hem. It is incredible and when you move it catches the air and moves beautifully. Excellent condition. 

The skirt is fully lined in an peach silk crepe with an additional layer of a brown silk chiffon between the skirt layers. The bodice is lined in a nude silk. The capelet is unlined and made from a single layer of the netting. The dress closes with a back painted metal zipper and the cape closes with two hook & eye at the collar. Hand finished throughout and hand applied sequins on the dress and collar of the capelet.

Bust: 17.5" flat across from side seam to side seam
Empire waist at seam: to 14" flat across from side seam to side seam
Inner hips: to 20" flat across from side seam to side seam
Bodice: 12" from top of shoulder straps to seam under the bust
Skirt: 48" from seam under the bust to hem
Cape: neck is 14" around. It falls 10" at its shortest length at the front and 60"to the longest length

Modern Sizing Equivalent: SMl-MED

Item# DD3683

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

I love when I find these earlier examples of Oscar de la Renta's work. He would heave been more personally involved in them and they really showcase the designer he was to become. The dress beautifully combines several textures that work together wonderfully. It really showcases the the genius of his work and attention to detail. It has a couple of quirks to it so please make sure to read the full condition report below but it is still beautifully wearable.

The dress has a beautiful elegance to it despite all of its glitz and is as striking a dress as it could be. This sense of refinement is a constant in Oscar's work and I particularly love the earlier examples of his work. You can see how many of the elements he used so early in his career carried forward throughout his entire body of work. The dress is made from a sheer black silk chiffon that is lined in a black silk organza. This gives the base a bit of a transparent feel to it while still being completely covered underneath. Onto the top layer is an extensive pattern done in looping bands of sequins that have been sewn onto the dress in stacked rows. Mixed in with the gold sequins are the occasional green and red sequins. These catch the light differently and give the dress even more of a metallic feel. Worked into the sequins are these huge metallic paillettes that are cut into giant swirls. These are placed randomly over the dress and are done in green, gold and blue. Crystals are then hand placed and sewn on top of those. Every inch of the dress is covered. Each sleeve is left unlined for a touch of transparency and each is ringed with a deep brown sable mink cuff. If you are opposed to wearing fur it would be a simple task to un-tack them from the sleeves and wear it without the cuffs or switch them for a faux or feather finish. The neckline is cut wide across and scooped. The bodice is cut to skim over the bust and then the waist is seamed in a wide and generous cut. Below that the skirt falls to the floor, widening out as it nears the hem and it is finished with another band of the same fur as the cuffs. All the work is done by hand and each sequin meticulously placed. It is a beautiful example of his work during this time period. It feels even more gold in person. Great condition with some notes below

Fully lined in a black silk through the bodice and a black silk organza through the skirt. The sleeves are left unlined. It closes at the back with a hand set, painted metal zipper. Hand finished throughout. There is the occasional sequin loss here and there and some of the crystals on the large palettes are missing. Some palettes have a bit of a grubby feel to them and show a slight patina. The sides of the dress have been tacked on the outside to bring them in at some point so there is a little bulk of fabric on the sides. I opened one a bit and it looks like a seam underneath was opened and then the dress tacked on the exterior. You could open it to get more room if needed but there may be some additional work to do by a seamstress on the very inside seam if you did. I chose to leave it as found. It looks like the sleeves were also opened at some point as the fur does not meet under the arm. That too could be taken back in if you wished. The lining n the sleeves has started to shatter. I took photos the the side, under the cuff and of one of the paillettes. Please see the shots after the label shot. 

Shoulders: 16"
Bust: to 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 20" 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: MED-LRG

Item# DD3684

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.

In the late seventies and early eighties caftan fever was at an all time high and many of the top designers of the day designed options for their clients who wanted the look but also still want to wear their favourite brand name. This fabulous printed option is from Bill Blass and combines his masterful eye in cut with a fabulous mix of prints. It is perfect to be worn as a chic day-to-evening maxi dress. I love everything about the lines of this piece. It is made out of a feather light silk. Think fine silk scarf as far as the weight goes. The means that it floats and flows around you when you move or the slightest breeze hits it. It is very simple in cut. You slip it on and it has a deep V at the front. The hem scoops up at the front so that you get a bit of leg showing and then it is cut long and loose behind you. There are openings at each side for your arms to slip through. I love the wavy pattern at the front and then each side has a big abstract print in a creamy pale taupe. A smaller band of the curving wave pattern runs down the back and there it runs the full length of the caftan to the floor. When you are standing still it settles perfectly about you but when you move you really get the sense of the amount of fabric that is there. A really fabulous and wearable caftan. Excellent condition

Unlined and slips on to wear. It weighs only a few ounces. 100% silk. The caftan cut should allow it to fit a full range of sizes. I see a couple of very minor darkening spots here and there near the lower part of the caftan. You would only see them if it is laying flat because of the amount of fabric. 

Bust hips: open
Length: 35" from neck to shortest point of front hem, 60" to the longest points at the back and sides 

Modern Sizing Equivalent: OSFA

Item# DD3678

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

Early Louis Feraud pieces are highly collectible and in their day they were sought after. Women like Elizabeth Taylor and Brigitte Bardot were huge fans of the label. From the sixties through to the early eighties the Feraud label was known world wide for pieces that incorporated gorgeous graphics and cutting edge designs. This dress is unlabeled but came from the estate of a woman whose closets were filled with these labels. It has all the hallmarks of being by Feraud but has no label. Regardless of its origins it its extremely well made and a very dramatic and bold dress that will definitely turn heads. 

The dress is an amazing testament to the demi-couture level construction techniques that have been used in its construction. The bust is fitted to the body and is covered in a black lace. The top edge is scalloped which gives it a pretty finish. The entire bodice is then detailed with clusters of large and glossy black sequins that form beautiful oversized floral shapes. Little straps curve over each shoulder and I think you could easily tuck those in and wear this as a strapless dress if you preferred since it is fully supported and structured inside. On the interior there is a built in intricately boned corset that runs all the way around the interior for support. On the exterior the waist is detailed with two black bows that are made from wide silk satin ribbons. The waist is nipped in and gives you shape despite the tremendous volume of the skirts below. The skirt is a masterpieces. It is constructed from a black and white silk that has that huge dot printed over it. The top layer o the skirt is meticulously shaped and set on a stunning curve. Great swoops of fabric are draped to runs down the top of each hip at the sides. At the front the panels of silk swoop and curve upward to meet in the centre of the skirt. This allows a bit of leg to show when you walk, move or sit. It falls longer at the back and pleats are set all around the waist to help give it volume. Underneath the outer skirt is an attached and built in inner skirt made from a stiffened netting. This inner skirt is cut sleeker through the hips and then flares out into a crinoline to help hold the volume and shape of the outer skirt. It is absolutely gorgeous. Excellent condition with a note below 

The interior of the bodice is made up of the boning and a lingerie weight lining. The dress closes with a back zipper and the skirt snaps into place over it. The skirt is lined in a white silk organza and then there is a built in crinoline as shown and described above. There are some faint water marks along the back hem and some grubbiness to the inner back hem and edges where it hits the ground. Lots of hand finishes and made to demi-couture level. 

Bust: to 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips at inner crinoline: to 20"
Bodice: 15.5" from top of shoulder to waist
Skirt: 47" from waist to longest point of hem

Modern Sizing Equivalent: SML-MED

Item# DD3676

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

Bill Blass worked for the Maurice Retner label for 10 years as the chief designer. In 1968 the Bill Blass Inc label became a subsidiary of the Retner label . Then in 1970 he fully bought out his partners at the Maurice Retner label and re-launched it under his own name as Bill Blass Ltd. 1970 was the same year that he won his third Coty American Fashion Critics' Award and with it, his lifetime membership in the Coty Hall of Fame. By 1980 the company was doing 20 million dollars in revenue. He was arguably one of the most famous of all the American designers. By the eighties his work was even more ornate and luxurious than what he had done in the past. Prices for dresses could be as high as $5000 (which would be about $15,000 today). He was once asked why his clothes were so expensive and he replied, 'I'm an avid believer that we have to have clothes made in this country. Therefore we pay more money. ... The cost of labor and fabrication is what makes the clothing expensive.'

I have had versions of this dress in the shop in the past and I love it every time one comes in. It is bold and dramatic and it still feels perfectly on point with so many designers focusing on the eighties right now. Few designers would be able to make this mix of fabrics work. The neck is high and the sleeves are long. There is an inner silk chiffon bodice and then over that is an attached netted lace top. This is then covered in glossy black sequins. The winning through the lace and sequins are little rosettes that are made from a white ribbon that has been woven through the netting and stitched into place in little twirls. Blass used dots in his work quite often and the ribbon work that has been done is a bit of a play on his signature dot pattern. The shoulders are padded and strong and the edge of the bodice is shaped into a curving scalloped pattern. I love how it sits away from the body because it emphasizes the waist more. Quite a clever trick. The waist is accented by a wide black silk satin ribbon that is attached to the inner dress. Under that the skirt falls with a nice bit of fullness to it. Inside it has an inner organza lining that helps to hold the shape but most of the volume comes form the pleating at the waist and the horizontal banding that helps to give the skirt structure. It curves out full over the hips and has a bit of a bell shape. Alternating stripes of black and white silk organza run all the way to the hem and each black stripe has a little band of lace edging it on both the top and bottom of the stripe. Excellent condition with a small note to review below.

The outer bodice is lined in a black silk and that sits over a black silk chiffon inner bodice. The skirt is lined with a white white silk organza. The dress closes at the back with a hand set zipper and the top buttons to close over that. Padded shoulders. I see the the slightest of darkening to some of the ribbon on the top. Too faint to capture in a photo but mentioned for accuracy. There is a minor mark on the skirt and a tiny area of fading near the hem. Please see the photos after the shot of the label

Sleeves: 22"
Shoulders: 15.5"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of shoulder to bottom seam of band at the waist
Skirt: 36" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3387

Reference Photos: Spring 1988 Bill Blass 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 dress has the same lines as ones from Givenchy's 1971 collection with the same ruffled detailing. I have incuded a photo here that has a similar feel. Based on the other work Mr. Givenchy was doing during this time period it makes perfect sense that this would be from that time period. This dress is even more interesting by the fact that in addition to the boutique label in the dress, I found a numbered tape inside the seam of the skirt. This was often done when a piece was custom ordered through the boutique. It would have been made in the atelier but the final fitting would have been done in house at the boutique level. It is a beautiful dress and even better in person. 

Givenchy was know for his love of fine fabrics and this dress starts with an exceptional one. At first glance the fabric appears to be a classic metallic silk brocade, but as you get closer you realize it is actually quite unique. It is more of a woven silk and the matte parts are done so that it has texture to the weave. It is very fine and light in weight. Woven through that is blue metallic thread that is scattered over the dress. Then to add one more element to the texture there are also parts that are hand embroidered in a blue thread. These all combine to make this stunning fabric. Being woven means that the fabric has just a touch of transparency to it which acts in direct contrast to its full coverage over the body. I love the unusual deep azure blue colour. It has just a touch of purple to it that gives it even more depth. The dress covers you from head to toe. The bodice is cut to skim over the bust from a high rounded neckline and then it is seamed in at the waist. The dress comes with its original belt that you can use to cinch the waist in. The sleeves are long and are finished with a full bell shaped ruffle at the wrists. The skirt falls to the floor from the waist and gently widens out as is nears the hem. It is finished with a wide ruffle  that perfectly balances out the cuffs. It is stunning and even better in person. Excellent condition with a minor note below.

The bodice is unlined and the skirt is fully lined with a blue silk organza. It closes at the back with a fine metal zipper. Inner waist stay hooks to close. The belt closes with hooks. There is a numbered tape along the inner skirt seam that I also photoed. Note that if you required more length it would be possible to move the ruffle down as it is set higher up the skirt rather then at the very edge of the hem. I think you could get a good 6" more in length. The sleeves are set the same way so could also be extended a bit. The silk organza lining in the skirt is starting to shatter here and there. It could be removed or replaced but it still wearable as it is now 

Sleeves: 24.5"
Shoulders: 14.5"
Bust: to 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 40.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3167

Reference Photo: Jours de France Issue 844, 1971. 

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

Salvadore Albani was an independent couturier operating out of Paris. He was known as one of the more 'affordable' couturiers of his day which meant you could buy a cocktail dress for several thousands of francs instead of tens of thousands. Kim Novack and Brigitte Bardot were fans and his work was quietly known by the women who could afford couture. This piece is from the eighties and it is remarkable how close it looks to the work of some of the modern brands who have been 're-inventing' that decade for several seasons now. It is an incredibly well made dress and is finished to haute couture standards. The dress is made from a light weight lame finish silk in a deep inky black. The main body and sleeves have a texture to then that gives them a light 3D effect. The collar, skirts, cuffs and the sash at the waist are then finished in the same fabric that has been plisse pleated. The fabric is very light and sexy feeling when on. It is loose and easy cut through the body that is flattering and comfortable to wear. The neck is high and finished with a pleated ruffle. The shoulders are set wide and each sleeve poufs out over the upper part of the arm and then curves and tapers down to the wrist. Each cuff has the same ruffle finish as the collar and there are two layers of silk there. Below the waist is an attached band of fabric that is wider at one side and then curves around the hips and ties. The sash is made out of the plisse fabric and this gives it volume and some structure that allows you to shape it as you wish. The skirt has two layers to it that that are set on a slight angle so one side is shorter then the other. I love all the shape and volume that the dress has and it still feels very avant garde even now. Hand finished interior and made to couture standards. Excellent condition

Unlined and closes at the back with a zipper and then you can adjust the hips with the attached sash. The teeniest bit of sheen to the fabric under one arm near the seam. The beck was small on the dress form. It measures 14" around. You could add an extender or button and loop to give you more room if needed. 

Sleeves: 26"
Slightly inset shoulders: 14"
Bust: to 18.6" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam and adjustable more
Hips: to 21" flat across from side seam to side seam and adjustable more
Length: 40" from neck to shorter side of hem, 44" to the longer side

Modern Sizing Equivalent: MED-LRG

Item# DD3674

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

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

Finding one of his evening coats is a bit of a treat and this particular one is a stunner. It is made of a metallic silk brocade that has a triangle pattern worked through the fabric using two different tones of the metallic yellow gold it is finished in. The design combines a more matte, less bright version of the fabric with the more metallic and brighter finish. The effect that this creates is dramatic and very beautiful. The coat almost has a foil feel to it but it soft to the touch. The triangles are quilted and stitched around their sides and they have a puffed feel to them for a bit of a 3D effect. It is cut in the classic lines of the time period with a simple high rounded collar and straight sleeves that are slightly cropped. The body of the coat skims over the bust then flares out to the hem in a classic tent shape. Pockets lie on a slant along the front and they are hidden along the design so at first you do not see them. Quite clever. I love how the back of the coat has that wide angled shape to it that is so beautiful. Matching buttons run down the front to close. Very chic and the perfect refined pop of colour. Excellent condition with one note below

Fully lined in a matching gold satin. The buttons holes are properly finished along the front. Pockets at the front. The easy cut should allow it to fit a range of sizes. The bottom button looks like the top of it fell off and a bit of the fabric was glued on to compensate. Please see the photo after the label shot. 

Sleeves: 19.5"
Shoulders: 15"
Bust: to 22" flat across from side seam to side seam
Waist-hips: widens out to 25" flat across from side seam to side seam
Length: 40" from neck to hem

Modern Sizing Equivalent: SML-LRG

Item# C573

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

Emilio Pucci is one of my favorite designers and every single dress is a work of art. His colors and prints are mixed with a masterful hand and when you get a good piece of Pucci, it is a piece that you can wear for a lifetime. This ones gorgeous. The print on it is floral pattern that is quite bold. The dress is made out of his signature lightweight silk jersey, a fabric that he preferred because of the way it moved and took color. It is screened with a custom print that combines big bright coral tinted red flowers with softer pink leaves. The print has been detailed with black around the edges and the base colour of the dress is an inky black. The pattern runs over the entire dress and gives it a tremendous pop if colour. At the front the neckline is done with two wide cut triangles of fabric that go up and around the neck to hook at the back. This leaves most of the back completely bare. The waist is defined with a broad band of silk jersey that has the same pattern but is set horizontally within stripes of colour. Under that the skirt flows to the floor gently widening out as it nears the hem. A second band of the print circles all the way around the hem. The entire dress weighs ounces and is just wonderful. Depending on your height this will fall to between  midi to full length. Excellent condition with one note below.

Unlined and closes with a back painted metal zipper. The fabric is a silk jersey and does have some stretch. Hand finished. Tagged a vintage Pucci 8 and is very tiny. For some reason the zipper is set into the dress backwards. The zipper pull is on the inside of the dress. I have reduced the dress to accommodate the cost of switching it back if that bothers you. An odd little quirk only found in vintage. 

Bust: 15" flat across from side seam to side seam
Waist: 11" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Bodice: approx 13" from neck to top of band at waist and the band is 3.5"  
Skirt: 35" from bottom of band at the waist to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3671

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 dress and jacket set by Malcolm Starr is a pretty choice for spring. It was designed by Elinor Simmons, who was a young designer that Malcolm brought in to the company to design a higher end line for him in 1965. She eventually left in 1972 which giving us a window within to date this set. Everything about this dress suggest the late 1960s to me. 

Both the dress & jacket have been made out of a heavier silk finished in the palest pink. The fabric choice gives it structure so that the shape you see is held once it is on the body. It is made up of two parts. There is the inner shift dress and then it has a matching jacket that goes over that. The dress has a very simple and easy to wear cut that is classic Malcolm Starr in feel. The bodice is kept very simple with little capped sleeves. It is cut to skim over the bust and waist. The skirt under that flares out slightly as it reaches the hem. The matching jacket is equally well cut with long sleeves and a box cut that ends exactly at the waist. It has a row of metal buttons down the front and a high ad neat little collar. I love that the entire upper neckline of the dress is finished with embroidered butterflies. These sit on a nude netting that wraps up and around your neck and then the butterflies are hand embroidered onto that. It is so pretty. When worn together the lines are lovely. The set is very well made with pretty details. It comes with a matching belt that can be worn to cinch in the waist of the dress or over the jacket as I have shown here. This is also a pretty decently sized set which is nice to find with vintage. The dress is in excellent condition and the jacket has some small flaws as described below. It is priced at a great price as a result.

Both pieces are fully lined in a pale pink silk. The dress closes with a back painted metal zipper and the jacket buttons to close as shown. The jacket has slight fading on both sleeves that carries up a tiny bit across the top of the shoulders. Some tiny faint marks here and there. The very back seam of the dress has been over-pressed at some point and there is a slight line on either of that seam. Minor but mentioned for accuracy. The jacket is wearable as is - at first glance it just looks like how the light is catching it. The belt shows some grubbiness. Please see the photos after the label shot

Dress
Bust: 21" 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: 40" from neck to hem

Jacket
Sleeves: 24"
Shoulders: 15.5"
Bust: 20.5" flat across from side seam to side seam
Hem at bottom: 20" flat across from side seam to side seam
Length: 19.5" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3658

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 two piece set by Oscar de la Renta. This is classic Oscar with its pink colour combination and feminine feel. The pieces are made to go perfectly together but you can also have them play double duty by wearing them separately. The dress is a classic day dress with a structured fit. The silk he chose is very high quality and it is covered in an exaggerated plaid done in several shades of pink. The choice of silk keeps it light and easy to wear but the construction techniques used for it give it the structure and shape that you see. The top is loose fitting and the sleeves balloon out above their buttoned cuffs. It does up down one side with a series of silk covered buttons. The skirt is gorgeous. It skims over the hips and falls with a slight flare as it nears the hem. On one side at the front he has added a series of flat pleats. These flare and move as you move and create a little extra detail that I love. You can see the care put into it with each line of the pattern in the silk brilliantly lining up with the ones beside it where the pleats close. It comes with its original silk covered wide belt that you use at the waist to cinch the dress in. Over this goes the matching pink coat that has been lined in the same pink silk as the dress. So if you wear the coat open you see the same fabric. I love that. The exterior is done in a light woven boucle feeling fabric done in several tones of pink. It has a boxier straight cut through the body with one pocket at one side. It closes with a series of large hand carved wooden buttons. It is marvellous together and classic Oscar. Excellent condition with one small note below. 

The dress is lined in an ivory silk through the body with the sleeves unlined. It closes down the front with buttons as seen. Snaps close it under the waist line and there are snaps to close each cuff. An inner waist stay hooks to close and there is padding in each shoulder. The coat is lined in a matching silk to the dress and buttons at the front with hand carved wood buttons. There is small padding in each shoulder and the pocket on the front is functional. The set comes with its original slip buckle belt. The belt has some grubbiness and there is one tiny spot on the front side of the dress. Please see the photo after the label shot. Tagged a vintage OLDR 12

Dress
Sleeves: 27" but do come up once on
Wide set shoulders: 17"
Bust: to 20" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: dropped - 17" from neck to waist
Skirt: 23" from waist to hem

Coat
Sleeves: 24.5"
Shoulders: 16.5
Bust: to 20.5" flat across from side seam to side seam
Waist: 20" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 40" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3660

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 little Yves Saint Laurent dress has such a joyful feel to it. I am always excited to find examples of Yves' work from this time period and this one is extra special because it is the twin of the dress that was shown on the 1983 runway. We also found a editorial shot from that season with the same dress in a solid colour that was shot for L'Officiel magazine. I love the solid colour version as well but the printed one just has so much colour and joy to it I can't help but love it a little more. 

This is a gorgeous little day dress that you could easily style to work into the evening, especially during the warmer months. The colours are amazing and absolutely pop off of the cotton fabric that he chose for this dress. Cotton takes colour extremely well and it is the perfect choice to get these crisp vibrant tones. It also holds the shape well so that the dress has volume where Yves wanted it. Yves Saint Laurent was a master at choosing the fabrics that were the perfect compliment to the prints that he used. This dress is no exception to that rule with its riot of bright flowers covering its surface. The cut is pure Yves and a wonderful example of the work he was doing during this time period. The sleeves end just below the elbow and are cut with a full balloon sleeve pouf above their wide and easy elastic cuffs. The bodice is fitted with a V neckline at the front. The upper portion of the bodice is done in the same floral fabric as the sleeves and skirt but he then inset a blue fabric to define the waist and visually cinch it in. He then plays with proportion by adding a blue cotton peplum that runs all the way around the hips and flares outwards. Below that the skirt flares out with a pretty swing feel. And there are pockets hidden along each hip under the peplum. The combination of the prints and the cut is genius. Excellent condition with a minor note below

Unlined and zips to close at the side. It is tagged a vintage YSL 36. It appears to have been worn very little if at all but there is some fading to the tops of the curves on the peplum. You notice it more when it is off the body and laying flat but not when on. Please see the photo after the label shot. 

Sleeves: 19"
Shoulders: 14"
Bust: 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15" from neck to waist
Skirt: 25" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3653

Reference Photo: (1-2) S/S 1983 Yves Saint Laurent Rive Gauche Runway.  /  (3) Yves Saint Laurent Rive Gauche, L'Officiel, 1983.  /  (4) S/S 1983 Yves Saint Laurent Ad Campaign.

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

Zandra Rhodes is one of my favorite designers and it is always a treat to have one of her pieces for you. The print on this one is done in a metallic silver paint and I love the subtle rhinestone detailing on it. It is a very pretty piece and the colour absolutely pops in person. 

This is a very wearable dress that can be worn for day or evening and has a lot of options on how you can choose to wear it. The versatility comes from it still having its original wrapped fabric belt and a matching scarf. This gives you the ability to add shape or wear it loose and easy. You can switch out the belt for the scarf for a softer look or you can use the scarf as a shawl or as a head wrap. You could even tie it into a turban to get a very seventies feel. The fabric is her signature hand painted silk chiffon and is the prettiest blue bright clear ever with a print that combines a navy matte navy and a metallic silver paint. This top layer lies over a blue silk interior that feels wonderful when on the body. The dress has a loose and easy cut through the body to create a floating feel around you. This gives the dress a lot of movement. It is cut to skim over the bodice and then flows to an open and easy waist and then the skirt flares out. Without the belt it has an almost caftan feel to it and with the belt you can cinch it in to add as much shape as you want. The bodice has just a touch of detailing to highlight the print with hand applied sequin paillettes and beads at the front and a rhinestone trim around the edges. The sleeves are left unlined and are light and airy feeling with a ruffled effect finished edges. It comes with a matching extra long sash and a fabric belt. It is lovely. Excellent condition

The dress is fully lined in a blue silk through the body and a nude inner lining in the sleeves. It closes with a back zipper. The bead and sequin work detailing are hand applied. Comes with a long wide scarf and and a matching belt that is shaped like a cummerbund with light stiffening in the middle part of it. This dress may have been a custom order as it came from the same lady who custom ordered several of Zandra's pieces. It looks to have been worn very little if at all. I see two missing beads at the front and some of the tiny black beads above the rhinestone at the neck are missing. Very minor

Inset shoulders: 12"
Bust: 17" flat across the back from side seam to side seam
Waist: 15" flat across the back from side seam to side seam
Hips: to 19" flat across the back from side seam to side seam
Length: 55" from shoulder to hem
Sash: 5.5" at widest point x 80" long end to end
Scarf: 25" at widest point x 106" long end to end

Modern Sizing Equivalent: SML-MED

Item# DD3651

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 Hardy Amies label launched in 1946. In the beginning of his career, Amies' only did couture pieces and it was not until 1950 that he added a ready-to-wear label. The RTW label was still very high end and the pieces had a lot of the same hand finishes that the couture label had. In 1951 Amies was chosen to design some of the wardrobe for Princess Elizabeth’s tour of Canada. That led to Amies appointment as the Royal Dressmaker in 1955 after Elizabeth became the Queen. Hardy was known for his elegant lines and very high quality fabric choices. 

This dress is gorgeous in person and the photos do not convey the lightness of the fabric and how it will move once it is on an actual body. It is made out of a light weight silk organza that holds the colour on it exceptionally well. The fabric is very light but still has a structure to it that helps to hold the shape and lines of the dress. It is the perfect fabric choice to create volume without bulk or heaviness. The blue is lovely with a touch of a turquoise feel to it. Screened onto the silk is a print done in rusts and taupe. The dress itself is cut with simple lines. Tiny straps curve up and around each shoulder and the bodice is fitted under that. The waist nips in and then the skirt flows to the ground widening out from the hips so that it has quite a bit of volume to it. The skirt is made out of many yards of the silk with the top layer floating over an inner silk lining. All of the volume that you see is created by a combination of the way the skirt is set into the waist and the fabric choice. It is just lovely. Over the dress goes a little matching cape that simply ties into place at the neck and floats over the shoulders. It is cut to end just below the waist at the back and then curves around to come up just a touch at the front. The edge is finished with a six inch ruffle that perfectly picks up the skirt's shape and volume. It is just beautiful. Excellent condition with a small note to review below

The dress is fully lined in a blue silk and closes with a back painted metal zipper. There is a light spot near the front seam of the skirt that gets lost in the pattern. Please see the photo after the label shot. The cape ties at the neck and is unlined.

Bust: 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: " flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 45" from waist to hem
Cape: 18" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD1586

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

Valentino knows how to cut a dress to perfectly flatter a woman's body. Few designers can come close to the techniques he perfected over the decades of his prolific career. This is a wonderful example of his work from the turn of the 1990s. I love that it has been done in his classic crisp true Valentino red. This is a colour that he perfected to be flattering on almost any skin tone. The dress has that perfect minimalist feel to it that the nineties epitomized and yet still feels modern and fresh. It is cut to skim over your curves in a way that highlights the body but is not meant to be too tight and constricting. The colour is absolutely fantastic. It is that perfect clear red that flatters most skin tones. I think it is even better in person then how it has photoed. If you know Valentino's work, then you know the exact shade this red is in person as this is one of his primary signatures. The dress is sleeveless and the side angle in towards the neckline. The top of the neck curves up over the base of the neck and below that is an open slit that runs down the front seam. It slowest just the barest bit of skin. All of the seam work on the body of the dress has been done vertically so there is no seams running across you at any point to break the line of the eye. When it reached the hem it flares out and the hem is finished with two layers of ruffles that circle around to the back. The back hem is cut slightly longer then the front so that you get a slight bit of a trained effect. When you walk the ruffles get kicked out and adds movement with your every step. It is just stunning on the body. Excellent condition with one small note below.

Fully lined in a red silk satin. It closes with a back hidden set zipper. Hand finishes. Tagged a Valentino 10. The fabric does have some give. There are some very minor marks on the back ruffled hem that you would never notice once on that would not photo. Mentioned for accuracy. The original price tag is still on the dress and was $3275 even back then.

Bust: 18-19.5" flat across from side seam to side seam
Waist: 16-17" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 57" from shoulder to front hem, 63" to longest point of the back hem

Modern Sizing Equivalent: MED-LRG

Item# DD3015

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