John Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. 

His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to offer this exclusive nine piece capsule collection of pieces and samples that John pulled from his own archives to share with you. 

This dress is very sexy and shows off a lot of skin but in the best possible way. The metallic lame jersey that he has chosen as the fabric weighs mere ounces and it is heaven on. Once it is on it feels almost weightless. It is completely cut on the bias so once you slip it on, the seaming and bias cut drape the dress over you and it feels like you are wearing nothing. The halter of the bodice curves up and behind the neck. At the back this leaves you entirely bare. Its scoops down right to the waist and your entire back and sides are a bare expanse of skin. At the front the halter gathers in toward the base of the plunge at the waist and there is a knot of the gold lame there for detailing. To wear it you slip it on, wrap it and then it hooks at the waist under the front knot. The skirt falls under that in a ruffle of gold down the front. It is slit down the center with the ruffled edges of the fabric keeping it covered. When you walk or move you do get a mile of leg showing. The edges curve down and around the hem and the back is cut longer. It is pure golden magic and one of the best lame dresses I have seen. It appears to have been worn very little if at all. Excellent condition.

Unlined and closes with a back hidden set hooks. It has an inner waist stay that has a hook. You could probably move the hook a little up or down to get more or less room if needed. Cut on the bias and is feather light. Hand finished throughout. The strap at the back of the neck has been folded and tacked to shorten it a notch. It would be easy to adjust this if needed.

Bust: each side of the halter front will expand to cover up to 9" across 
Inner waist: is currently 12" flat across from side seam to side seam but it would be expanded to get another inch easily and maybe more. 
Hips: open
Length: approx 60" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD3836

Reference Photos: John Anthony Ad for Bergdorf Goodman, published October 5th, 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.

John Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. 

His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to offer this exclusive nine piece capsule collection of pieces and samples that John pulled from his own archives to share with you. 

This jumpsuit is gorgeous just on its own with its cut and line never mind the fact that every square inch of it is completely covered in thousands of tiny sequins. Under all of those sequins the base fabric is a pale green silk onto which are thousands upon thousands of the tiniest sea green sequins. The sequins are all placed in a way that they slightly overlap each other which uses twice as many then if you laid them out side by side. This heavy coverage means that it catches the light magnificently. These literally cover every inch of the jumpsuit and create a moving, sculpture as they fall and drape over the body. The combination of colour, sequins and cut make you instantly seem taller and leaner. The top has a high collar that is detailed with a thick rope of sequins. This snaps into place around the neck and then snaps together at the front. This same piping of sequins also sits at the end of each cuff. The bodice is cut to skim over top and the sleeves are long. A matching sash covered in more sequins hooks into place around the waist for shape. The pants are cut wide and straight as they reach the hem and they help add to the sense of being long and lean. Because the base fabric is a very light silk the entire jumpsuit is shockingly light despite the heavy coverage of the sequins. It is just beautiful and extraordinary once in a lifetime find. Excellent condition.

Fully lined in a green silk chiffon and closes with a back zipper. the collar snaps into place and the matching sash belt hooks to close. Light padding in each shoulder. Hand finishes. I see no bare areas. There are literally thousands of discs covering the jumpsuit. It is even better in person.

Sleeves: 24'
Shoulders: 14.5
Bust: 16" flat across from side seam to side seam, though the open back will allow for a larger cup size
Waist: 12.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 16" from neck to waist
Pants: 45" from was it to hem
Inseam: 33"

Modern Sizing Equivalent: XS-SML

Item# DD3835

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 Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. 

His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to offer this exclusive nine piece capsule collection of pieces and samples that John pulled from his own archives to share with you. 

This is an amazing dress that is heavily beaded and extremely sexy. The base of the gown is made of a red silk chiffon that then has hundreds of vertical bands of red coloured glass tube beads laid out in vertical rows that fully cover the dress. The dress is already spectacular on its own and the addition of the thousands and thousands of glass tube beads give the dress an extra layer of texture and glamour. Every square inch of the dress catches the light and sparkles. As a result the dress is fairly heavy off the body because of that extensive bead-work, and yet once on the body it lies and drapes in a way that it is balanced and not at all unwieldy. And the colour... If you even remotely love it in the photos you will gasp to see it in real life. This needs a body to give it a life of its own and the camera cannot capture just how gorgeous it is and how the beads catch the light. The bodice is cut with a deep plunge that goes right to the waist. There is no structure inside the panels that sit of the bust. They are meant to just skim over you. They curve up and over each shoulder to turn into thin straps that run down the sides of your back. The back is otherwise left completely open and bare. The sides plunge equally as low so there is an expanse of bare skin there as well. I love how there are no horizontal seams added at the waist so that the front remains a long unbroken line right to the hem. The skirt widens out as it nears the hem and the combination of the silk and beading give it incredible drape. A slit runs up one side so that when you walk or sit you get a flash of leg. As good as it photoed, the effect that this dress has once it is on an actual body is far more dramatic and fabulous. If you even remotely love it in the photos you will dance when you see it in person as it is so much better in real life. Extremely well made and made to demi-couture standards. Excellent condition with one minor note below.

Fully lined in a red silk chiffon and it closes at one side with hidden set silk covered snaps and a hook & eye. Hand finished throughout. It has a good weight to it since it is fully beaded from top to bottom with glass beads but feels balanced when on and comfortable. There is a small part of a row of beads missing near the back scoop and a part of a row at the back. Please see the photos after the label shot. The straps have been folded and tacked to shorten a bit at the top of each one.  This could be easily reversed if needed.

Bust: each halter covers approx 5.5" across
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 60" from top of bodice to waist
Slit: 21.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3834

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 Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. 

His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to offer this exclusive nine piece capsule collection of pieces and samples that John pulled from his own archives to share with you. 

This is a dress that when you see it in person seems impossible to have the level of detail that is does on the silk and netting fabric. It is magical in person. The dress is made from a beige nude silk chiffon through the body and then the upper bust and back are made out of a nude silk netting. It is cut to skim over the body with a suggestion of a waist worked in by vertical seaming. The netting above the front edge of the bodice curves up to the shoulders and then down the back. The back is dipped very low so you see your lower back peek through the netting. Onto the netting is a design that reminds me of coral in the way that it has been executed. A fine silver colour metal thread is first used to create the organic feel of the pattern. Then onto that is a dense application off silver sequins, soft pastel blue beads and rhinestones. These are applied thickly enough that they sit up and off the silk to give a 3D effect. They run over the entire dress and over the netting as well. When this is on the body the effect that this creates is astonishing. I think it is one of the most beautiful textile examples I have ever seen. A long slit up the side allows a flash of leg to show when you walk or sit. It is magnificent. Besides being a very wearable dress for any special evening  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 minor note below.

Fully lined in a node silk chiffon and closes with a hidden side set zipper. One of the shoulders has a Velcro close to help get in and out of it. There is a very tiny break in the net near one arm hole at the front and two teeny stress areas near a seam. Please see the photos after the label shot.

Bust: the front covers to 16" flat across and the sides are open right beside the bust
Waist: 13" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 54" from top of shoulder to hem
Slit: 24" from hem up

Modern Sizing Equivalent: XXS-XS

Item# DD3833

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 Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. 

His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to offer this exclusive nine piece capsule collection of pieces and samples that John pulled from his own archives to share with you. 

The level that this dress is made to is a beautiful thing to see. It has all those lovely details that you expect in a couture level garment. The skirt is made from a black silk taffeta and then the bodice is very elaborately finished. These fabric choices help to hold its intended shape and give it a high glamour feel. The bodice is more fitted and the neckline is cut wide across so that you can wear it off the shoulder. The bodice is entirely covered in thousands of tiny black sequins. Glass beads in gold and red create a diamond pattern that runs over the bodice and then gold roses are embroidered into that. Onto the gold embroidery sits little clusters of 3D rosettes of metallic pinks and gold. It is incredible and very elaborate. The top is cut to follow your curves and the waist is cinched in. The sleeves are long and are as covered with the sequins, beads and rosettes as the bodice is. All of the edges are bordered and the zipper is hidden under the border that runs down the centre at the front. The skirt is equally well made. It curves out from under that elaborate beading widening out as it nears the hem. Inside the skirt are built in panniers at each hip to help give it shape and volume. This technique helps to hold the shape of the skirt and when on the body it poufs out perfectly. The hours of work that it would have taken to implement the detailing on this dress is mind boggling. It is extraordinary and the kind of quality and beauty that you will only find with vintage. It appears to have been worn very little if at all. Excellent condition.

Fully lined in a black silk. There are built in hip panniers on each side of the inner skirt. It closes with a hidden set zipper down the front. Each sleeve buttons to close with a series of jet buttons and loops. Hand finished.

Sleeves: 19"
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Length: approx 32" to hem once on the body

Modern Sizing Equivalent: SML-MED

Item# DD3832

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 Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971, his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. 

His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to offer this exclusive nine piece capsule collection of pieces and samples that John pulled from his own archives to share with you. 

This dress is a little extra special as Janet Jackson wore a later version of the dress for her Today's Black Women cover. I included it as it is always fascinating to see the progression of a design. It also has some similarities to the ivory one we have in this capsule that is made from a similar lace and sequin fabric. The dress is very light in weight and it is made from the most beautiful fabric. A deep blue netted lace is placed over a silk chiffon lining in the same colour.  The lace is then detailed with thousands of deep blue iridescent sequins that run over the entire length of the dress. This allows the dress to catch the light from every angle and it creates the most beautiful effect in the light. It is strapless and the top of the bodice curves down into a sweetheart shape to emphasize the bust. It cleverly closes down the front with a hidden zipper and hidden snaps running under the edges of the fabric. I love how all of the edges follow the curving pattern of the lace so that everything has that touch of romance and detailing. To wear it you just wrap it around you and close the snaps down the front. The snaps run to about the mid-thigh and then below that a subtle slit is created so that you see a flash of leg when you move or sit. The lower hem is set on a curve so comes up slightly at the front and is longer at the back. The skirt is lined in a silk chiffon and this gives it a slight transparency in the light. Very sexy.  I love the little rosette created and placed to one side at the waist for a touch of detailing. No detail is too small with John's dresses. It is incredible. It is wonderful. Excellent condition.

Fully lined in a hand set deep blue silky rayon through the bust and a silk chiffon through the skirt. It closes at the front with a hidden set zipper and a series of hidden fabric covered snaps. Lightly boned through the bodice. Hand finished throughout. It appears to have been worn very little if at all. 

Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 9" from the top of the bodice to waist
Length: 46" from the top of the bodice to longest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3831

Reference Photo: Janet Jackson in John Anthony for Today's Black Women, June/July 1998.

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 Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. 

His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to offer this exclusive nine piece capsule collection of pieces and samples that John pulled from his own archives to share with you. 

The dress is stunning. It is made from a sleek black silk mix that falls and drapes beautifully. At the front it is cut in a simple sleeveless sheath with a high scooped neckline. The back dips into a very low squared off cut out that goes right to the waist to show a bare expanse of skin. Each side is also cut to go right to the waist seam so you get a flash of skin there that is very sexy. Inside it is lined in a hand jet black silk that feels amazing against the skin. The waist seam is set in a slightly curved line up towards the bodice and then the skirt falls from there to the floor in a stunning sleek column. It is cut super model long in length. I love that on one side there a very high slit. This leaves your leg exposed to the thigh and it is very sexy but in an insanely subtle and refined manner. The dress is just heavy enough to keep its sleek sculptural shape. It is very beautiful. It is stunning on the body. Excellent condition 

Fully lined in a hand set black silk and closes at the back with a low set zipper . All the interior work is done by hand to demi-couture standards. It appears to have been worn very little if at all. 

Bust: the fabric will cover to 14" across and it is open a each side
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 13" from top of shoulder to waist
Skirt: 50" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3830

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 Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. 

His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did and still do retail for over $10,000. His work is a personal favourite of mine and I am thrilled to offer this exclusive nine piece capsule collection of pieces and samples that John pulled from his own archives to share with you. 

This dress is absolutely stunning. It weighs ounces and is made from the most beautiful fabric. Netted lace is placed over a nude silk chiffon lining. The lace is then detailed with little swirls of cording that have little ivory iridescent sequins running through. This allows the dress to catch the light from every angle and create the most beautiful effect in the light. It all cleverly closes at the front with hidden snaps running under the edges of the fabric. I love how all if the edges follow the curving pattern of the lace so that everything has that touch of romance and detailing. Once on, the front plunges right to the waist. The fabric closes under that point and overlaps slightly. This leaves a subtle slit running up the front so that you see a flash of leg when you move or sit. The back is equally incredible. The front halter curves up and over the shoulders and meet in a band that runs behind the neck. Extending out from that are two wide straps made of the same fabric. These are set to curve and drape away from the body for this pretty 3D effect. The back is left completely bare under that right to the waist. I love how the seam at the bottom of all that bareness is set on a slight curve. No detail is too small with John's dresses. It is incredible. It is one of the most romantic and beautiful dresses I have ever had in the shop and I feel that this would make an extraordinary wedding piece for a bride looking for something not as traditional. It would work for any event really where you want to feel like a goddess. Excellent condition.

Fully lined in a nude silk chiffon and closes at the front with a series of hidden fabric covered slaps. Hand finished throughout. It appears to have been worn very little if at all. Note that it is slightly creamer in person then how it photoed.

Bust: each halter provides 6" of coverage across 
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 62" from neck to longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3829

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 Anthony is an award-winning American fashion designer best known for simple, elegant clothing with a strong sense of chic. His work veers towards minimalism, with sharp tailoring, striking evening wear being his signature. He is renowned for his cutting and tailoring. From the day that he launched his atelier in 1971 his design philosophy is a fusion of function and purpose. The function is his logical, wearable approach; the purpose, his pared-down ideas. As a designer, he considers it his job to make things easy for the customer. He designs with focus and a narrow palette for both day and night, so items can easily intermingle. He uses natural fabrics and is noted for contradictory daywear fabrics in his evening collections. In the early 70’s he was one of the first designers to promote the idea of easy-to-travel clothes that resist wrinkling. By 1976, he was showing soft, liquid separates in muted colours that became his trademark and received 2 Coty awards, one in 1972 and one in 1976, as recognition. 

His business was all done on a made to order basis. That means the majority of pieces you will find are a one-off, or if there are similar pieces, very few of each piece exist. This personal attention to each dress is clearly seen in the workmanship of his pieces. His work is very expensive and beaded pieces did, and still do, retail for over $10,000. His work is a personal favourite of mine and I am thrilled to offer this exclusive nine piece capsule collection of pieces and samples that John pulled from his own archives to share with you. 

This dress is exceptional and a wonderful example of his work during this time period. It is made from a black stretch jersey that allows it to drape beautifully over the body and highlight every curve. The stretch in the jersey and the netting on the top allows the dress to show off your curves while still feeling unbelievably comfortable once on. The top of the dress is spectacular and it is so well made that you could wear it either way around depending on just how bare and daring you want to be. The entire bodice mixes curved cut outs of the black jersey with a back netting. This makes it very sexy despite the fact that the dress completely covers you. The net sleeves are long and followed the curve of the arm. Panels of jersey curve up from the waist and wrap over you. If you wear it with the more covered side to the front then the back is left almost bare under the black netting. If you turn it around and wear the more exposed side to the front it creates a more halter effect. The dress skims over the body and falls to the floor in a beautiful drape of jet black jersey. It is cut super model long in length and I love how the bottom of the skirt flares out just a touch. A zipper sits at the neck of the more opaque side and this allow you to show a little skin there or zip it up to the neckline. It is incredible and made to demi-couture standards. Excellent condition.

Unlined and slips on to wear with a zipper at the neckline. It appears to have been worn very little if at all. Hand finished. The fabric does have stretch so should fit a range of sizes. The measurements below give you the comfortable range the fabric has when lying flat.

Sleeves: approx 25""
Shoulders:
Bust: 15-18" flat across from side seam to side seam
Waist: 12-14" flat across from side seam to side seam
Hips: 16-19" flat across from side seam to side seam
Length: 67" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD3828

Reference Photos: From the John Anthony website.

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 was so well documented and photoed when it came out for the Spring 2017 collection it is almost mind boggling. It is instantly recognizable as Phoebe's work and it is amazing. When I started to hunt for references for it I found all the ones that are here, plus there are probably more out there that I just have not yet seen. All of Phoebe Philo's pieces for Celine have reached cult status and the prices are just continuing to rise. Her work is a must have for the vintage collector and this is a particularly hard to find dress that is rare and collectible. 

The dress is made from a stretch jersey and this one is finished in one of the three colours/patterns released in this style. The bodice is set over the bust with a wide flat cut at the top and then it angles down to the keyhole at the waist. There are elastic straps that you slip your arms through and the front just skims over you. The back is left completely bare and dips quite low so your entire back is bare and open. The key hole at the front is set so that it is twisted over itself and just this little detail alone give you a glimpse into the magic of Pheobe's vision and quirky aesthetic. The skirt is suspended from that knotted keyhole at the waist. Elastic runs through the top of it so it is very forgiving and accommodating. The skirt widens out into a loose and easy draping of jersey to the hem. Once you have slipped on the dress it simply hangs and drapes down and around your body. It is incredibly comfortable and easy to wear while being devastatingly sexy. The jersey has a lot of stretch so the size on the tag is almost meaningless. This one is a 34 but will easily fit a range of sizes from probably about a 0 to a 6 or 8 with ease depending on your frame. This is true fashion history and one of the most documented pieces I have ever seen. A testament to the genius of Phoebe and the impact of her work on fashion. It appears to have never been worn or worn very little. Excellent condition

Unlined but the fabric is opaque. It slips on to wear with elastic at all the edges. It is tagged a 34. It appears to have never been worn or worn very little. The fabric has incredible stretch so it should fit a large range of sizes.

Bust: covers to 22" flat across the front
Waist: 13-19" flat across from side seam to side seam
Hips: open" flat across from side seam to side seam
Bodice: approx 15" from top of bodice to elastic waist
Skirt: approx 42" from waist to hem and might come up a little depsneign on what size you are and its need to stretch horizontally

Modern Sizing Equivalent: XS-MED

Item# DD3823

Reference Photos: (1-4) Spring 2017 Celine Runway Collection. Look 4. Model: Mali Koopman.  /  (5) Edie Campbell photographed by Mikael Jansson, Vogue Paris, March 2017.  /  (6) Daphne Groeneveld phtographed by Zoltan Tombor for The Sunday Times Style, March 2017.  /  (7) Photo by Choi Yongbin, Harpers Bazaar Korea, 2017.  /  (8) Jip Boxstart photographed by Van Mossevelde for D La Republica, February 2017.  /  (9) credit unknown.  /  (10) Shin Min Ah photographed by Kim Yeong Jun for Elle Korea. April 2017.  /  (11-12) Vogue Australia's fashion director Christine Centenera in Celine at Vogue Australia’s 60th Anniversary Supper, December 2019. Photos by Hugh Stewart.

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 heavily beaded dress from the Mignon label. The extensive bead work that covers every inch of the dress has all been done by hand. The dress is very well made too. The base fabric is a silk brocade that has a design worked into it. The design was then followed and covered with thousands and thousands of hand placed beads, sequins and rhinestones. They are all original glass beads and that reflects in the weight of the dress. I personally love this about it. There is a weight to these vintage pieces that you will never find with modern version whose bead work is all made from light in weight plastics. This is the real deal. Even with the weight added, once on the actual body it feels balanced and not too heavy. The weight feel luxurious not cumbersome. Inside it is lined in a silk lining that adds to the feel of high end luxury. The dress is cut to follow your curves and has that wonderful and glamorous, old Hollywood starlet feel to it. The bodice is molded to fit the bust and the neckline is cut into a V for a touch of skin to show. The back scoops quite low and this expanse of bare skin adds to the sensuality of the dress. The waist nips in and then under that the skirt is cut to hug the hips. It then flares out slightly as it reaches the hem. The back hem is cut just a touch longer then the front to give it a little extra flare and to follow the line created by the scoop at the back. Excellent condition 

Fully lined in a mint green silk and closes at the back with a painted back metal zipper. The bead work and rhinestones are entirely hand applied.

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: 15" from top of shoulder to waist
Skirt: 36.5" from waist to front hem, 38" to the back hem

Modern Sizing Equivalent: MED-LRG

Item# DD3824

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

After the premature death of Jean Patou in 1936, his sister took over the house and eventually had other designers head the atelier. On the Jean Patou site the history of the houses designers is clearly laid out; 'Marc Bohan, born in 1926, made his debut with Jean Patou at the age of 18. He left the couture house to better find himself as the artistic director. He kept the legend alive from 1954 to 1957. He moved on to serve as the head of creation at the Dior house for the following thirty years. Karl Lagerfeld joined the fashion house as head designer in 1958 and left Jean Patou in 1963 to devote himself to ready-to-wear houses with whom he collaborated. Michel Goma remained at the head of the fashion house from 1963 to 1974. He developed ready-to-wear in parallel with his couture work. Jean Paul Gaultier began his career with Jean Patou during Michel Goma’s time there. He joined the studio in 1972 at the age of 20, completing his apprenticeship there. He left the house in 1974 to work at Pierre Cardin. Angelo Tarlazzi took over the reins of Jean Patou in 1974, succeeding Michel Goma. He left at the end of 1977 to start his own brand. During his time with Jean Patou in the 1980s, Christian Lacroix gave the brand a new life. Lacroix dared all the crossovers, unexpected combinations of colours, extravagant details (such as the famous tafetta hand-painted toile de jouy cocktail dress), and oriental inspirations reminiscent of those Jean Patou loved them at the time of his splendour. He received the prestigious Dé d'Or de la Couture award in 1986 for his work, before the fashion house ceased its activity in 1987 and Lacroix founded his eponymous house within the LVMH group.' After a lot of research I have dated this to be from the Spring 1977 collection under Angelo Tarlazzi's time there. I found a reference photo of a dress from that year with a metallic lame finish and pleating and it seems that this was a theme used through that collection. 

The dress is magnificent. It is one of the best examples of Patou's work that I have seen and it is just an incredible dress in its own right. It is made out of a bronzed metallic lame that has a design worked through it in gold thread. This addition of a pattern worked into the silk lame allows the fabric to catch the light from any angle and gives it this wonderful extra texture. The entire dress had been knife pleated and each pleat is the exact same size as it's neighbour. The pleating adds yet another layer of texture to the dress and it is stunning The dress is suspended from the shoulders by two tiny straps made out of the same fabric. It plunges into a V at the front and then at the back it plunges all the way to the waist seam. This leaves a broad expanse of bare skin showing. To add to the sense that the top is just a bare bit of fabric covering you, each side also plunges into a V. As the silk lame fabric drapes over your bust and back the pleats open and expand to create a little bit of volume. The front has a seam under the V that is closed up the centre to the base of the V but I think if you wished you could have it opened so that it also plunged right to the waistline. Same with the sides. The waist nips in and then the skirt falls to the floor under that in a sweep of pleat work and lame. There is an incredible amount of fabric in the skirt. The fabric is feather light and so fine that when you stand still it falls in a column but then, at your slightest movement, it moves with you and you realize just how expansive the skirt really is. No matter how great the photos look it is that much better in person. The fabric is just stunning and every line of the dress is perfection. I am obsessed. Made to demi-couture standards. Excellent condition 

The bodice is partially lined at the front only with a silky rayon and the skirt fully lined in a brown silk. It closes with a back metal and nylon zipper. Tagged a vintage 36. The pleats allow the bust to expand quite bit but will also sit well on a smaller bust too. If the waist fits it should work an a range of sizes

Bust: approx 14-18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 43.5" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD3825

Reference photo: Jean Patou L'Officiel Spring 1977 

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

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

This dress is absolutely wonderful and I think that when you see this in person you will be very happy with it. Black definitely does not convey as well when photoed and there are really so many exquisite details and the workmanship is so very fine in this dress that in person it really feels like a proper couture piece. It is perfectly made and exactly what is meant when we refer to the perfect 'little black dress'. Norman Norell was the master of the little chic day or cocktail dress and even though his pieces sometimes appear simple they are really a master study in cut and line. This dress is made of a black textured wool crepe that has just enough weight for it to hold the intended shape he has created. The bodice is sleeveless and cut to skim over the bust and waist. It drops into a low seam at the top of the hip. Under that the skirt flares out as it reaches the hem. The skirt is made from two attached tiers with each tier being fuller then the one above. This is what gives it that incredible shape and volume. At the back it closes with a row of hand covered buttons in the same fabric so you have the detailing of the buttons there but nothing that breaks the eye. It is so well made that I think you could wear it with the buttons to the front as well. The inside is beautifully finished to a couture like standard with elaborate horsehair binding at the seams of the two tiers and inner silk skirting to keep the shape and fullness. It is wonderful and a beautiful example of his work. Excellent condition.

Fully lined in a fine black silk and the skirt has additional layers. Hand finishes throughout. There is built in interior stiffened horse hair netting at the seam between the tiers. The dress closes with a series of hand covered fabric buttons at the back and all of the buttonholes are properly finished. It appears to have been worn very little if at all. 

Bust: to 20" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 40" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3820

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

This dress is still being produced as part of the current collections by Roland Mouret and currently sells for approx US$2700. This one is part of the original series first produced back in 2005. My client was wait listed for the dress and finally was able to snag hers back in the day. The dress has been seen on countless celebrities and we have included many of them here. In 2005 it became one of fashion’s most revolutionary and sought after pieces. The best description is perhaps the one from the Mouret site itself: "The iconic Roland Mouret Galaxy dress creates the ultimate silhouette for the female figure, combining precision cutting, exceptional fabrics and exquisite detail to achieve the look. This classic piece lends an effortlessly stylish appeal to your daytime or evening wardrobe."

The secret to the body shaping magic that the dress has lies in the interior stretch nylon lining. This acts like a body shaper and creates a smooth curved silhouette for the exterior of the dress to lie over. The bodice has those signature high capped sleeves and the neckline is cut is a squared off cut out that is very flattering. It is fitted over the bust with the stretch nylon netting built in for support. The waist nips in and I have added a grosgrain ribbon that is not original to the dress but will be included. The skirt hugs the hips and then falls in a long pencil silhouette. At the back there is a vent that you can choose to button completely closed for a very pulled in feel at the hem or leave unbuttoned for a more straight pencil feel. These are sexy as hell once on the body and this one is like new. Excellent condition 

Full lined as described above. It is made of a stretch wool mix. Closes with a back zipper. Tagged a US 10. The measurement given are of it laying flat but it will have some stretch to wrap over your curves. 

Shoulders: no true defined seam
Bust: 19-20" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 16" from shoulder to waist
Skirt: 29" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3822

Reference Photos: (1-2) Fall 2005 Roland Mouret Runway Collection. Look 28. Model: Erin Wasson.  /  (3) Cameron Diaz, September 2005.  /  (4) Victoria Beckham, December 2005.  /  (5) Dita Von Teese, February 2006.  /  (6) Carmen Kass, September 2009.  /  (6) Miranda Kerr, April 2011.  /  (7) Halle Berry, October 2012.

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

That sense of humour and drama is what defined the very best pieces from Moschino. The label had the ability to provoke and challenge while making exceptional pieces of clothing. Francis Moschino launched his label in 1983 and quickly went from a small regional designer to one that was known on the international stage.

This is a gorgeous little dress that is chic and sexy. From the front it is the perfect LBD with a very refined feel. The dress is cut to skim over the body with pretty little capped sleeves and a low set waist. The skirt is cut with just a touch of volume from the seam and then falls in a chic little pencil skirt under that. When you turn around the back shows a lot of bare skin. There is a large open round cut out that shows your full back. Under that is second cut out to show off your lower back. Around the neck is a wide band of faux pearls in a creamy and beautiful cool ivory tone. This is a collar that you can attach or detach from the dress by simple snapping it into place with a series of hidden snaps around the interior collar. It gives you two dresses in one. The pearls are lovely and there are seven rows of them stacked on top of each other. It is a gorgeous and simple little dress that has endless stying possibilities. Excellent condition with one note below

Fully lined with a black silky rayon and closes with a hidden side set zipper and snaps to close at the neck. The collar snaps into place and the dress can be worn without without the collar. Tagged a US 10. There is one pearl missing on the collar. Please see the last photo after the label shot. It still has its original tags and was never worn

Slightly dropped shoulder: 16" 
Bust: 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 38" from top of shoulder to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3821

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

Jerry Sorbara is considered to be one fo the best furriers in the US. At 22 he started with another famous furrier, Ben Kahn. It was 1961 and the pieces he designed soon developed a following. In 1962 he started to push the envelope in the well established fur field when he convinced Kahn to let him start dying furs. By 1975 he was such an integral part of the company that he asked for a partnership and when he was laughed at, he walked out and started his own label. Jackie Onassis, Muhammad Ali, Anna Nicole Smith and Elizabeth Taylor were clients. Furs ranged from $8000 to over $50,000 and that was in the 1980s. Jerry said in an interview once “We always like to take our time and get things right. I try to make coats with no excuses. My coats, they have to be the best. And they are the best.”

This is an insane and generously cut white Mongolian fur jacket that dates to the late 1970s, early 1980s and is absolutely fabulous. I have seen many the Mongolian fur jackets but to find one that still a bright and gorgeous shade of white is special. Normally they tend to be a more creamy ivory but this one a gorgeous brighter white. It is also a bit more special because it is cut to a longer length. That past the hip length and the sheer joy of its shagginess makes for quite the dramatic statement piece. It appears to have never been worn or worn very little and is in very good condition. The cut will work on a smaller frame to feel more over-sized, while the actual measurements will allow for a fuller framed girl to also carry it off. I love the big oversized collar and that is has soft felt line pockets. It is gorgeous. Excellent condition

Fully lined with a white silky rayon. No closures. It has a touch of a vintage fur storage smell to it. The easy cut should fit a range of sizes 

Sleeves: approx 23"
Shoulder: approx 15.5" across
Bust: approx 24" flat across from side seam to side seam
Waist-hips: open
Length: 39" from neck to hem and including the fur that hangs past the hem edge

Modern Sizing Equivalent: SML-LRG

Item# C584

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

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

This coat matches the tunic dress I had in the shop recently and I am very pleased to have had one of my clients send it to me. It's twin in the same pink, as well as a green version, are held in both the Fashion and Lace Museum Collection and the Museum Of Fine Arts, Houston respectively. This is a remarkable example of his Couture work during that time period. A piece in this shade of pink and in this exemplary condition is a rare find.

This beautiful, sculptural couture coat is stunning. The fabric is that classic Courreges thick textured wool jersey that despite its thickness is still decently light in weight and wearable. The slight texture to it and absolutely superb seaming details give the coat a rich, luxurious feel. Each curved seam and the soft but sculptural cut create a beautiful line that curves in slightly at the waist and then the bottom of the coat under that flares out. A half belt detailing anchors the back and is held in place by two large white buttons. The coat closes down the front with more of those same white buttons and they are also used to detail the pockets and belt detail at the front. Each button hole, including the back ones, are completely functional and are finished to couture standards. The collar is neat and round and the sleeves end in a jaunty turned up cuff with a notch for extra interest. I love the way it closes at the waist and how the detailing there gives it the feel of being belted. Two large pockets sit at the front of each hip. Very chic and very couture in feel. Extremely collectible and rare. Excellent condition with one small note below.

Fully lined in a hand set ivory silk and buttons to close. Hand finished throughout. The color is a slightly different shade of pink - and even better I think - than how it photoed. Looked to have been worn very little, if at all. There is one small area of thinning to the fabric near the front hem. Please see the photo after the label shot. 

Sleeves: 22"
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 38" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C583

Reference Photos: (1) Courreges Coat, from Fashion and Lace Museum Collection.  /  (2) Courreges Coat, from the Museum Of Fine Arts, Houston.

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

The Nina Ricci Haute Couture house was founded in 1932, at 20 Rue de Capucines in Paris and became one of the most famous couture ateliers in the world. In 1954, Jules-François Crahay, Madame Ricci’s design assistant, was appointed the Artistic Director. The house’s style became more structured under his tenure and the signature curves of the Ricci silhouette elongated and became more modern in feel. Designer Gérard Pipart then succeeded Jules-François Crahay in 1964. Throughout the following three decades, Pipart's Haute Couture aesthetic celebrated a more flamboyant, bold woman and his ready-to-wear found a loyal following among the most stylish women of the day. This coat is an early example of Pipart's work for the house and is beautiful. I have dated it to 1965 based on the reference photos included here showing similar pieces from that season. It is exceptional and absolutely beautiful. 

This coat came out of an estate of an extremely wealthy woman who was a regular couture client during the 1960s. For the 1965 collection Gérard Pipart debuted the side button closure that featured large button closures off to one side. A cloth version of this design was photoed on Jean Shrimpton for Harper's Bazaar that year. I also found a reference photo for a similar all fur version. The coat I have for you is a wonderful combination of the two. The exterior is a quilted silk brocade done in a chic and stunning ivory. The fabric that was chosen for this coat is especially beautiful. It has a 3D puffed effect that is not just created by the stitching around the pattern in the silk that you normally see. Rather, different weights and thicknesses of thread have been woven into the fabric to create the design that you see. The interior of the coat is lined an ivory sheepskin that makes it warm and cozy. The design of the coat has been centered around simple but structured lines. The front wraps over itself and buttons with one large silk covered button near the side seam. All of the edges of the coat have been detailed and finished with a thick padded piping in the same fabric. This piping detail runs down the front, around the hem and circles around the end of each sleeve. Pockets lie along the seam on each side. The construction is at a Couture level of course and it is an absolutely stunning coat. This is a beautiful example of how refined true Haute Couture can be anode Pipart's work during this time period. Excellent condition with a note to review below.

The coat closes with the button at the front and there is a button and loop on the interior. The entire coat is lined in sheepskin. Finished to Haute Couture standards and entirely done by hand. Pockets along the seam. I see some fraying to the fabric around the back collar. There is a small mark on the back of one shoulder and a touch a a watermark on the silk of the other shoulder. Please see the photos after the shot of the label. The easy cut should allow it to fit a range of sizes.

Sleeves: 20"
Shoulders: 15"
Bust: to 24" flat across from side seam to side seam
Waist-hips: 24" flat across from side seam to side seam and gently widens out
Length: 38" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# C454

Reference photos: Jean Shrimpton in Nina Ricci for Harper's Bazaar 1965, Avedon; Brigitte Bauer in Nina Ricci for Vogue 1965, William Klien. Historical info on the house verbatim from the Nina Ricci website.

I have a small collection of historically important, key designer labelled vintage furs, fur trimmed & feather 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. All fur coats, fur trimmed & feather pieces are final sale

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 incredible dress is from the Fall 2004 Yves Saint Laurent collection and it's twin walked the runway that season. With it's brilliant rose print the dress has such a joyful feel to it. And it feels very French. I am always excited to find examples of Yves' work from this time period and this one is extra special with the addition of its runway provenance. We also found video of the show so you can see how the dress moves. I love it

The dress is exquisite and I love that you can see just how wonderful it is on the body from the runway reference photos and video that we have found for you. It is made from a light silk chiffon that weighs next to nothing. The sleeves are cut to be very full above their elastic ends and this adds to the flowing feel the dress has. I love that the sleeves are cut to sit fully off the shoulders. This allows your entire upper shoulders to show and the bare skin of your shoulders balances the show of legs under the skirt. The bodice has a built in inner corset that holds the dress in place and gives it hidden structure. Over the inner bodice the fabric is draped into place in a series of gathers and soft pleats. This gives the illusion that the dress skims over the body rather then being so fitted underneath with the built in corseting. The waist is nipped in and I have added a grosgrain ribbon for shape. If you wanted to wear it like it was shown on the runway you could easily pin a rose onto the waist. The skirt under the waist seam is quite full and cut short. There is a ruffle at the bottom of the hem that adds more fullness. Underneath the skirt is a silk chiffon underskirt. Both that underskirt and the top rose printed layer have a touch of transparency as do the sleeves. It is a very subtle addition of sexiness to have these fabrics be so light and with that hint of transparency. The result is that you get a stunning bit of volume through the skirt as it flares out around you and moves when you move and then both the skirt and the sleeves have a touch of transparency to them so you get a suggestion of leg and arm showing. It's killer. The dress looks to have been unworn or worn very little. Excellent condition  

The built in corset acts as the lining through the bodice and it is boned and shaped. The skirt has a light silk chiffon lining. The dress closes with a side set zipper. The grosgrain ribbon belt is not original to the dress but will be included. The front seam at the waist curves up slightly to one side and it does not look to have ever been altered. I think its deliberate to accommodate a flower as you see it placed in the runway photos.  It appears to have been unworn or worn very little. Tagged a TSL 38 

Sleeves: approximately 22" from the drop
Inner bust: 16" flat across from side seam to side seam
Inner waist: 13" flat across from side seam to side seam
Hips: open
Bust: 8" from the top of the neckline to the waist
Skirt: 22.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3819

Reference Photos & Video: F/W 1994 Yves Saint Laurent 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.

This dress is wonderful and the cut of it is the perfection that you expect to find from this time period. It is made from a red cotton pique fabric that has a wonderful texture running through it. Onto this is a stunning floral print that is done in soft pastels ranging from yellows, blue and greens. These are placed over the entire dress with the floral pattern more densely applied around the neck and near the hem of the skirt. The colours are still crisp and true and the dress looks like it has been worn very little if at all. The design of the dress itself is stunning. The bodice is cut to skim over the body and the neckline has no collar but is gathered in and around the neck for subtle detailing.  Each sleeve is capped and has volume built in with gathering along the top. The waist nips in with seaming and how it is gathered into and along the front zipper. You can cinch in the waist even more with the belt. The belt itself is fabulous. It is covered in matching fabric and then the slip buckle is done in an early plastic in a red colour to match the dress. Below the waist the skirt is cut in a long lean line and then flares out as it reached the hem in that perfect swing skirt cut. This emphasizes the feminine curves of the dress perfectly. I love the slanted and top stitched pockets on each hip. One of the best forties dresses I have had in. Excellent condition

Unlined and closes with painted metal zipper at  the front. The belt has a slip buckle. Pockets on each hip. It looks to have been worn very little if at all 

Shoulders: 15"
Bust: to 18.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 16" from top of shoulder to waist
Skirt: 32" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# D636

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 Wallis Department store opened its door in 1923 and by the 1940s they had expanded to 25 shops across the UK. At their heyday that number went up to 134 stores. In the 1950s the company would pay a fee to attend Paris fashion shows and that fee allowed them to replicate exact copies of designs. By the sixties this practice had shifted to the younger British designers. Their in-house label produced many gorgeous pieces and the demand for these copies was high. This dress is probably from the late 1960s or early 1970s and is most likely a copied design from a young designer at the time. This in-house label took on a life of its own and became in demand to the US market as well. 

The dress is so pretty. It is made from a soft feeling fabric that has a liberty-esque printed pattern running over its surface. The skirt has a red back drop with flowers scattered over it and then for the top the pattern of flowers is space very close together to give it a contrasting feel. Each sleeve is cut to be very full and wide. To give it that wonderful balloon feel each sleeve ends with a red cord running through its edge. You just cinch in the cord and tie it into place to create the volume above. I love the red tassels that sit at the end of each cord. The same cord technique is used on the neckline where a red cord runs around and through the entire edge. This allows you to wear it off the shoulder as I have shown it here or you can cinch it in tighter and wear it higher up and on top of each shoulder. The bodice is cut to skim over you and then it cinches in at the waist with a band of fabric. Under that the skirt flares out with yards and yards of fabric used to make it. The fabric is light in weight so that when you move it moves. It’s gorgeous on and so so pretty. Great condition with a small note below

Inlined and closes with a centre set back zipper. Ties at the neck and each sleeve. One tassel on one sleeve is mostly missing. Please see the last photo here. I see some small catches on the skirt fabric but all are stable and very minor. The fabric has a soft patina to it that adds to its vintage appeal 

Sleeves: approx 22" and adjustable 
Shoulders: no defined seam and adjustable 
Bust: approx 17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: open
Bodice: approx 15" from top of bodice to waist
Skirt: 37" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# D635

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

Perhaps one of the most iconic of all the Yves Saint Laurent pieces, the laced safari corset top is a piece coveted by anyone who loves vintage or is a collector. When Yves introduced them to the world in the Spring of 1977 they caused a sensation. They are as important now as they were then if not more so. This particular one is extra special for two reasons. The first reason being that we found a reference of this exact colour as it walked the runway that season and the second that it comes with its matching skirt. The skirt is a different one then the one the corset's twin was shown with on the runway because once these pieces hit the shops they were sold on a mix and match basis. I love the pattern with the solid top. I think it gives it more pop then the solid coloured skirt did. The corset tops were produced in a small range of specific colours and I love that I have found one in the exact colour match to the runway piece. 

The top is edged in a white and brown braiding with a chevron design that offers a wonderful contrast. It is made out of a canvas weight cotton that gives it its shape and a little extra structure. To wear it you just slip it on and then it laces into place at the front as shown. The top is rounded at the corners and the waist is seamed for even more shape. The peplum effect at the hip adds to the bombshell effect and curves the corset created. I love that you can lace it in tightly so that it is completely closed or leave it looser for a bit of skin to peek through down the front. The skirt is a classic shape from this time period in YSL's history. It is banded at the waist and then has lots of volume underneath that. Pockets sit at each side of the hip and I love the big oversized paisley print that pics up the colour of the corset top and also has bold pops of blue and red worked through the print. It is gorgeous and seriously chic. Bonus points for being able to mix and match both pieces with other things in your wardrobe. Excellent condition.

Both pieces are unlined. The top laces to close at the front and the skirt closes with a side set zipper and a flat hook & eye at the waist. The skirt is labeled the top is not.

Note that the top is measured with the front edges lined up and completely closed. You will get more room by creating/leaving a space between the edges when lacing it closed.

Corset top - fully laced up to the edges meet
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Length: 22" from top of the shoulder to the hem

Skirt
Wast: 14" flat across from side seam to side seam
Hips: open
Length: 31" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3816

Reference Photo: S/S 1977 Yves Saint Laurent 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.

Stella McCartney started at Chloe in the Spring of 1998 and forever changed the brand. She was intrumental in reviving the Chloe name and her years there produced some of the most iconic looks of the brand's history. This dress is the twin of the one that walked the runway for the Spring of 2001. Vogue's review of the collection said in part; 'VH1/Vogue Fashion Awards Designer of the Year 2000 Stella McCartney certainly did not disappoint her legions of fabulous young fans who rely on Chloé for the season’s hot new trends. But this season, in addition to delivering sexy new T-shirts and plunging bathing suits (with playful pineapple motifs), McCartney explored grown-up territory. Perhaps drawing inspiration from Schiaparelli’s inventive chic, McCartney worked graphic horse prints (borrowed from Stubbs and Géricault) into loosely structured diagonal-seam dresses and beautiful jackets with a softly draped triangle shoulder.... This was a very strong collection for McCartney, and one that confirms her considerable talent and potential as a major designer.' We all know in hindsight how true those words were. The horse print pieces from this collection are some of the rarest and hardest to find and this is a piece that will only increase in value and get more important as time goes by. 

This dress is especially interesting as it is an impoertnat part of modern pop culture too. In the show Sex and the City, Carrie Bradshaw, played by Sarah Jessica Parker, wears it as as a coat. Stylist Patricia Fields paired it with a tulle petticoat underneath and left Carrie's nude bra exposed. In 2001 this was almost scandalous and it shows you the strength of amazing styling and how pieces can play double duty under the right eye. When worn as a dress it is a very sexy piece. The silk has a bit of a crepe texture to it and there is a touch of transparency to the fabric. To wear it you simply slip it on and it wraps over you at the front and secures at the waist by two tiny little buttons and loops. This leaves it plunged right to the waist at the front. The skirt part wraps over itself right across the front to make it safe and secure to wear without it opening on you. I am obsessed with the sleeves and how they have a poufed fuller area at the top of each shoulder. They then narrow down to the wrist. The runway version was shown with a belt and you could easily switch up the look by adding one of your own. The print is her now iconic horse print and it runs over the entire dress to make it instantly recognizable as being from this Chloe collection. It is fantastic. It looks to have been worn very little if at all. Excellent condition

Unlined and closes with buttons at the waist. You could easily adjust the waist measurement if needed by moving the buttons. Tagged a Chloe 36 and has a slightly generous cut. It should fit a range of sizes 

Sleeves: 22"
Slighty inset shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: open
Length: 44" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD3817

Reference Photos: Spring 2001 Chloe Runway Collection, Look 11. Model: Colette Pechekhonova.

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

Jeannette Barr opened her doors to the public in 1936 and by 1938 launched the Jane Derby Inc label. By the early 1960s she had brought in Oscar de la Renta to design for the label and in 1965 when Jane passed away he took to over and changed the company name to his own. I would be shocked to find out this dress was anything but Oscars' work. Towards the end of his time at the label his name appeared in tandem with hers but in the very beginning when he first joined the company the pieces that were designed by him just went under the general brand label. I believe this to be one of those earlier pieces. It has that distinctively Oscar flare to it with its refined feminine cut and details. 

The dress is so pretty. It is made from a waffle weave finished cotton with a pale tan and soft yellow coloured print that runs over the entire surface. The flower print is on a white background and the colours give it a chic and easy feel. The bodice is fitted and seamed to highlight and shape the bust. The waist nips in for shape and then the skirt is rounded out and full under that. I love the bubble shape the skirt has. It is cut to be a full rounded shape that is caught up just before the hem where it then curves back down and in towards the legs. Inside there is some tulle to help hold the shape. I love the ribbon detailing. Two tones of ribbon are used to create the perfect little straps that curve up and over each shoulder. The same pretty ribbons run around the bodice and end in a bow at the front. A second ribbon circles the lower portion of the skirt and also ends in a flat ribbon at the front of the skirt. It is stunning. Excellent contain 

Fully lined a white cotton and closes with a zipper at the back. Tulle attached inside for shape. It appears to have been worn very little if at all. 

Bust: 16.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 25" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3618

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 Western world in the twenties to the sixties had a special fascination with the Far East and this highly influenced the fashion of that time period. Japan and China began to export and sell pieces made specifically for the tourist market that combined classic design elements of those respective cultures with a slight western twists to the cut and colours. These embroidered jackets where amongst the most prized and this one is a stunning black silk one embroidered with absolutely brilliant colors. You will often see the shorter ones cropped to hit at the hip but I am always on the lookout for these longer ones. They are harder to find and when you do find one it is an absolute  brilliant piece to add to your closet. They are an instant jolt of colour and craft and can be flung over everything from jeans to a ball gown. This one is stunning and made from a high grade fine black silk that is then completely covered with the embroidery that you see. All of the embroidered work is done in a wash of absolutely brilliant colours. The pattern embroidered onto the silk is primarily flowers but there are also bright colourful birds worked through the design. It is exquisite. It is also lovely and light in weight which makes it easy to wear. The shoulders are soft and the body is cut loose and generously. Front pockets sit on each hip and it closes down the front with a series of frog knots. I love it. Excellent condition

Fully lined in black tissue silk and closes with frog knots at the front. Pockets on each hip. The loose cut should fit a range of sizes.

Sleeves: 18"
Slightly dropped shoulders: 16.5"
Bust: 23" flat across from side seam to side seam
Waist: 24" flat across from side seam to side seam
Hips: 26" flat across from side seam to side seam
Length: 42" from neck to hem

Modern Sizing Equivalent: XS-LRG

Item# C581

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 example of the fur pieces being produced during this time period. This was the beginning of the movement of treating fur more like a fabric and making coats that had far more style to them then the previous norm. It is made from alternating strips of a deep brown mink, an ivory mink and then a dark brown leather that is so deep in colour it picks up as black against the other two. The fur is supple, shiny and very soft. The fur is set in on angled chevron rows with the bands of leather in between. This creates an incurable visual effect. It is cut in a classic sixties cut that flares out as it reaches the bottom hem. Each sleeves widens out to a flare finish at the cuff and I love how the pattern is taken down right to the ends of each sleeve. The collar is notched and made from the darker mink and this then runs down the front and around the hem to anchor the angled pattern. It does up with textured black dome buttons at the front. Pockets sit along the edge of the seams at each hip. It has been properly stored and cared for and appears to have been worn very little if at all. No splitting, issues or shedding. Excellent condition

Fully lined in a deep brown silk satin and closes with buttons down the front. Pockets on each hip. I see no bald spots or shedding. The pelts are supple and soft. The fur has the slightest bit of a vintage storage smell. Very minor. It is still supple and is stable with no signs of any shedding that would indicate that it is breaking down.

Sleeves: approx 23"
Shoulders: no defined seams
Bust: to 21" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 41" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C579

This garment is clean as found condition. Thoroughly checked over before shipping, it will be ready to wear upon arrival.

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

This was Look 14 in the Fall 2004 line-up from fashion icon Miuccia Prada. This collection is still thought of as one of her most stellar achievements and I doubt the pieces and prints used in this collection will ever truly go out of style. The reviews were spectacular. Vogue.com said of this collection: 'Audiences always arrive at Prada shows tingling with anticipation, braced for Miuccia Prada's next departure from the last season's plot. This time, she confounded expectation again, not by taking off in a new direction, but by developing the cache of ideas layered into her spring collection. That, of course, was famously about the fifties lady tourist, with an overlay of hippie-ish tie-dye among the circle skirts and knits. For winter, she took that same woman into new realms of intellectual exploration on the print front: back to the future, in fact. This time, she confounded expectation again, not by taking off in a new direction, but by developing the cache of ideas layered into her spring collection...."It was a dream of extreme romanticism," she said. "The idea of eighteenth-century painting, with video games. A romanticism between past and future."....For colder months, she added more layers, adding in dip-dyed cable knits and buttonless cardigans betwixt tweeds and bejeweled fifties-style couture-like pieces. What held it all together, literally, were the cinched waists, circled in narrow grosgrain ribbon or with tie-on belts encrusted with sparkle. It was that idea of jeweling, on collars, belts, and fabric brooches, that added the news.' 

On the runway this was shown layered over a jewelled skirt that ironically we just had in the shop in a blue tone. It is one of the most instantly recognizable coats that she’s ever done I think. The coat is made out of a shearling with the sheepskin facing towards the inside to keep you warm while the leather side is on the exterior. When the coat is closed you only see the shearling interior on the flipped up cuffs. If you don't want any shearling to show you can flip them down. Putting the leather on the exterior gives it this amazing feeling of a natural patina and a slight vintage feel to it that I love. The coat falls from the shoulders and gradually widens out as it nears the hem. The shoulders are cut to slouch a bit which gives it an easy to wear feel. Most of the seaming is done on the vertical and cut so that it has some shape through the body. Pockets sit on each hip for a cozy place for your hands. Running down the front and over the hidden set fur hooks is a strip of luxurious natural coloured mink. There is no collar but there is a wide band of golden toned silk inset around the neckline. This was then covered in a pattern made up of gold beads and big oversized glass crystals. They have been applied by hand are are densely set to all the way around to highlight the neckline. It is just gorgeous. This is an iconic piece of Prada history. Excellent condition.

The leather is fully backed in sheepskin shearling. The jacket closes with hidden set covered fur hooks down the front. Pockets on either side. The cuffs can be flipped down. The leather has a natural bit of scuffing that is part of this type of leather and a desired effect. Tagged a Prada 46.

Sleeves: 23" with cuffs turned up, 25" with them turned down
Shoulders: 16"
Bust: 19" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 45" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# C580

Reference Photos: Fall 2004 Prada Runway Collection, Look 14.

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

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

This is the last piece from the second batch of very interesting pieces that are coming from a client whose aunt had most of her clothes made. This dress was made by Ady Couture and the story behind this label is fascinating. Ady Couture was based out of Lausanne Switzerland. She would buy couture fabrics from the couture houses along with the patterns and with permission make copies of the piece presented in the Haute Couture collections. When she was younger, and lived in Amsterdam, Ady would attend the private viewing and purchase directly from the couture houses. My client believes that her arrangement with the ateliers was a way to work around customs that prompted Ady to negotiate this arrangement with the ateliers. In my hunt for more information I have been able to verify that they made this permissible copies of the work of Yves Saint Laurent, Christian Dior, Givenchy, Lacroix and Ungaro. There may have been others but this are the houses I am confident on. The dress is completely made by hand to Haute Couture standards and it is beautiful. A truly iconic piece of couture 

The dress is made from a combination of a black velvet bodice with an attached brilliant emerald green silk skirt. Almost all the piece that were in this second box have been based on Yves Saint Laurent pieces and I would not be surprised if this one was as well. The bodice has been kept sleek and simple with the richness of the black velvet taking centre stage. The shoulders are squared off with light padding to give them shape and the sleeves are cut to be wider at the top and taper down as they reach each wrist. The bodice skims over you and drops on an angle past the waist. At that point the skirt is attached and it is cut to sit on an angle down one hip for a bit of a swag feel. A panel on the skirt wraps and snaps into place from the back, perfectly following the seam. When it reaches the hip it hooks into place under an attached large bow. This gives it the effect that you just wrapped it around yourself and tied it in place. It is quite flattering once on. My dress form definitely does not do it justice and like all couture it really needs an actual body underneath to bring it to life. Every seam is done by hand and the craft put into making this is exquisite. The green of the skirt in person is so much better then how it photoed. It is a clear crisp emerald green and the silk is rich and heavy so that it holds the drape perfectly. It appears to have been worn very little if at all. Excellent condition 

Fully lined in a black silk through the bodice and the skirt is unlined. It closes with a hidden set zipper at the back and there are hidden set zippers at each wrist. The skirt snaps into place as described above. Hand finished throughout. It appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction. 

Sleeves: 24"
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 57" from shoulder to hem

Modern Sizing Equivalent: MED-LRG

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.

Galanos was known as the designer that could rival the French in terms of construction and design. He launched his atelier in 1951 and although his atelier was never formally designated as Haute Couture by the French, he certainly produced clothing that met the parameters of couture and he is often referred to  as one of the great American couturiers. This stunning dress was custom made, and my client acquired it from the estate of 1950s model Betsy Pickering Kaiser. Betsy appeared on several Vogue covers in the 1950s and it was during that time period time period that she met Galanos. They were friends for over 60 years. She collected and wore Galanos pieces her entire life and was his friend and muse. He once told her husband ‘I would rather have Betsy wear my clothes than any other woman’. She was a constant presence on the International Best Dressed List and and was added to the Best Dressed Hall of Fame in the early 1970s. It is a wonderful thing to have such a beautiful piece of her history in the shop 

This is one of my favourite Galanos pieces. Betsy was a model and was tall and this dress is cut to a supermodel length that reflects that. It is beautiful. It is made of a printed light weight silk chiffon that is combined with a black lace. The entire thing weighs ounces and you will be delightfully shocked at how light it is in person. The black silk chiffon is covered with a vivid floral print. The colours are bright and true with a slightly washed watercolour feel and they pop against that black backdrop. He made the body of the dress by layering three layers of chiffon over each other. The top layer is the one printed with that huge floral design and then the two layers under that are done in a black. The layered effect of the silk gives it lots of movement and creates a light floating effect when you walk. Each layer is finished with a black ribbon piping along the edges and the dress does up along each side with a series of black frog knots and loops made of the same fabric as the piping along the edges. It is cut in a long column that skims over the body to the floor. Each side has an opening along either side and the lower frog knots are functional so that you can control how open the slit goes. Leaving more open creates a sexy flash of skin when you walk to offset the more easy fit through the body. The bodice is scooped at both the front and the back. Both of the scoops are finished with a panel of a fine black lace. This allows your skin to peek through. The back is scooped very low and that bare expanse covered with nothing but the black lace is fabulous. The contrast between the lightness of the silk, the see through quality of the lace, and the boldness of the colours is killer. Excellent condition

The dress is made of three layers of silk chiffon and closes with a hidden set side zipper. Frog knots run over that and then down each side. This is a one-off unlabeled custom piece made for Betsy and came from her estate. The cut is loose and easy through the body.

Bust: 18-19" flat across from side seam to side seam
Waist: to 19.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 56" from top of shoulder to hem
Slits: to 28" on one side and to 23" on the other

Modern Sizing Equivalent: MED-LRG

Item# DD3004

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

This fabulous dress would have been designed while Youssef Rizkallah headed the company. Youseef joined the Malcolm Starr label in 1969 and remained as the head designer until 1975. The years that Youssef headed the line are among some of my favorites. He had this ability to make things glamorous in the most unexpected way. Rizkallah was born in Egypt and studied at the Ecole de dessin appliqué and the Ecole des arts decoratifs in Paris. His designs seem to combine that sense of couture lines that he gained in Paris with the color and vividness of his homeland. I particularly love his more glitzy pieces and this one is a stellar example of that. 

The colour combination done on the silk chiffon of this dress is amazing. I lo e the coral red and the blue together. The silk also has gold metallic thread that is woven through the silk to created little golden dots. If that was not enough there is also hundreds of tiny gold sequins added. They add a subtle bit of shine that picks up the light in the prettiest of ways. All of those gold sequins have been hand applied onto the silk. They are set to follow the curving parts of the design and form large medallions over the skirt for a rich and exotic feel. Under the top silk chiffon is an interior red silk lining that is set through the skirt and front bodice. The entire back and sleeves are not lined so you catch a glimpse of skin through the silk. Very sexy. Each sleeve extends from the bodice in a wide cut of fabric and then tapers down as they reach the wrist so that they billow out over the wrist. They are cut extra long and are meant to slightly scrunch up around the wrist so that the fuller part above takes centre stage. The neck is simple and slightly scooped and the skirt falls from the waist and gently widens out as it nears the floor. It zippers at the back to just above the waist and then buttons from there to the neck. The entire back is unlined so you get this fantastic semi-transparent effect. I have added a red grosgrain ribbon that I will include with the dress and you could easily use a different belt of your own to change the look even more. It is a beautiful, dramatic piece and it is even better on person and on an actual body. Excellent condition.

Fully lined in a deep red silk with the sleeves, shoulders and upper back left unlined. It closes with a back painted metal zipper from the waist down and buttons above that to the neck. Each sleeve has a snap at the cuff.

Sleeves: approx 24" from natural shoulder
Shoulders: no defined seam
Bust: open with no defined side seams
Waist: 13" flat across the back from seam to seam
Inner hips: to 21" flat across the back from seam to seam of the skirt's lining
Bodice: approx 15" from neck to waist
Skirt: 44" from waist to hem

Modern Sizing equivalent: SML-MED

Item# DD3224

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

Galanos was known as the designer that could rival the French in terms of construction and design. He launched his atelier in 1951 and although his atelier was never formally designated as Haute Couture by the French, he certainly produced clothing that met the parameters of couture and he is often referred to  as one of the great American couturiers. This set was custom made, and my client acquired it from the estate of 1950s model Betsy Pickering Kaiser. Betsy appeared on several Vogue covers in the 1950s and it was during that time period time period that she met Galanos. They were friends for over 60 years. She collected and wore Galanos pieces her entire life and was his friend and muse. He once told her husband ‘I would rather have Betsy wear my clothes than any other woman’. She was a constant presence on the International Best Dressed List and and was added to the Best Dressed Hall of Fame in the early 1970s. It is a wonderful thing to have such a beautiful piece of her history in the shop 

Betsy was a model and was tall and this set reflects that. It is cut to supermodel lengths and is beautiful. It is made of a beautifully printed, light weight silk chiffon that is combined with a metallic red lace. The entire thing weighs ounces and you will be delightfully shocked at how light it is in person. The silk has a washed water colour print with huge abstract flowers covering the entire surface of the silk. The pants are made of two layers of silk and weigh mere ounces. They are cut long and wide with an elastic waist that makes them easy to wear. Over that is a top piece that layers over the pants. The skirt part of this top piece is also made of two layers of silk chiffon. The silk falls from under the lace bodice to layer over the pants. Each side is slit open right up to the lace top. This gives it lots of movement and creates a light floating effect when you walk as the silk moves over the pants underneath. The bodice is made of two joined panels of red lace connected along each side. He placed them together in a way that leaves the sides in a low plunge to leave bare skin showing. This gives you barely there coverage and is very sexy. The lace has a metallic finish and is very fine and very light. I love how it is layered over a nude inner silk lining so that from a distance you look like you are wearing nothing underneath it. This entire top layer is suspended by four tiny silk straps that curve over the shoulders. The contrast between the silk and the metallic lace and the boldness of the colors is wonderful. Excellent condition

The pants are made of two layers of silk chiffon and close with a back painted zipper. They have elastic at the waist. The over dress is lined with a nude silk chiffon through the bodice and the skirt is constructed from two layers of the silk chiffon. The overlay closes on one side with hidden fabric covered snaps. There are a couple of very minor repairs and light snags near the hem of the overlay. This is a one-off, unlabelled custom piece made for Betsy and came from her estate. 

Over dress
Bust: to 18" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: open
Length: 62" from shoulder to hem

Pants
Elastic waist: 15-18" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Pant: 45" from waist to hem
Inseam: 32" from inner seam to hem

Modern Sizing Equivalent: MED-LRG

Item# DD2278

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

Arnold Scaasi was born Arnold Isaacs in Montreal and the name Scassi is simply his own surname in reverse. He studied in Montreal and in Paris, apprenticed at the house of Paquin and then worked with the legendary Charles James. In 1964 he opened own couture salon. He dressed Hollywood stars like Lauren Bacall, Diahann Carroll and Elizabeth Taylor. He dressed several first ladies including Mamie Eisenhower, Hillary Clinton and both the Bush first ladies. He even once bragged that he refused to give Jackie clothes for free. He was the man behind the scandalous 1969 Barbra Streisand sheer trouser outfit that she collected her Oscar in, and he was presented with the Council of Fashion Designers of America Lifetime Achievement Award in 1996. The dress is from his main label and these were made to couture standards. It is incredible to see in person and it will really come to life once on an actual body. We found a very similar dress held at the Museum of Fine Arts Boston and it lets you see just how wonderful the dress will be once on. 

The dress is a showstopper. It is made out of a deep red coloured lace that is then detailed with cording that wraps around the edges of the floral design on the lace. Then he added tiny little rhinestones that are fused to the fabric of the larger flower patterns to give the dress an subtle bit of added glitz. The bodice is cut to skim over you with an inner silk lining in the same shade of red. The sleeves and neckline at both the back and the front are not lined so you get a little glimpse of the skin underneath the lace. The waist is not seamed so there is no line to break the eye. It simply comes in to suggest shape and then flares out to the skirt underneath. The skirt skims over the hips and then widens out as it nears the floor. I love the high low effect that the skirt has. It is cut to be shorter at the front and then the hem curves back and around you where it extends out to a trained effect at the back. All of the edges are scalloped to follow the pattern and shape of the designs in the lace. The inner construction of this dress is as good as the exterior. It is fully lined in a red silk and then the back of the skirt has an added layer of stiffened net tulle to help hold the shape and volume. The inside is exquisitely constructed and it is all hand finished. This is a stunning dress. Excellent condition

Fully lined in a fine deep red silk. The skirt is finished with attached inner tulle skirting. It closes with a hand set back metal zipper. At some point a repair was done to the edge of the inner tulle of the skirt ad there is an area missing in the tulle just above the hem. This does not affect the dress in anyway. Otherwise looks to have been worn very little if at all. 

Sleeves: 24"
Shoulders: no defined seams
Bust: to 20" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Length: 45" from neck to front hem, 64" to back hem

Modern Sizing Equivalent: MED-LRG

Item# DD3813

Reference Photos: Fall 1986 Arnold Scaasi dress from the Museum of Fine Arts Boston 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.