The Fall 2005 collection was titled 'The Man Who Knew Too Much' and the Alexander McQueen site said of this collection: 'For the second time in his career, Alexander McQueen references The Birds for this collection a film that he remembers loving as a child principally because of the precise way in which the women featured choose to dress. Against a film-set backdrop flooded with red light models stride out in swing coats, pencil skirts, neat, cropped trousers and fitted chunky mohair all of which suit a modern-day Hitchcock heroine down to the ground. Given the source of inspiration this may be read as McQueen's interpretation of coordinated dressing almost vintage Hermes style crocodile sling-backs are teamed with matching handbags, for example. Hair is big, bouffant and blow dried and lips are painted true red.' and Vogue's review stated 'Tippi Hedren and Marilyn Monroe. Biker molls and sweater girls. You got it: Alexander McQueen went to the sixties, all the way, for fall. With its filched movie and rock 'n' roll themes, the collection read as a knowing vehicle, a McQueen director's cut. Glacially restrained tailoring, early rocker chic, the classic Hollywood ball gown moment: He had 'em all. Plus great hair, great music, and a roar of old-school glamour. But there's no such thing as a McQueen routine without a sinister psychological subtext or two. Was there a hint in the invitation—a pastiche of the film poster for Vertigo, superimposed with the title of another Hitchcock movie, The Man Who Knew Too Much? What McQueen knows shows aplenty. His combined knowledge of Savile Row tailoring and Parisian couture means he can scissor an impeccably narrow grey tweed coat or a nipped-waist pencil skirt suit, and put sizzle into period sobriety.' On the runway this was Look 8 and was an incredible moment as people caught a look at that insane back detail. This dress is also extremely interesting as it is a definitive nod to the YSL Couture dress of 1970 that was famously photoed by Jeanloup Sieff. McQueen took a very iconic vintage dress and reworked the fabrication and the cut to make it fit into his Hitchock theme. This would have been produced in limited quantities that season and it is absolutely gorgeous 

The dress is made out of a soft silk jersey fabric that has an almost T-shirt feel to it. It’s done in two layers of the fabric so that it has some structure and shape but falls over the body in a soft and easy way. The double layer also means that the inner layer works fantastically to hide any flaws on the body and then the top layer just skims over that. Once on the dress falls and drapes wonderfully  over the body. The fabric is cut on the bias so that the way it sits on the body is perfectly executed, but it is still light enough to feel extremely comfortable once on. The simple yet dramatic cut is what you want to see in a McQueen. It is that balance between femininity and darkness that his best pieces have. The neckline is slightly scooped and the sleeve are long with a cuff at each end. The fabric poufs out just a bit above each cuff. The ease of the fabric is such that when you move it moves with you and it is incredibly flattering as it glides and drapes over the body. There are minimal seams through the body and none that break the eye at the waist. From the front it just falls over you and skims its way all the way to the hem. The back is a completely different story. There the inset of black lace covers the entire back and dips low to the top of the buttocks. The black lace is backed in a nude silk chiffon and it has a slightly transparent feel. From a distance you look like you are only wearing a thin layer of lace. It is so dramatic and almost startling when you turn around to see that expanse of lace and how low it dips. It is simple, sexy and perfect. It is pure McQueen genius. It appears to have been worn very little. Excellent condition

The dress is made of two attached bias cut layers and slips over the head to wear. There is a zipper at one side and anther zipper runs across the top of one shoulder. The button at the back of the neck is more decorative then anything. Each cuff buttons to close. Tagged a 42. The fabric is cut on the bias through the body. The easy cut should work on a variety of body frames. The length will come up a bit once on the body with the bias cut. 

Sleeves: 25.5"
Inset shoulders: 13"
Bust: will stretch 16-19" flat across from side seam to side seam
Waist: 12-15.5" flat across from side seam to side seam
Hips: 16-20" flat across from side seam to side seam
Length: 47" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3708

Reference Photos: (1-5) Fall 2005 Alexander McQueen Runway Collection, Look 8. Model: Raquel Zimmermann.  /  (6) Yves Saint Laurent by Jeanloup Sieff, 1970.

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

The Vogue review of the Spring 2003 show was extremely complimentary. This was at the height of Ford's vision for Gucci and he could do no wrong. The review said 'The Gucci girl’s got legs—long, tan, flawless ones striding along on silver peep-toe sling-back pumps. Follow them all the way up, and around two weeks later, they eventually meet the hem of the minutest piece of clothing that was ever called a skirt or dress. For spring, in a word, Tom Ford says short. Using lustrous fabrics in subtle makeup colors from blush to tawny brown, pearly gray and silver, Ford draped and wrapped his gorgeous girls in clothes that navigated that dangerous Gucci line between innovation and vulgarity. The tousled hair, the jackets and tops poised to fall off shoulders—the whole presentation stirred sensations that fashion hasn’t felt since the last days of the great supermodels. Still, don’t think tacky. Ford’s obsession now is integrating fine workmanship into abbreviated silhouettes. He took the idea of a kimono and portrayed it first as a simple silk beach cover-up, then as an elegant formfitting dress, painstakingly made from hand-painted strips of silk. He brought couture finesse to racer-back feathered dresses with the merest flip of a skirt. And with lightest touch, he wove white and rose gold into fragile ribbons to tie around wrists—the most modern-looking jewelry in Milan. When Carmen Kass closed the show in a dress made entirely of the same precious ribbon, it was a confident statement in the power of glamour. And fashion needs that.' To this day this is one of the most recognizable and desirable shows to find pieces from. 

One of the things that makes this dress exceptional is that it is true to the runway and is entirely original. I have seen this dress come to market before and most are the more conservative versions that don't drop as low at the back as the show version did. (There is a photo of Sarah Jessica Parker in that version that I have not included here but it is out there to google). Many of the ones that you see were also altered and if you looks closely they don't have the same original stitching at the hem and at the ends of the sleeves like this one does. It also still has its original elastic across that back which was meant to keep it in place on a hangar and in the body. Most women removed this before wearing so is very rare to see one still with this in place. You can see it in the runway shots too. The dress is meant to be worn short and the jersey stretches so accommodate the hips so that it stays in place. The rest of the dress just blouses over loose and easy. I have shown it on the dress form the way it is meant to be worn and like you see on Frankie in the runway shots and also extended it to its full length so that you can see the full pattern on the dress. The top is loose and easy and is meant to be worn low down the back. It almost creates a ruffled effect. The front sits as low as you wish it to and you can also wear the dress slouched off of one or both shoulders. The sleeves have wide openings on either side and again the more conservative version was more covered with a more narrow opening. This is an incredible piece of the Tom Ford history with the brand and is one of the most recognizable pieces from his tenure with the label. It's an incredible piece of fashion history given that it is true to the runway version. It appears to have been worn very little if at all. Excellent condition. 

Unlined and slips on the wear. Tagged a size Large but the jersey has stretch and should accommodate a variety of sizes. It is very hard to measure with the stretch factor so I have given the comfortable range laying flat. 

Bust: approx 19-23" flat across from side seam to side seam
Waist: approx 17-21" flat across from side seam to side seam
Hips: approx 16-20" flat across from side seam to side seam
Length: approx 37" from top of shoulder to hem but can be pulled up as short as you want

Modern Sizing Equivalent: SML-LRG

Item# DD3707

Reference Photos: Spring 2003 Gucci Runway Collection, Look 3. Model: Frankie Rayder.

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 Yves Saint Laurent dress is insanely good and it is very sexy. I am always excited to find examples of Yves' work from this time period and this one is extra special because it is the twin of the dress that was shot by Helmut Newton for the ad campaign that year. I love that it is done in black which gives it a very modern feel. It feels like it could have stepped off a current runway but has the added provenance of being such a well documented piece of vintage from one of the greatest of the modern designers. It is a very special dress.  

This is a stunning dress that is very clever in its construction. It has an extremely deep plunge but the way it is cut holds it perfectly in place. The dress is made from a black silk crepe that has enough weight and drape to it to perfectly fall into the beautiful lines that Yves wanted it to be shaped in. It perfectly represents this time period with its precisely shaped shoulders and the shape of the skirt that narrows down as it reaches the hem. The sleeves are cut a little extra long and narrow down in at the cuffs so that it bunches slightly on the arm. They are cut to mimic the shape of the body of the dress. They are cut wider where they meet the shoulders and then narrow down to the wrist. The bodice is cut to skim over the body and hooks and snaps to close at the base of that very low front plunge. The extremely low cut V of the front is if course what makes it so edgy feeling. It plunges right to the waist and goes as deep as the one in the campaign shot. There are folds worked into the fabric that angle in towards the centre and these highlight the plunge even more. They gather at its base and the masterful cut keep it firmly and remarkably in place. There is an attached sash that is on the front of the dress that goes over the waist and hooks into place at the centre. Under the waist seam there are more soft gathers and the skirt is cut straight and narrow. A long double tie is attached at the waist and falls from the centre. All of this gives the illusion that the dress is just wrapped and tied around you but there is really an entire complicated structured of hooks, snaps and a zipper that  keeps it all in place. It is amazing on the body and a rare find. It appears to have been worn very little if at all. Excellent condition

Unlined and closes at the base of the plunge with hook & eye and snaps and a zipper under that. Each sleeve zips to close. Padding in each shoulder. Tagged a vintage YSL 36 but it feels generously cut for that size. . 

Sleeves: 26"
Shoulders: to 16" but meant to be slightly exaggerated
Bust: to 19" flat across from side seam to side seam
Waist: to 14.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 36" from neck to hem
Plunge: 16" from top to base

Modern Sizing Equivalent: SML-MED

Item# DD3706

Reference Photos: (1) Fall 1983 Saint Laurent Rive Gauche by Helmut Newton.  /  (2) Julia Roberts in Yves Saint Laurent at the 2010 Golden Globes.

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# D628

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

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

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

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

Modern Sizing Equivalent: SML-LRG

Item# DD3704

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

This is a very recognizable and highly documented Halston that is very rare and very special. Its spot in fashion history was forever solidified when it was captured on Cheryl Tiegs for Harper's Bazaar in 1976. I have included that photo of her for reference. That same photo also makes an appearance in the book on his work titled 'Halston' by Phiadon. The jumpsuit also has the distinct provenance of having its twin held in The Met Museum's collection (though they have their dated as being earlier which based on the Harper's photo appears to be inaccurate). It is fabulous to have found one of these. At this point in his career pieces would have been made in very limited quantities. That alone makes these early pieces that much more special never mind to have documentation as great as this one has. It is an incredible example of his work from this time period.  

This is a wonderful example of how soft and romantic his work could be. The jumpsuit has a soft and flowing feel to it and yet when you wrap the sash around you at the waist it still gives you shape. It is made of an ivory silk chiffon with a ribbon effect that is fused directly into the silk. This gives the fabric the double texture that you see and it really plays on it transparent feel. Where the jumpsuit is unlined through the upper bodice and sleeves you really see how you get a glimpse of the skin under the silk and where it is lined it gibes just a suggestion of the body and from a distance you are not sure there is something under it or not. The main part of the bodice and the pants are hand lined in a nude silk chiffon so that the jumpsuit is not completely transparent and then over that the outer layer is set. The bodice is cut to blouse softly over the waist and it closes with a series of hook & eye down the front. In the iconic Harper's shot it was left fully open and that is how I photoed it here as well (though I did add a shot with it hooked closed so that you can see how that would look too). The waist has an elastic through it and it is cut to  sit loose and easy in the body. You can nip it in with the sash and cinch in the waist as much as you wish. You could also choose to wear the jumpsuit without the sash and leave it more loose and open and use the sash as a headpiece or around your neck. From the waist the pants flow to the floor. They skim over the hips and then fall in a very full and open wide cut pant. Depending on how tall you are they will sit to be slightly cropped, though there is a good 3" turned up underneath to use if needed. It is very well made and finished by hand and even better in person and on an actual body where the fabric can really move and flow as it was meant to. This would be a crowning pinnacle to someone's Halston collection. It would also make an amazing piece for a bride who wanted to do an alternative to a traditional wedding dress or to wear as part of a wedding event. It is so pretty and even better in person. Excellent condition with a note below 

The body and pants are lined in a nude silk chiffon. Hand finished throughout. It close with a series of hooks and snaps down the front. It has its original long matching sash. I see a small repair on the scarf and a tiny mark on one ribbon near the base of the sleeve. There is a little bit of yellowing to the bottom part of the sleeve on the other side. It looks like a a shadow when you see it on and not a mark. Please see the two photos after the label shot. It otherwise looks to have been worn very little if at all. The softness of it should allow it to work and drape on a range of sizes. 

Sleeves: 15" to the shortest point and 23" to the longest 
Shoulders: no true defined seam 
Bust: Approx to 17" flat across but there are no true side seams because of the way the sleeves are set in 
Waist: to 14 " flat across from side seam to side seam and you cinch with the sash
Hips: to 19"" flat across from side seam to side seam
Bodice: 15" from neck to waist
Pants: 39" from waist to hem with approx 3" turned under
Inseam: 29"
Body from neck to inner seam: 30.5" 

Modern Sizing Equivalent:  XS-MED

Item# DD3705

Reference Photos: (1) Cheryl Tiegs, original photo from Harper's Bazaar, January 1976. Photo by Bill King. From the book 'Halston' by Phiadon.  /  (2) Halston ensemble from The MET Online Collection.

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD3702

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

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

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

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

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

Modern Sizing Equivalent: XS-SML

Item# DD2990

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

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

Sant' Angelo was the winner of two Coty Awards and two Council of Fashion Designers of America honors and was known for his innovation and pioneering use of stretch fabrics. He has had an entire museum exhibit dedicated to his work and career and is firmly entrenched as one of the great designers. His work captured a moment in fashion history and his love of color and strong lines will forever be collectible. Pieces reside in museums worldwide including The Met where there is a black sleeved jumpsuit in their collection. This one is actually better and has more impact even!

This is an amazing and rare jumpsuit that is made out of a black stretch jersey. The fabric choice makes it extremely comfortable to wear and it drapes and falls incredibly on the body. When you put it on it stretches and conforms to your body in the most comfortable of ways. It is all one easy piece and you just slip it on to wear. I love how the back straps are knotted at their ends and have been slipped through loops at the side. This is all that holds the halter in place and yet it is perfectly stable and stays on. The front has two panels of fabric that come out from the waist and this creates a deep and wide plunge. The fabric curves up and around then neck and then crosses over itself to run through the loops at the side. The entire back and sides are left bare. Once past the bareness of the top, the jumpsuit skims over the waist and hips to long pant legs. The pants are extraordinary. As they reach the bottom hem they widen out and then are cinched back in with a tie that runs through the seam at the bottom. This lets you cinch them in to create a balloon / harem effect that is just fantastic. It is extraordinarily well done and very sexy yet so easy and comfortable to wear. Just a once in a life time find. Excellent condition. 

The bodice is lined in a second layer of the same fabric and the pants are unlined. It slips on to wear. The back straps are knotted through side loops. Ties through the bottom hem of each pant. The fabric has some stretch and the measurements are the comfortable range laying flat. 

Bust: approx 15.5-17.5" flat across from side seam to side seam 
Waist: 11-15" flat across from side seam to side seam
Hips: 17-22" flat across from side seam to side seam
Length: approx 58" from neck to bottom of pants
Inseam: 30.5"

Modern Sizing Equivalent: XS-MED

Item# DD3703

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

This dress has the distinct provenance of being a version of the dress that Lauren Hutton wore for Vogue in 1975. I have included that photo of her for reference. That same photo also makes an appearance in the 'Halston' Book by Phaidon. Photos of two of the versions of the dress walking the runway show that season also appear in two of my Halston books. It is fabulous to have found this very versatile deep burgundy dress. This is classic Halston from his main label couture line. It is one of the most instantly recognizable looks that he ever created because of the Lauren Hutton connection. It is an incredible example of his work from this time period. 

This is an amazing couture Halston dress and a very rare and special find. It is entirely cut on the bias and utilizes his signature minimal seaming. Halston defined how woman dressed in the 1970s and these jersey dresses that he did were tremendously flattering to the body. It is also insanely sexy while still being extremely comfortable to wear. The fabric is a beautiful deep red burgundy silk jersey that moves and drapes beautifully. This one is especially interesting because unlike its later counterparts it is actually more like two dresses that have been layered over each other and sewn along the top edge. This gives the dress an inner lining and helps to soften out any bumps underneath the top layer which makes it very flattering to wear. The dress is made to be one long tube with two long ties that extend out from the base of the front plunge. The ties are on the top portion of the two layers. These extend out from the base of the neckline and you can simply loop them over each other as I have done. You could also wrap and tie it at the back and I have shown that option as well. I can bet that you could come up with more ways too. On either side of the plunging neckline the fabric extends into a triangle halter shape and curves around the neck where it hooks into place. This leave the entire back completely bare and exposed. The front ties make it incredible versatile and really it is like buying several dresses in one. You have the versatility to wear it with the ties wrapped around you for more shape through the waist or you can let the ties fall down the back so the the dress simply skims over the body instead of hugging your curves. The skirt flares out at it reaches the floor and it has a ton of movement when you move. It is spectacular. This is a rare example of Halston at his very best and it is easy to see why his work is the subject of so many books and retrospective shows at museums worldwide. I would not be surprised to see someone wearing Halston for the upcoming Met Gala themed exhibit on American fashion. Excellent condition with a minor note below

Constructed from two bias cut layers of silk jersey with the ties extending out from the bottom of the plunging neckline of the top layer. The dress slips on to wear with no closures. It can be wrapped and tied several ways as shown. Hand finished. It is all bias cut which should allow for a bit of range of sizing. I see a small mark on the inside lining of the bodice. At some point it looks like there has been a repair down to the seam that is under the tie. I took a photo of that for you and you can see that after the label shot. It is staple and well done so its been left as found. The fabric has some stretch and I have put the comfortable range of measurements laying flat. You could probably get a little more if needed

Bust: The front halter should accomadate a variety of cup sizes. The room under and around the back is 17" flat across maximum with no further stretch. Since there is no opening you have to be able to get your hips or shoulders through that as well 
Waist: 12-14"
Hips: to 18" flat across from side seam to side seam
Length: approx 60" from shoulder to hem 

Modern Sizing Equivalent: XXS-SML

Item#  DD3700

Reference Photos: (1-2) Lauren Hutton in Silk Jersey Halston Dress, Vogue, September 1975. Photo by Francesco Scavullo. (As shown in the book 'Halston' by Phaidon).  /  (3) Carla Araque, Fall 1975 Halston Collection. Photo Peter Simins. From the book 'Halston' by Phaidon.  /  (4) Halston matte jersey draped and tied empire halter dress, May 1975, from the book 'Halston: An American Legend' by Elaine Gross and Fred Rottman.

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

Alexander McQueen shows always verge on avant grade installation and performance art and this one was no exception. Lee himself once said 'I don't want to do a cocktail party, I'd rather people left my shows and vomited. I prefer extreme reactions.' Vogue called this collection poetic despite that fact that it has been inspired by the 'The Shining'.  The Fall collection was entitled 'The Overlook', the name of the hotel in the film, and it was held inside a giant lucite box. The show invitation was a single sheet of A4 paper with the words 'All work and no play make Jack a dull boy' repeated over the paper. The show was set in a giant plexiglass cube complete with a birch forest, ice skaters and snow. The models walked through the forest in the falling snow as they made their journey around the box for the audience outside and the final looks were shown complete with a blizzard that was reminiscent of the final scene in the film. In the book 'Alexander McQueen', edited by Claire Wilcox, the summary of this show was that 'The collection marked a high point, not just as fashion as spectacle but also for the visual interpretation of narrative film in another medium'. Further in the notes outlining the show the coats were mentioned specifically 'As usual McQueen intrigued with his tailoring, this time manifested in a frock coat with a fantail silhouette, which attested to his interest in asymmetry and birds'. It is of particular note that the coat and its silhouette was so central to most of the coats shown. We have included shots of Looks 19, 29 and 46 but if you watch the full runway show you can see that variations of it were used throughout the presentation. 

This is a deep red version that is otherwise identical to the coats that walked the show. Very few of these would have been produced and it is amazing to have such an early piece of his work in the shop. A piece like this truly showcases McQueens strong tailoring background and master cutting abilities. I love that it is identical to the show pieces in all but the colour. Which is better then the ones shown on the runway in my own opinion. I love the strength of the deep red. The upper portion of the coat is cut with a nod to a traditional men's suit and then he has twisted and shaped the front edges into that asymmetrical shape that you see. I love that it still feels very refined despite its avant grade shape and cut. The shoulders are shaped and lightly padded with a slight soft slope to them. Each sleeve is cut on a slight curve in the proper manner of tailoring a sleeve and each has a row of three buttons to finish them at their ends. The body of the coat is shaped with a female body in mind and is cut in at the waist for shape. It closes with a single button and I am obsessed with that single flap pocket that has been elongated and runs down the hip on an angle that follows the shape on that side of the jacket. The lapels curve around the neckline and run down to the button. They are notched cut and finished in the same fabric as the body of the coat so that your eye is drawn to the angles and shapes below rather then be distracted by a collar in a different tone or fabric. The coat slides over the hip and then flares out dramatically into that fantail cut mentioned in the show notes. I laid the jacket out flat for you to see just how amazing it is cut. When laid out flat you can see how the hem is cut on a long curve that slopes up to one side, swooping up into a boxed cut end. The other end extends out from the waist in a long line to meet the curve. When it is on this falls more behind you and around you at the sides and it has tremendous movement when you walk and move. The inside is lined in a red silk satin that matches the exterior. The workmanship is meticulous and it is an absolutely beautiful and rare piece of his early work. Excellent condition. 

Fully lined in an red coloured silk satin. It closes with a single button at the front. Buttons on each cuff. There are two extra buttons sewn onto the inner label. Tagged a size 44. The front pocket is still tacked shut. Padding on the shoulders. It looks to have been worn very little if at all. 

Sleeves: 25"
Shoulders: 16"
Bust: 18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: open
Length: 61" from neck to longest point of hem

Modern Sizing Equivalent: SML-MED

Item# DD3701

Reference Photos: F/W 1999 Alexander McQueen Runway Collection. Look 19 (Model: Sunniva Stordal Bjorklund), Look 29 & Look 46.

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 exquisite 1920s dress is made from a mix of an actual metallic gold thread has been woven together with a deep burgundy coloured silk. These early lame's were mainly being made in France and were extremely expensive to make because of the gold thread. You just do not see its equivalent in modern fabric ever which makes these early piece that much more coveted. To give you an idea of value, pieces made from this gold lame were often in and around the $100 mark or more and in the 1920s you could buy a car for $600 dollars. This one dates to the late twenties and you can see the influence of the 1930s in its design. Women were still wearing very little under their garments at this period of time and this dress simply drapes over the body and is extremely sensual in feel. It is so hard to find pieces at this level from this period anymore and this one is extraordinary.

The mix of a the deep burgundy and the gold is very beautiful. When you see the dress in person the gold is the more predominant colour and the entire dress shimmers in the light. There is a floral pattern that is worked through the silk and this runs over the dress from shoulder to hem. The cut is kept simple and reflects the time period perfectly. Wide straps extend out from the halter cut of the bodice and curve over the shoulders and down the low cut back. The front dips into a deep plunge. It crosses over itself slightly where it meets the waist so that it stays in place when you have it on. At the back it dips just as low and ends in a pretty curve at the base of the plunge. From just under the bust to the top of the hips the fabric is gathered and wrapped around to follow the curve of the body. The gathers meet down the centre on both sides in an elaborate panel made of the same fabric. The panel is set into the dress and has been gathered with ruching so that it catches the light differently and creates a bit of a break in the design. Below this the skirt falls to the floor in a series of soft pleats that wrap all the way around the hips. It curves up in a slit at the front so that you get a bit of leg showing when you move. The dress is entirely cut on the bias and drapes beautifully once on the body. The lightness and fluidity of the fabric make it move around you like liquid. It is a remarkable example of the work being done during this time period. The colour is still vivid and the fabric is strong & wearable. The part I love the best - because the gold thread is actual metal when you first put the dress on it is cool to the touch and then it warms to your body temperature as you wear it. Remarkable. Excellent condition with a note below

Unlined and slips on to wear with a row of hand set snaps down the side to close it. Hand finishes throughout. There are a couple of small areas of darkening to the lame and I have photos the darkest spot. This is a natural occurrence to this type of fabric as the metal oxides over time. I do not consider this to be a flaw and any tiny areas only add to the patina of this outstanding dress. There is a small area of thinning of the fabric in the skirt that is just off from the side the front middle seam. It appears stable and I chose to leave it as it gets lost in the folds once the dress is on. There is a small repair to the hem of the skirt. Please review the last three photos provided. The fabric does have some stretch since it is all cut on the bias but the under bust measurement is fixed with no give.

Seam under bust: 13.75" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Seam just above hips: to 18.5" flat across from side seam to side seam
Hips under the lowest seam: open
Bodice: 13" from top of shoulder to the seam under the bust, approx 23" from shoulder to seam just above the hips
Length: 60" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# E655

Note that antique and twenties pieces are final sale. They will be packed exceedingly well and we only sell pieces that will stand up to the stress of shipping, however, having pieces potentially shipped multiple times through multiple customs and countries is too hard on garments that are historically important and deserve to be treated with love and care. Please purchase accordingly.

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

The twin of this top in a green was shown as Look 10 for the Fall 2016 Rosie Assoulin show. This is its twin but has been done in a putty coloured ivory. The top is brand new and has never been worn. It still has its original Rosie Assoulin tags and tags from Lane Crawford attached. 

These tops were a hit piece from the collection and with its convertible aspect, highlights the cleverness of Rosie's work. This ability to transform the top so easily makes it easy to style in multiple ways. You can wear it out for the evening with heels or keep it more low key for the day. It also showcases her love of creating new proportions and cuts. The neckline of the top is cut on an angle that leaves one shoulder bare whether you choose too wear the sleeve or not. One shoulder is covered and the other one has the sleeve hanging low on the arm. You can also choose to unbutton the low hanging sleeve and take it off completely to convert the top to a single sleeved piece. Each sleeve is cut with volume through its middle and is cut on a curve so that they follow the arm and create a wider pouf near their middle. The fit through the body is relaxed and it buttons up one side. There are attached ties that you can wrap around you to add shape where you want it to be. I love it. Brand new and never worn. Excellent condition

It is constructed from a soft canvas finish cotton twill. It buttons down the side and has attached ties. The one sleeve buttons into place. Tagged a modern brand size M but the cut is very generous so it should fit a variety of sizes.

Sleeves: 23" from shoulder to longest point of cuffs
Shoulders: approx 16"
Bust: to 18" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 29" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# S947

Reference Photo: Fall 2016 Rosie Assoulin Collection. Look 10.

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

We had a photo of a gold leather set from the spring 1982 Yves Saint Laurent show in our archive files and this skirt is very similar but finished in a silver instead of a gold. You can also see the similar buttons used on the gold set that looks to be a match to the button closes the waist on this skirt. This version looks to have been cut a little longer and is more of a true pencil shape. I love its flattering cut. This might just be the perfect silver leather skirt. It is very high quality and very well made. The leather is light in weight. It is just heavy enough to keep the shape but light enough that it is constructed as if it was made from fabric. The shape is a classic pencil and the vertical seaming helps to create a lean silhouette. The leather is coated with a soft brushed metallic silver that has just enough shine to add a touch of metallic to your wardrobe but not in a flashy or tacky way. It is exceptional and looks to have never been worn or worn very little. Excellent condition.

Fully lined in a black silky rayon and closes with a zipper and a button along the waist. Tagged a vintage YSL 40

Waist: 13.5" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 25.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S947

Reference photo: Spring YSL show, 1982

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

This jacket is dated to 2003 and showcases McQueens strong tailoring background and master cutting abilities. This is a a piece that would have been produced for retail and was not shown on the runway. Something that you see often with his work during this period as his popularity was skyrocketing and demand for his work was booming. The jacket is cut with a nod to a traditional men's tuxedo. I love that it has been made out of a beautiful ivory colour instead of a classic black. This gives it an unexpected bit of freshness and lightness to the very refined cut. The shoulder are sharp with just a tiny turn up at their peaks. Each sleeve is cut on a slight curve in the proper manner of tailoring a sleeve and each has a row of four buttons to finish them at their ends. The blazer is shaped with a female body in mind and is cut in at the waist for shape. A matching cream coloured silk satin lapel curves around the neckline and runs down to the waist. To close the jacket there is an attached pair of French cuff style buttons that you put through proper buttonholes on either side. Flap pockets sit on each hip and a there is a single breast pocket. The inside is lined in a cream silk satin that matches the lapel. The workmanship is meticulous and it is a beautiful jacket. Excellent condition 

Fully lined in an ivory coloured silk satin. It closes with French cuff style buttons at the front. Tagged a size 40. One button has a faint crack on it and looks to have been repaired at some point. All of the pockets are still tacked shut. Padding on the shoulders

Sleeves: 24"
Shoulders: 14.5"
Bust: 17.5" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 24" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# S948

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3697

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

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

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

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

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

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

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

Modern Sizing Equivalent: XS-MED

Item# DD3698

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

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

Zandra Rhodes is one of my favourite designers and I love the pieces that she did in the 1980s. This dress is from her Spring 1983 'Mount Olympus' collection that was based on Greek design. Versions of the collection appear in both of the books on Zandra Rhodes that are referenced below and a version is held in the digital study collection of her work. We have also included a reference photo of the original sketch for this collection and you can see this dress with a hip sash on that sketch numbered 83/115. It is an extraordinary find for the collector and a rare piece of her work from this time period. 

This is a stunning dress that is done in a dramatic deep burgundy red wool crepe. The dress is cut loose and easy through the body. It is really like a generous cut smock dress which will allow it to fit a large range of sizes. You can see in the reference photos how it falls over the body in the most comfortable of ways. You could also take a cue from the original sketch and add a hip sash or belt it for more shape. The sleeves are cut wide and loose above the cuffs. The collar is the star of the dress. It is made from a soft chamois suede in a natural colour. It wraps around the neck and down the front and across the shoulders. This was then screen printed by hand which makes each one that was made unique. It is completely covered with one of Zandra's signature designs in a red that matches the colour of the crepe and a blue grey colour for contrast. There is a small collar that has punch work all the way around it and more punch work is done around the edges and into the bibbed part. The bottom edge of the collar is hand beaded and there are little medallions of suede fringe set all around. It is one of the more elaborate versions of these that she made and it is wonderful. Even the suede on the cuffs has punch work. It is a very special piece. It has been worn and loved so has a beautiful vintage patina to it. Great overall condition.

Unlined and closes at the back with buttons and loops. I see two repairs on the body of the dress. The suede shows some variation in colour from aging and gentle use. Part of the suede has softened so the edges curl a bit. There is a small mark here and there on the crepe. Please see the photos after the label shot. Still completely wearable and all of the flaws are patina and aging from being loved and gently worn. The generous cut and sloped shoulder should allow it to work on a range of sizes. 

Sleeves: approx 25"
Shoulders: no true defined seam
Bust: to 24" flat across from side seam to side seam
Waist-hips: open
Length: 43" from top of shoulder to hem

Modern Sizing Equivalent: SML-XL

Item# DD3699

Reference Photos: (1) S/S 1983 'Mount Olympus' collection. Close-up of suede bodice with pinked edges, punched and printed with 'Indian Circle' design, style 83/59.  From the book "Zandra Rhodes: 50 Fabulous Years in Fashion."  /  (2) Models wearing raw silk dresses with suede bodices from the 'Mount Olympus' Collection, backstage at the S/S 1983 fashion show. Hats: Stephen Jones. Photo: Robyn Beeche. From the book "Zandra Rhodes: 50 Fabulous Years in Fashion."  /  (3) Models in the S/S 1983 'Mount Olympus' collection. Hats: Stephen Jones. Jewellery: Andrew Logan. Photographs: Robyn Beeche. From the book "Zandra Rhodes: A Lifelong Love Affair With Textiles."  /  (4-5) S/S 1983 Zandra Rhodes Mount Olympus dress & original sketches from vads collection.

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

This is a stunning Valentino that is from the time period of Valentino when it was being co-designed by both Maria Grazia Chiuri and Pier Paolo Piccioli. They had stepped into Mr Valentino's shoes and were breathing new life into the brand. I love that they still adhered to the label's heritage in keeping with using the classic Valentino red colour.

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

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

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

Modern Sizing Equivalent: LRG-XL

Item# DD3696

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

This dress is the twin of the one worn by Brooke Shields for the December 1983 cover of Cosmopolitan Magazine. We also found a photo of the dress that I believe is a backstage shot from the runway presentation. It is instantly recognizable as having been designed by Bob Mackie. Mackie was best known for dressing Cher and for his undying love of opulence and bead work, both of which he incorporates heavily into the best of his designs. Modern girls are obsessed with his vintage pieces. He worked for both Edith Head and Jean Louis prior to working as a costume designer and co-designing with Ray Aghayan. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years. In some ways he and his creations defined their careers and that era of glamour. I think he secretly always designed for the big screen and the bygone glamor of Hollywood as his work is always over the top and extravagant.

This is an amazing dress from his main line. It is extremely sexy and flattering an I am so pleased to have photos of it so that you can see just how great it is on an actual body. The base of the dress is made of a black silk chiffon that has a touch of transparency to it. It is then backed in a layer of the same chiffon to keep it from being see through. Then onto that are thousands of tiny glass tube beads set in vertical rows that run up the full length of the dress. The rows combine a deep, almost black, red bead with bright vivid red beads to get the effect that you see. On the areas where Mackie wanted to emphasize your curves he concentrated the beads into a denser pattern. He then worked in large faceted red rhinestones to add some extra texture and to catch the light even more. This combination of the red glass tube beads and pop of large crystals let every inch of the dress to catch the light and sparkle. The dress has a good weight to it when it is off of the body because of that extensive bead-work and yet once on the body it drapes in a way that it is balanced and not at all uncomfortable to wear. The bodice is cut into a deeply dipped front V neckline. Tiny based straps curve back and around your neck. They hook together to create a racer back and your entire back is left bare and open. The waist is brought in to create shape but there is no horizontal seam to break the lines of the design. It is all done by that clever illusion of the dress wrapping around you. The skirt is incredible and is cut on a curve so the back is longer then the front and it has a high slit at one side at the front. The effect of this is far more dramatic and fabulous on a real body and it really shows off the legs. I love how the denser bead work follows that curving line that is created. It makes your waist look incredibly snatched in.  If you even remotely love it in the photos you will love it more when you see it in person. Extremely well made and made to demi-couture standards. These were sent to the stores with a full lining made of a second layer of black silk chiffon and you could remove this if you wanted a true nude, semi-see through dress that Mackie is so well known for. Excellent condition.

Fully lined in a black silk chiffon and it closes with a low set painted metal and nylon back zipper. A hook brings the two straps together at the back. Hand finished throughout. It is cut on the bias so should drape to fit a range of sizes

Bust: to 17.5" flat across from side seam to side seam with probably a B to small C cup
Waist: to 14.5" flat across from side seam to side seam of the built in corset
Hips: to 18" flat across from side seam to side seam
Length: 63" from top of the shoulder to back hem, 33" to the top of the slit at the front

Modern Sizing Equivalent: SML-MED

Item# DD3695

Reference Photos: (1) Brooke Shields in Bob Mackie, Cosmopolitan, December 1983.  /  (2) Daryl Hannah in Bob Mackie, Vanity Fair, April 1984. Photo by Helmut Newton.  /  (3) Mackie Gowns modeled - originally designed for from left to right, Sharon Stone, Cher, Brooke Shields and Diana Ross. (credit unknown).

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3694

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3111

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3693

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD2895

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

In 1968 Ossie Clark was designing his own couture line and also designing pieces for Alice Pollock for her Quorum Boutique. The Radley company approached Alice to find out of she could convince Ossie to design a top of the market collection that they would produce and sell to various boutiques and department stores. Dresses like this were the result of that collaboration. Even with this early version of 'ready to wear' the pieces that were made were still never produced in vast quantities and certainly nowhere near whet we think of today as RTW. as gar as quantities.  I have had the twin of this dress in the shop before and always love finding one of these. It is a classic Ossie design and one of Ossie's most famous and recognizable creations. A version in ivory is held in the Victorian and Albert Museum. Lily Sullivan wore a version and you can see how it is transforms once on the body and especially if you wear it with the buttons left open like she did. Those shots give you a great idea of just how fabulous the dress looks like on.

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

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

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

Modern Sizing Equivalent: SML-LRG

Item# DD3692

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

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

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

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

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

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

Modern Sizing Equivalent: SML-LRG

Item# DD3691

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

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

If you want to know the mindset in which Ossie Clark designed his clothes then this little story will explain everything... during a fitting, Ossie once told an 18 year old Marianne Faithfull to go back into the dressing room and take off her bra and knickers. ‘How do you expect me to go out like this?’, she asked him, and he replied, ‘You're meant to be able to lift your dress up at any time, and pull down the top, and just have sex.' .... That little story pretty much sums up the attitude of wearing an Ossie Clark. They are sensual, sexual and yet still utterly beautiful. He was a master cutter and his main line clothes were made at a Couture level. He could cut freehand and was one of the first designers to source clothing from the past to use as inspiration for his work and yet his designs were always uniquely his own. He was relentless in making the female body look as good as he could and did what it took to achieve that. He once told the Sunday Times ‘I don’t care how much anything costs as long as it is beautiful.’ The period of his work between 1965-1974 was pure fashion porn and in my opinion it will never be equaled as it perfectly summed up the spirit of the times.

Ossie named all of his couture dress and this one is known as the ‘Cuddly’. It was one of his best designs and the wrapped closure made it easy to fit. It is very well documented both then and now as a slew of famous women have worn one. I am pleased to have even sold one to Pink who wore a red version source from my archives for her 2019 music video 'Walk me Home'. Ossie's pieces were never produced in high quantities. In the book on his work written by Judith Watt there is a quote from Nicky Samuel who was a Haute Couture client of Yves Saint Laurent at the time and what she says sums up Ossie's place in fashion history perfectly as opposed to Saint Laurent's work; 'He was an artist, the best things he did were like a work of art; they are timeless. Saint Laurent never had to think about anything except designing dresses. He could create what he wanted. At Saint Laurent you could get everything in one place, 20 shirts from the rail to Haute Couture. It was a different set up from wonderful Ossie, where you'd hope that something would be made in three months by a couple of wonderful women who sewed for him.' I love that and it gives you more of a perspective of really how rare and special each dress that was made was. 

The dress is made out of one of his signature black moss crepes. To wear it you simply slip it on and wrap it at the waist to tie. The front is cut in a low plunge and because of the way it is cut and the ties are set it stays very secure once on. At the back there is a large triangular cut out that leaves your full back bare. It is very sexy and instantly recognizable as being an Ossie. The huge bishop cut sleeves are puffed and full above the cuffs and this perfectly balances the sleek and simple feel of the cut around and across the shoulders. It wraps into place with long attached ties at the waist that wrap around you and tie to give you as much shape and definition as you wish. The skirt skims over the hips and then widens out to be quite full with yards of fabric in its construction. It cascades to the ground and there is a wonderful amount of volume that flows around you when you move. The wrap leaves a long overlapped slit at the front. When you stand still it falls and closes but when you move or sit you get a flash of leg and depending on how tight you tie out around the waist you can literally show the entire leg. These were a signature hallmark of this particular dress. I own one of these myself and it will always be in my collection and I can tell you from personal experience that it is a dress that you will wear over and over. It is the perfect dress for when you want to feel very sexy. It is in its original uncut length which is hard to find with many Ossie pieces you now see out there for sale. It looks to have been worn very little if at all. Excellent condition 

Unlined and wraps to close and ties with the attached ties. It is labeled a vintage UK 10. One tie is a little shorter then the other but does not appear to have been altered. The wrap style should allow it to fit a variety of sizes. 

Sleeves: 28" and meant to pouf up when on
Bust: adjustable to approx 20" flat across from side seam to side seam
Waist: adjustable to approx 15" flat across from side seam to side seam
Hips: open
Bodice: 16" from neck to top of band at the waist
Skirt: 44.5" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD3690

Reference Photo: (1) June Ritchie, in an Ossie Clark Cuddly dress, at a photo call for Gone With The Wind at the Theatre Royal Drury Lane, 1972.  /  (2) Madeleine Hinde, in Ossie Clark, at the premiere of British horror film 'The Fiend' in London, April 7 1972. Photo by M. McCarthy.  /  (3-4) Suzanna Leigh, in Ossie Clark, by Allan Warren, 1973.  /  (5-6) Pink in Ossie Clark, from Shrimpton Couture, for her 'Walk Me Home' music video, 2019. See below for video.

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

Jean-Louis Scherrer was one of the great French couturiers. Sophia Loren and Jackie Kennedy were fans and I especially love the work that he was doing in the 1970s. It was very classical French in feel but still had his signature feel to it. He began his career with Christian Dior in 1955 and left when Yves Saint Laurent was appointed to the head designer position. He then joined Louis Feraud and stayed there until launching his own couture label in 1962. Scherrer soon had a loyal following and the 1970s were the pinnacle of his career. Everything about this dress is well thought out and it is perfectly constructed. 

The dress is a beautiful example of the level of work that you only find with true Haute Couture pieces. The dress is entirely made by hand out of a fine, slight weight silk crepe. It is in pristine condition and looks like it was just made. The shoulders are lightly padded and shaped. Each sleeve is cut to slight taper down to the wrist where it zips to close. The top has a V front and is cut to skim over the bust. This narrows down to the waist where a matching band of the same silk wraps around your waist to give shape and definition. The sash at the wast has all been hand draped and stitched into place. The skirt skims over the hip and is cut in pencil silhouette to end just past the knee. I love the floral print with its pink colour palette. It is like wearing a floral bouquet and the colours are as vibrant now as when it was first made. You can really see Scherrer's beautifully tailoring skills in this dress. It manages to feel strong but also soft and romantic at the same time. A tricky thing to pull off. Haute Couture pieces from the Scherrer label that are in this level of condition are hard to find and each time I do find one feels very special. It is gorgeous dress and it is even better on person and on an actual body. Excellent condition.  

Unlined and each interior seam and edge is finished by hand. It closes at the back with a handset painted metal zipper. The sash at the weasel is attached and it closes with hook & eye at the back. There is light padding in each shoulder and each cuffs has a zipper. The dress appears to be unworn  or to have been worn very little. Finished to Haute Couture standards and entirely done by hand. Appropriate Haute Couture tags numbered 000332. I took several shot of the interior finishes for you to see. 

Sleeves: 22"
Shoulders: 14"
Bust: to 18" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Bodice: 15" from neck to waist
Skirt: 27" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2472

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

This is an incredible and very rare set by Halston from his main line. The top part of the set is very similar in feel to the one worn in the famous 1978 image of his 'Halstonettes' taken in the Halston offices. The 1978 collections featured many piece that were made from this same feather light metallic lurex in a variety of colours. I love the rich purple metallic feel of this set. 

Both the bandeau and the skirt are made from a very fine light weight metallic knit lurex. The colour is a stunning deep royal purple. I love how the fabric has that touch of a metallic feel to it and how it runs over the entire surface so the whole set has a subtle glitz to it. Both piece are very light in weight and the fabric has a touch of transparency to it. The top is a simple bandeau. It is gathered and ruched down each side. The zipper is hidden along one side and the other side has boning. You can wear the gathers at the side as I have photoed it here or wear the gathers down the centre at front and back. It is lined in a nude stretch jersey for a little support and coverage. Once it is on you have some flexibility on how much skin you want to show between the top and the skirt. You can wear it more pushed up and gathered to really show off a band of bare skin underneath, or pull the fabric down to meet the waist of the skirt. I photoed the majority of these with it worn more pushed up but also shot one for you with it worn down more. The skirt is gorgeous. It is made up of three layers of the fabric and it is so light in weight that even with those three layers it has no bulk when you are standing still. The moment you move you realize just how much fabric is actually there. If you were to lie it out flat it is a full circle skirt and that means that when you move it moves with you and flows around you beautifully. The layers act as the lining and this gives the skirt just enough opaqueness to be able to wear on its own though you still get just a hint of transparency in certain lights. It is amazing. It appears to have been worn very little if at all. Excellent condition.

The top is lined in a nude stretch lingerie jersey. It has an inner waist stay that hooks to close. It zips at the back and has boning built in along the side there and also at the front down the middle. The skirt is made up of three layers of the purple fabric. It hooks to close at the waist and snaps under that.

Top
Bust: 17.5" flat across the top from side seam to side seam
Inner waist stay: 13.5" flat across from side seam to side seam
Height: the boning at the side is 9" and the fabric between is adjustable

Skirt
Waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 29" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3354

Reference Photos: (1) Alva Chinn, Halston and Chris Royer at Olympic Tower, September 1978. From the Book 'Halston' by Phaidon.  /  (2) Model in Halston, 1978. From the book 'Halston An American Original'.

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

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

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

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

Modern Sizing Equivalent: MED-LRG

Item# DD3689

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD2660

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

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

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

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

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

Modern Sizing Equivalent: XS-XL OSFA

Item# DD3688

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3404

Reference Photos: Cherie, Owner of Shrimpton Couture.

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

The Western world in the twenties to fifties had a special fascination with the far East and this highly influenced the fashion of that time period. In particular, Japan and China began to export and sell pieces that they made specifically for the tourist market. These often combined classic design elements of their respective cultures with a slight Western twist to the cut and colours that were used. You will often will see the shorter jackets come up for sale but the longer cut coats like this one are a little harder to find. They are far more versatile in my opinion. These were the most prized both then and now. This one is stunning. It is made from a very fine red silk with a floral detailing that runs over the entire coat. These are embroidered and woven directly into the silk and then there is a secondary pattern woven through the silk in the same red but with a matte thread. The cuffs fold over at the wrist like a men's bathrobe and then they have been tightly top stitched for extra detail. At the neck that same top stitching detail runs along the collar and continues down the front. It closes with big silk frog buttons in a matching red silk. It is lovely and light which makes it very easy to wear. I have worn this myself in the past and it is a great and versatile piece. Excellent condition with a minor note below

Fully lined in red tissue silk, it closes with frog knots at the front. In person it is a more vibrant red with a slight cherry cast to it. There is a little grubbiness to the interior collar 

Sleeves: 14" 
Shoulders: 15"
Bust: 18" flat across from