This comes from the same collection of couture pieces that I am handling at the moment for my client and all she could recall for this piece was this it was her mothers, it was from Chanel and that it was from the eighties, maybe early 90s. I have not yet found a photo reference for this one but when I do I will add it or send to the new owner. The set is incredibly beautiful on the body. 

The dress is stunning. It is made up of two separate pieces. The top piece is an inky black tabard that is made out of a rich soft silk velvet. At the front it is cut in a simple sleeveless sheath that has a subtle seam just under the bodice. The back dips into a low square to show a bare expanse of skin. Inside it is lined in a hand set heavy black silk that feels amazing against the skin. It closes at the side with a zipper but only to the top of the hip. Under that it is completely open on that side. You then wear the skirt under this and the skirt acts as a bit of coverage to keep the top layer from being completely scandalous. The skirt is marvellous. It is as light as air and made of alternating squares of a very fine netting with a lace flower woven through the netting. The squares are set on their sides so they become diamonds and the lace diamonds are offset with solid black diamonds made of a fine black silk. The skirt is meant to be worn under the velvet tabard dress so that it just peaks out along the side of the dress that has that extreme slit. This still leaves your leg completely exposed underneath right to the hip so it is very sexy but in an insanely subtle and refined manner. The skirt is very light in a weight and very beautiful. I love that they did the same amount of work on it all the way around for the entire skirt even though you only see that bit down one leg when the pieces are worn together. These are the types of extravagances that you find and fall in love with in true couture. It is stunning on the body. Excellent condition 

The tabard over dress is fully lined in a black silk and the skirt is unlined. Both pieces close with side zippers and the skirt has hook & eye at the waist band. All the interior work is done by hand to Haute Couture standards. It appears to have been worn very little if at all. Sourced from the original couture client 

Tabard
Bust: to 19" flat across from side seam to side seam
Seam under bust: 16.5" flat across from side seam to side seam
Natural waist: 15" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Bodice: 13" from top of shoulder to seam under waist
Skirt: 44.5" from waist to hem
Slit: 37" from hem up

Skirt
Waist: 14" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 43" from waist to hem
Slit: 17.5" from hem up 

Modern Sizing Equivalent: SML-MED

Item# DD3584

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

This incredible dress is from the Fall 2000 Yves Saint Laurent Haute Couture collection and its twin walked the runway that season. The collection was lauded by the press. Marie Claire said 'Faithful to himself, Yves Saint Laurent has once again surpassed himself, without ever betraying the clean look that has become his signature.' The New York Times review by Cathryn Horn noted that the show was attended by ladies such as Nan Kempner who sat just a few chairs away from Catherine Deneuve and Lauren Bacall. Nan was seen in the audience saying 'fabulous' as the dresses paraded past. The Times review included remarks on all of the couture shows that season and said that the 'day belonged to Saint Laurent'. They also noted that "There have been a lot of Saint Laurent shows in recent years when nothing clicked and you thought, 'Okay, this is as good as it's going to get.' But the thing one realized the other day was how vast and deep are Mr. Saint Laurent's reserves of creativity compared with those of other, younger designers who blow themselves out early and then spend the next 10 or 15 years splashing around in the same puddle." This dress is exceptional and a rare piece from one of his final collections. That same NYT article also noted that during this time period, couture dresses had a start cost of $50,000 ($75k in modern dollars), and went up from there. This dress is sourced from the original couture client.  

The dress is exquisite and I love that you can see just how wonderful it is on the body from the runway reference photos that I have found for you. It is made from an inky black silk velvet with inset panels around the skirt. The sleeves are long and straight and the dress is cut to sit fully off the shoulders. This allows your entire upper shoulders to show. It skims over the body and the velvet lies over a fully built in inner corseting that gives support and keeps the dress perfectly in place. This inner corset is fully boned and closes with its own separate zipper. The dress skims over the body with vertical seaming all around for each panel that the dress is made up of. It is meant to sit so that your shoes show from under the skirt and this length also gives the skirt the best possible length to show off its fullness and the ingenious insets all around the skirt. Just below the hips he has inset panels that are made from knife pleated black silk netting. The are set in in such a way that each is very full. The result is that you get a stunning bit of volume through the lower skirts as these flare out around you and move when you move. They have a touch of transparency to them so you get a suggestion of leg showing as you walk. A wide silk satin ties at the waist for the perfect finish. Yves once said of the colour black "I love black because it affirms, designs, and styles. A woman in a black dress is a pencil stroke". The dress looks to have been unworn or worn very little and was sourced form the original couture client. Excellent condition  

The outer velvet layer is fully interlined in a fine black silk satin. The built in corset is boned and shaped. It closes with its own zipper and has an inner waist stay that hooks to close. The exterior layer closes with a hand set zipper. Done with Haute Couture construction techniques. The silk ribbon belt is not original to the dress. It appears to have been unworn or worn very little

Sleeves: 22"
Inner bust: 17.5" flat across from side seam to side seam
Inner waist: 14.5" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: approx 56" from natural shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3586

Reference Photos: Fall 2000 Yves Saint Laurent Haute Couture Runway.

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

Christian Lacroix launched his Haute Couture house in 1987 and his work was instantly revered world wide. He defined an era and he was crowned the King of Couture. A ready-to-wear line soon followed along with perfumes and menswear. His collections were always exotic and lavish affairs. He drew his inspirations from across the decades and I doubt there was ever a more high glamour couturier. This dress is very special and a stunning example of his work during this time period. It has all the signature Lacroix drama that you could ask for. It comes to me from the original couture client. This is his main pink label that was still being produced in France at this point as opposed to later pieces that were manufactured elsewhere. It was very high end, expensive ready-to-wear that was made to near couture standards. For the Fall 1998 runway this dress was shown in a deep burgundy but my client purchased hers in this glorious all black version. 

The dress is classic Lacroix from his early years with all the high end drama we love about his work. The dress is sleeveless with wide straps that curve up and around the shoulder. The bust is meant to be fitted and the neckline is scooped at both the front and the back. There is a full built in corseted inner dress that is boned and shaped through the bodice and has extensive attached underskirts. It is attached all along the neckline and around the arms and then it falls under the outer velvet layer. The outer layer is made of a black velvet that is soft to the touch and very rich in feel. It is shaped with long vertical seaming to lie over the inner dress. On either side of the hip of the velvet layer the fabric has been gathered with extra long ribbons that you can use to adjust the length on the sides up or down as you wish. For the photos, I have put them up a little more so you can see the underskirt, while on the runway shot you can see that they styled it with one side a little longer than the other. I love that you can adjust it like that. The inner corset is made of a combination of taffeta, boning and a fine mesh netting. The entire lower portion of the skirt is finished with his signature gathered and puffed taffeta that gives it tons of volume. Each layer of the fabric is light but when all the layers, and the sheer volume of fabric that has been used, is combined the overall weight of the dress is substantial and it feels like a couture piece. The velvet at the back of the skirt is longer and slightly trained. There is a final gathered seam that runs from the mid-back to the centre of the back of the skirt's hem. For this one the ribbon ties at the top to add detailing there and again you can adjust it if you wish to be longer or shorter. You can see how stupendous this moves in the attached runway video of the burgundy version. This comes from one of his the original couture clients. Excellent condition 

Fully lined in a full corseted and skirted underdress as described above. It closes with a hand set side zipper on the inner dress and another zipper on the black velvet top layer. Each side and the back of the velvet layer are adjustable in length with the ribbons that you see. The interior corset is boned and the underskirt is made up of several layers for volume and shape. Tagged a 42

Bust: 17" flat across from side seam to side seam
Inner corset waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 11" from top of bodice to waist
Skirt: 59" from shoulder to front hem and the train at the back adjust to same length to up to approx 20" longer 

Modern Sizing Equivalent: SML-MED

Item# DD3585

Reference Photos: Fall 1998 Christian Lacroix Runway.

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

Jean-Louis Scherrer was a Parisian fashion designer and couturier. He trained under both Christian Dior and Yves Saint Laurent while at Dior. He worked briefly for Louis Feraud and then launched his own fashion house in 1962. From 1962 to 1992, Jean-Louis Scherrer dressed some of the most prestigious women in the world, including Jacqueline Kennedy, Princess Paola of Belgium, Sophia Loren, Raquel Welch and many more. His work was known for known for being opulent, with hand-beading, embroidered and lavish trimmings, all done on the very best of fabrics. It is wonderful to have such a beautiful piece of his work in the shop. This example is unlabeled but comes to me from its original owner. 

This dress is exceptional and a remarkable example of Mr. Scherrer's work. The color is amazing. It is a bright spring green that is mixed with a slightly deeper green and then a white to create the floral print that you see. This is screened onto a fine silk gazar that has a secondary floral print woven directly into the silk, adding to the rich feel of the fabric. The print is huge and exuberant, covering the entire dress from head to toe. The skirt is wonderfully full with yards and yards of bias cut silk. This floats over a series of inner silk and tulle skirts that create shape and volume. The bodice is constructed so that it has the feel of a sculpted evening jacket but it is fully attached. The collar is set so that is sits slightly raised and frames the neck. It is also cut wider across so you get this lovely glimpse of the collar bones before it plunges into a mid-V at the front. Large bejeweled gripoix poured glass buttons detail the front. The sleeves taper in as they near each wrist. The waist curves in with a beautiful line and then flares over the hips, curving down and around the back. An attached half belt that is finished with a bow adds additional shaping through the lower back. It is beautiful and has a lovely formal feel but without feeling too stuffy. In excellent condition with one minor note to review below

Both pieces are fully lined in in a fine deep green silk. It closes with middle set zipper at the back and each sleeve has a zipper at its cuff. Under the buttons at the front are hidden hand set, silk covered snaps. The skirt has an two inner skirts, one of which has a tulle layer attached starting just under the hip. Hand finishes. There is one small repair and small marks near the hem of the back skirt near the side seam. Please see the last photo provided

Sleeves: 22"
Shoulders: 14.5"
Bust: 17" flat across from side seam to side seam
Waist: 13.25" flat across from side seam to side seam
Innermost lining hips: 19.5" flat across from side seam to side seam
Bodice: 15" from top of bodice to waist
Skirt: 44" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3279

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 comes from a collection of Bill Blass pieces from a woman who was a close personal friend of Mr. Blass for many years. Many of these pieces were custom made for her and all of them are in excellent condition. These are rare and hard to find examples of his work from the late 1970s and into the 1980s. Some may be the only version of its kind that were made. The family would also like it to be known that their portion of the proceeds from each sale will be donated to charity. 

This dress is stunning. It is from the Spring 1981 collection and I have included two reference photos of pieces held in Museum collections, one of a dress in this same color that was used throughout the collection that year, and a second with the same ruffle treatment. The dress is beautifully made and the closer you start to look at it the more you start to see the fine detailing on it. The work that would have gone into piecing this together using that fine silk chiffon is astounding. It is completely cut on the bias but also has defined seams so that you get the ease and movement of the bias cut through the skirt but with a defined shape over the body. The neckline is a high and scooped. The bodice has two layers, an inner silk piece with tiny silk straps, and a chiffon over piece. Each sleeve is cut long and lean with two silk covered buttons at the wrist. The back hooks at the top of the neck and then over the inner lining leaving an open slit between the neck and the first button down. The waist is seamed for a touch of shape and you could easily add a belt if you wanted more definition. Below that, the skirt falls to the floor in a cascade of ruffles. The ruffles are set vertically in rows all the way around the skirt. This creates incredible movement when you move. It is beautiful. Excellent condition with one small note below

Fully lined in an interior layer of a slightly deeper color green silk. It closes with a back zipper and then the silk chiffon layer close over that with snaps below the waist and hook & eye above. Each cuff has two silk covered buttons. Hand finishes. The color is absolutely fantastic and even better in person. It is a a touch paler green in person then how it photoed. The fabric does have some give due to the bias cut but the waist seam is set. There is one tiny mark on the front bodice. Please review the photo after the label shot. 

Sleeves: 22"
Shoulders: 15"
Inner lining bust: 18" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3280

Reference Photos: (1) Evening dress, 1981 by Bill Blass. Gift of Mrs. Ronald Reagan from the Classic Chicago Magazine.  /  (2) 1981 Bill Blass Dress from the Indianapolis Museum of Art Collection.

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

This dress is made out of a fine Indian printed silk. The fabric choice combined with that vivid colour combination of a  bright pink and green is fantastic. That gorgeous print runs over every inch of the dress and the silk has a ribbon effect woven through it. I love the lightness and airiness of the dress that is created by the many yards of silk chiffon. Working in this type of fabric is already difficult and this would have taken many hours of work to complete this dress. The silk is cut on the bias through the skirt giving it a lovely movement when you move. It  will just float and move around you at the slightest movement. The neckline is squared off and cut low. The bodice skim over you and its cut to follow your curves with a nipped in waist. The sleeves are cut wide and full so that they end in a wide flare at the wrist. At the back the dress scoops low leaving the upper back bare. It comes with a long matching sash that you can use at the waist, neck, or as a head scarf. It will also ship with an additional skinny belt covered in the same fabric (not pictured). Excellent condition with a minor note below

Fully lined in bright green silk with the sleeves lined in silk chiffon. It closes with a hand set, painted metal & nylon zipper. Hand finishes. The sash has hand rolled edges. The inner lining to the skirt has small nicks and thinning to it throughout. It seems stable and is completely wearable as is. No similar issues to the outer layer at all. Some grubbiness to the hem that gets lost in the print. I see one mark on the skirt that gets lost in the print.

Sleeves: 25"
Shoulders: 15"
Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips at Inner lining: to 22" flat across from side seam to side seam
Bodice: 15" from shoulder to waist
Skirt: 44.5" from waist to hem
Sash: 41" x 15.5

Modern Sizing Equivalent: SML-MED

Item# DD3281

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 a version of this dress in the past in a paler icier blue so when I saw this one with it's deep sapphire blue colour I had to have it for the shop. It is a beautiful and romantic bias cut silk chiffon dress by the great American couturier Oscar de la Renta. It is constructed from multiple layers of a lightweight, slightly textured, silk chiffon in the most stunning deep sapphire colour. The bodice of the dress is gathered in an elaborate ruching of silk that meets in the center in a thick braided detailing. This runs down the centre of the front of the bodice. The strapless neckline above that is cut into a rounded sweetheart shape that is very flattering. The bodice is fitted and cinches in at the waist with interior boning to help hold the shape. The skirt cascades to the floor at the back and at the front it curves up higher so you get a flash of leg when you move. It is made up of three full layers of weightless silk chiffon that float over and around the body to give it the feel of airiness and lightness. The lightness of the silk gives it a billowing effect when you move and walk that is stupendous. A really lovely and romantic dress in one of the best blue colours I have seen. Excellent condition

The dress is fully lined through the bodice in a hand set blue silk and the three layers of silk chiffon the skirt is made of serve as its lining. The dress closes with a side painted metal zipper. Hand finishes. I see one tiny area on the side off the skirt that has darkened. 

Bust: 17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Length: 48" from top of strapless dress to back hem, 37" to the front hem

Modern Sizing Equivalent: SML-MED

Item# DD3583

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 New York times said of this collection at the time; 'Yves Saint Laurent did it. With sophistication and authority in his collection for spring and summer, he gave validity to couture, the high end of the fashion industry. There was no desperate groping: this is the way the most expensive clothes in the world should look, he seemed to say. As the showings sailed into their final days, he re-established himself today as the king of couture." after their review of the day and suit looks they continued to say; "Preliminaries over, he was ready for evening dresses, the serious business of couture. His unerring eye for color came to the fore....One-color dresses were also effective, in fuchsia, bright blue or rose. Rarely did he resort to embroideries...His effect was achieved through line and cut." The review ended with this lovely sentiment; 'Saint Laurent knew his show was a success. "The couture lives," he whispered backstage after it was over. His mother, Lucienne Saint Laurent, told him he had never done better. He seemed to agree. It is rare for a designer to reinvent himself at the age of 56, the way Saint Laurent had just done. The show recalled his glory days in the 1970's, when he set the guidelines for couture and the rest of fashion. He has now done that for the spring of 1993." 

On the runway this dress was shown in a darker, more subdued blue. The twin of the runway dress is held in the Met Museums' collection and I have included that reference photo for you here along with the runway shots. My client had the dress made in one of the brighter blues that was used elsewhere in the collection that year and I love it in this brighter bolder color. The dress is cut to leave one shoulder completely bare. Both sides have long slim sleeve and there is a panel of the same silk gathered along the top of the shoulder that then swoops down over the bodice and the back. That draped panel is very full and I love how it drapes over the sleeve on that side. The inner details here show is the genius of couture. The zipper on that side is set so that is softly curves under the arm and runs down the top of the inner sleeve. That way the person wearing the dress does not have an uncomfortable zipper pull right under their arm. It also keeps the sleeve perfectly in place despite the absence of a shoulder. The waist is seamed and detail by a matching, hand dyed silk satin slim belt. The skirt falls the the floor under that, gently widening out as it nears the hem. The side opposite to the bare shoulder has a very high slit so that you get a flash of leg as you walk. It is stunning and in person the colour is a touch richer and deeper then how it photoed. The silk also has a slight texture to it that adds detailing in person that the camera does not quite convey. This is a wonderful example of how strong his tailoring was in evening wear and an important piece fromm a collection hailed as a triumph. Excellent overall condition with a small note below

Fully lined in a fine blue silk. Done with Haute Couture construction techniques and closes with a hidden set side zipper under the arm that curves up and into the sleeve as described above. Inner waist stay hooks to close. The fabric is cut on the bias so there is some give. There is a slight fading along the top of the shoulder and down that same sleeve. Please see the two photos after the reference shot. It is light and because of the placement once on it is barely seen. The hem has been let down at some point. The belt is original to the dress and is in excellent condition 

Sleeves: 27"
Bust: to 19" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 18.5" from top of bodice to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3582

Reference Photos: (1-2) S/S 1993 Yves Saint Laurent Haute Couture Runway.  /  (3) S/S 1993 Yves Saint Laurent Haute Couture Dress 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.

The twin of this dress is held in the permanent archives of The Metropolitan Museum. It would not surprise me to find out that these were the only two samples of this dress in existence. True Haute Couture pieces were never produced in any significant quantities. The dress is as wearable now as it was when first made and feels very modern. It is entirely finished by hand and is from the time period when the house was run by Hubert de Givenchy himself. This is a wonderful and well documented piece showcasing Givenchy's work during this time period. I have included the dress that the MET has in the final shot here for your reference

The dress is made of a deep blue grey silk crepe. It is cut with a strong nod to the classic Grecian silhouette that leaves one shoulder exposed and bare. The construction details throughout the dress are exquisite. The bodice has been gathered by hand to create a series of soft pleats that run from the shoulder to the waist. These are set on a curving angle to follow the cut of the neckline as it works it way up towards the shoulder. The draping and soft pleat technique adds a beautiful detailing to the bodice of the dress. The waist is defined by a slim gold leather cord that wraps and ties to add shape. The skirt falls below this to the floor gently widening out a touch as it nears the hem. A second panel of fabric is draped over the skirt and set so that it angles softly down one side mirroring the angle of the shoulder. Slipping over this is a short cape that is made from the same fabric. It is cut on an angle to point down the front and the back and gives the dress a beautiful flowing feel. The colour is richer and deeper in person and on an actual body the entire dress really comes to life. Excellent condition with a few small notes below to review.

The dress is fully lined in a hand set blue silk of very high quality. There is a wide waist stay that hooks at the inner waist. It closes with a hand set, side painted metal zipper and from the waist down there are hidden set snaps that close the fabric of the skirt over the zipper. The bodice is lightly boned and there are small bust pads that are handset inside the bodice. The cape is unlined and slips over the head to wear. There are some light snags in the fabric here and there and some small areas pf darkening on the skirt overlay - the snags are most noticeably on the back of the skirt near the bottom - these are seen most when it is laid out flat but once on the color and placement make all of them negligible. Please see the two images after the label shots. All the interior work is done by hand to Haute Couture standards. Proper Couture tags on both pieces. Haute Couture tape label #55417

Dress
Bust: to 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 15" from top of shoulder strap to waist
Skirt: 42" from waist to hem

Cape
39" from neck to longest point of hem

Modern Sizing Equivalent: XS-SML

Item# DD2767

Reference Photo: 1973 Givenchy Evening Dress from The MET 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.

Jean Paul Gaultier's illustrious career spans decades. His first show was in 1976 and his avant garde designs quickly gained him the reputation of being fashion's 'l'enfant terrible'. His designs mixed cultures with abandon, gender norms were blurred through his pieces and the body was presented encased in ways unimaginable prior to his brilliant vision. In 1997 he entered the sanctified world of Haute Couture and for just over two decades produced stunning work cumulating with his final show for Spring 2020. His pieces of couture rarely come to market and I am very pleased to have this unbelievably beautiful ensemble. This was look 33 for the Fall 2001 Haute Couture presentation entitled 'China and Spain'. For this season Gaultier combined elements from those two countries in a beautiful homage. Pieces from this collection were featured in the The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk exhibit of 2013 and to have a piece available for purchase is almost as rare as being able to have bought it as a couture client in the first place. After the show Gaultier said of this collection “I wanted to do something more sensual than sexy. The idea was to bring together everything that you imagine when you think of China and Spain—theater, movement, color, history and richness.” The twin of this look was worn by Alec Wek on the runway with a huge red bib neckpiece over the top. This may have been the only piece ever produced beyond the runway set. 

It is extraordinary to think that Jean Paul Gaultier has only produced a Haute Couture line for two short decades given his long career. Like most Haute Couture, this is a set that only truly comes to life when it is on an actual body. I was very pleased to have found the reference photos and video so that it shows you just how amazing it is on. The pants are a work of art. They are incredibly heavy. They have been densely beaded with glass tube beads in tightly spaced rows to cover every inch. Worked into the sequins are the brilliantly coloured flowers that you see. These are all hand embroidered and trail over the pant legs, wrapping around them to act as a living wall of art. The work to place each of these beads individually and do the embroidery must have taken hundreds of hours to complete. They are cut with a flat front and straight leg that is quite wide. So when you move they move and this adds another element to the design as the light catches the beads while the colours of the embroidered flowers burst around you. The top is made out of a silk jersey and my client ordered it in a solid black. It is ingenious how it closes with a complicated array of a hidden zipper front with two separate areas of silk covered snaps and hooks. I have included some photos of the stages of how it closes for you to see. It wraps around the body and drapes to the one side. The collar is high and you can see the reference to China with its shape. Each sleeve is incredibly long (see the third last detail photo before the label) and when they are pushed up the create a design detailing in themselves with a row of rounded gathers forming around the entire lower part of the arm. I love the long trailing swag of fabric that is set on one side. It cascades over the pants and to the floor. This panel of fabric elevates the design even more and gives it that Gaultier feel of going against the norm. It also has a nod to the trade de luces cape, part of the traditional clothing that Spanish bullfighters wear. It is a brilliant piece of Haute Couture and is everything you want to see in a Haute Couture piece; elegance, breathtaking beauty and a dash of avant garde. It appears to have never been worn or worn very little. Excellent condition. 

The upper portion of the top is lined in silk and it zips to close at the inside front. A jersey panel wraps over this and closes with a series of silk covered snap and hook & eye along the side near the neck and also along the waist and hip area of that same side. The pants are fully lined in a silk and close with a hand set zipper. There may be the occasional bead missing from the pants. All the interior work is done by hand to Haute Couture standards. Proper Couture tags on both pieces. It appears to have been worn very little if at all. Sourced from the original couture client 

Top
Sleeves: 45.5" and push up to wear
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Interior waist: to 13" flat across from side seam to side seam, inner waist stay hooks at 14"
Hips: open
Length: 29" from neck to shortest point of the front side, 37" to longest point of the back
Hip swag: 47" from waist to longest point of the hem

Pant
Waist: 13" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 42" from top of bodice to waist
Inseam: 30" from inner seam to hem

Modern Sizing Equivalent: SML-MED

Item# DD3581

Reference Photos: Alek Wek for Fall 2001 Jean Paul Gaultier Haute Couture 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 an incredible example of Karl lagerfeld's Haute Couture work. On the runway this was shown with a full wide skirt and I love that it is different because it shows you the versatility of it how you could potentially wear it with a skirt from your own closet. My client opted for a sleek tapered legged trouser instead of the skirt which I think really allows the jacket and its lines to really shine. In the book 'Chanel Catwalk' they said of this collection; 'Karl Lagerfeld focused on suits ..for this haute couture collection, presented as a winding catwalk in a riding centre in the Bois de Boulogne. It featured 'only' fifty-eight looks, 'but I could have had many more,' Lagerfeld told Women's Wear Daily, 'because we have many clients and they want suits, suits, suits.'

The lines of this suit are crisp and sharp and the tailoring is immaculate. Both pieces are made out of a silk taffeta that allows them to retain the exact lines that Lagerfeld intended. The jacket is cut so that it is fitted to the upper bodice and shoulders and then flares outwards as it glides past the hips. The collar is neat and small and I love how it is notched and shaped at the front. It zips to close under a shaped panel of fabric at the front and there are two small discreet holes that you can slide a pin, french cuffs or a very thin ribbon through to add some detailing as they did on the runway. Each sleeve is long and straight with a touch of width to it. These end in a notched slit rather then a traditional cuff which falls in line with the sleek minimalist feel of the rest of the suit. In a little hidden surprise the underside of each cuff, the inside the collar and the front panel of fabric over the zipper have all been meticulously hand lined in a pale gold metallic silk. The pants are sleek and simple in their cut. They are flat fronted and cut to taper down to the ankles. A sharp pleat has been hand sewn down the front and the back of each leg. The inside of the suit is as immaculate as the outside and it is of course, entirely made by hand. The iconic gold Chanel chain runs along the inner hem of the jacket and I suspect that it is actually gold plated. Every stitch is perfection. This is a rare opportunity to own a piece of true couture by one of the most important designers of our lifetime. Excellent condition with a minor note below. 

The jacket is lined in a black silk and closes with a hidden zipper under the front panel of fabric. The pants zip to close with a hidden set side zipper. I see a slight touch of stress to part of the front middle seam on the pant, see the photo after the label shots. Both piece are hand finished to couture standards. Proper couture labels present with couture tape 78762 under the tag on the jacket and 78763 under the pant tag. Sourced from the original couture client 

Jacket
Sleeves: 23.5"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Length: 30" from neck to head 

Pant
Waist: 15" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 38" from top of bodice to waist
Inseam: 28" from inner seam to hem

Modern Sizing Equivalent: SML-MED

Item# DD3580

Reference Photo: Spring 2000 Chanel Haute Couture 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.

The dress comes directly from the original couture client and is in immaculate condition. The twin of it walked the runway for the Spring 1987 Haute Couture presentation and my client ordered this identical dress from that show. This is an exceptional example of Valentino's Haute Couture work that he was doing during the 1980s. Finding pieces from this time period in such immaculate condition is a rarity and I am very pleased to have this beautiful dress in the shop. I am also very pleased to have the runway shot of it for reference.

The lines of the dress are beautiful and I am glad to have that runway shot so that you can see just how wonderful it is on an actual body. Couture pieces are sometimes difficult to truly show in a photo as they are meant to highlight and show off the body and only truly come to life when worn. The fabric is a light silk crepe and it is cut to drape perfectly over the body, skimming over your curves to flatter and fit perfectly. The color is absolutely fantastic. It is his signature clear red that flatters most skin tones. It is a better shade of red in person then how it has photoed. If you know Valentino's work, then you know this red already. The top is sleeveless and angles in towards the high collar. There is a long band of fabric that runs down one side from the collar to the top of the hip and all of the fabric on either side is set to gather in towards that band. A large flat bow its at the top of the band and and I love how the shoulder is left bare beside it to really showcase the bow. A second bow sits at the bottom of the band so that you are wrapped in silk and finished up with those pretty and feminine touches Under there the skirt falls to the floor with in an expansive amount of fabric. It is cut on a curve all the way around and comes up shorter in the front. The back hem is cut longer so you get a slight bit of a trained effect there. The amount of fabric in the skirt is tremendous but its so light that it falls long and sleek when you are standing but can expand out almost to a full circle skirt if you twirl. The entire bottom edge is finished with a red silk satin banding. It is just stunning on the body and an amazing example of his earlier Haute Couture work. Excellent condition. 

The bodice and top portion of the skirt are lined in a fine red silk. Done with Haute Couture construction techniques and closes with a hidden set zipper under the front panel of fabric and then has silk covered snaps & hook one eye. Inner waist stay hooks to close. 

Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 43" from neck to shortest point of the front hem, 61" to the longest point of the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3579

Reference Photo: Dalma for Valentino SS 1987 Haute 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.

This is the long version that was made from two pieces shows for the resort runway for that season. You can see the same top of the green dress here and then the same red silk organza used on the the second dress we have induced for reference. Combining the two elements and making the skirt full length results in this gorgeous dress. 

This is a stunning example of Ferrertti's more recent world and a very pretty dress. The red has a touch of a coral tone to it and the fabric choice gives it a light and romantic feel. The bodice and lower skirts have an extensive paneling of an embroidered, open cut owrk lae feeling fabrication. It's pattern combines different sized flowers that are layered over each other with  parts of the design open. On the top this is set to engine down on north he front and back with the silk red silk on the side.A bide coloured mesh sits behind the plunge at the front so you get the illusion of a deep neckline but it is very secure and safe. At the back there is a little option start of fabric that you cansnap into place or fold that back as I have for a deeper more open plunge. It nips in at the waist but with a slightly generous feel and then the skirt is full and falls to the floor under that. The entire bottom half fo the skirt is covered int hat same embroidery work as the top. It is a very pretty dress and has a touch of a vintage feel to it. Its very soft and romantic and feminine. It appears to have never been worn or worn very little. Excellent condition 

Fully lined in a red silk and closes art the back with a hidden set zipper. Tagged a US6. It appears to have never been worn or worn very little.

Bust: to 18" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Inner hips: to 21" flat across from side seam to side seam
Bodice: 16" from shoulder to waist
Skirt: 44.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3578

Reference Photos: Resort 2015 Alberta Ferretti Collection. Model: Josephine van Delden.

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

The Nina Ricci Haute Couture house was founded in 1932, at 20 Rue de Capucines in Paris and became one of the pre-eminent couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant who took over the atelier in 1954. Over the following three decades, his Haute Couture vision "celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day."

This dress is a wonderful example of Pipart's vision for the house and is a stunning example of the work that the atelier was producing during this time period. The dress is made of from a fine silk chiffon that has been dyed to the perfect red. Every stitch is done by hand and the hours that would have been put just into the hand rolling and stitching of all the edges on the various layers on the skirt alone is mind-boggling. The skirt is made of four full layers of bias cut silk that is layered over each other in cascading tiers of fabric. Each layer is cut to curve up slightly at the front and dip down longer at the back. The layers of silk create a beautiful sense of movement and lightness when you move. The bodice is beautiful. It is densely beaded by hand in a pretty floral pattern all the way around from front to back. Tiny silk straps curve up and over the shoulders. Along the very top edge of the neckline at the front is an attached panel of silk chiffon that wraps up and around the neck leaving the silk to trail down the back. This little extra detail creates a bit of high drama and intrigue to the design. The scarf is original to the dress but may have been attached at a later date. It would be an easy job to unattached it and have it as a separate piece again if you wished. It is stunning in person and on the body. Excellent condition with one small note below.

Fully lined in red silk chiffon and closes with a back hand set zipper. Finished to Haute Couture standards and entirely made by hand. There are two small areas of a darkened spots on both sides of the attached silk panel. Please see the two photos after the label shot. Depending on how this is tied and styled it does not necessarily show and if was unattached again you would have the option to not wear it with the dress. The proper Haute Couture label is present.

Bust: to 16" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 16" from neck to waist
Skirt: 40" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2369

Quote and historical info on the house is taken from the Nina Ricci Website

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

The cut of this dress is a very flattering one shoulder silhouette. The base fabric is a light silk that is cut on the bias so that the dress drapes and molds over you to skim and highlight your curves without having a super tight fit. This makes the dress extremely comfortable to wear. The one side curves up and over the shoulder where it hooks into place with a trio of hooks & eye. From there it curves gracefully across the back. The dress falls to the floor with a high slit running up one side so that when you move you get a flash of leg. The sequins are set flat and side by side onto the fabric in long vertical rows. They are an iridescent pink and catch the light at the slightest movement. Worked into the sequins are little graphic triangles that run in a line down the full length of both sides of the dress. The hem and neckline are edged in a band of silver tube beads. Each of the triangles are also edged in a double row of those same silver tube beads and the interior of each triangle has a pinky-coral glitter fused directly onto the silk. The glitter parts are actually multi-coloured and this creates a touch of a holographic feel to them. It looks to have been worn very little if at all. Excellent condition

Fully lined in a pink silk. It closes with a metal and nylon side zipper. It is tagged a vintage 8. It looks to have been worn very little if at all.

Bust: to 17" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 57.5" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3401

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 October 1997, the first women’s ready to wear collection under the Narciso Rodriguez label was presented in Milan for the spring 1998 season. Rodriguez was awarded 'Best New Designer' at the Vogue/VH1 Fashion Awards in New York and the 'Perry Ellis Award' for best new designer by the Council of Fashion Designers of America that same year. He was the first designer ever to receive consecutive womenswear designer of the Year awards by the Council of Fashion Designers of America in 2002 and 2003. Countless other awards and accolades have been awarded to him as well. He also designed the bias-cut wedding dress that Carolyn Bessette wore for her marriage to John F. Kennedy, Jr. and Michelle Obama chose to wear a dress from the designer’s spring 2009 collection for her husbands victory as present and his first State of the Union address. You may remember seeing Claire Danes in a shorter version of this same dress for the 2012 Tribeca Film Festival. This one is a more evening version and my client had this one made for her by Rodriquez that year. As far as I am aware it was a bespoke piece and it is the only one in existence. It is a stunning example of how amazing of a designer he is. 

The dress is absolute perfection and showcases his talent for the bias cut that is meant to flatter a woman's body but never in a way that is too tight. Rather it just skims over your curves and is so very flattering. The dress is completely cut on the bias and made from a heavy deep fuchsia pink silk crepe. It has that minimalist tendency to it that he is so well known for with a crisp and elegant result. The bodice is cut with his signature bra cut top with a curving black silk panel set so that it scoops under the breasts. It then extends upwards to curve over each shoulder and down the back into a deep scoop. Inset above the black is a top stitched pink bit of silk. The dress flows past the waist from under the black with no seam to break the eye. It is cut on the bias so simply flows perfectly to the hips and then sweeps to the floor. Just above the knee on the skirt inset panels have been set in all the way around the lower part of the skirt. These give the lower skirt the shape volume you see. It moves and flow around you beautifully when you move. The back is cut longer into a slight train that flows behind you. It is absolutely stunning and pristine. The photos come close to the actual color but in person it is even better with slightly more depth and richness. Excellent condition  

Fully lined in a matching silk and closes with a back zipper. The zipper has a bit of a 'stick' feel to it when you close it. Appears to have never been worn or worn very little. The bias cut should allow it to fit a range of sizes

Bust: to 17.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 64" from top of shoulder to front hem, 74" to the back

Modern Sizing Equivalent: XS-MED

Item# DD3576

Reference Photo: Claire Danes in Narciso Rodriguez at the 2012 Tribeca Film Festival.

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

Thierry Mugler launched his label in 1974 and steadily gained notoriety with his shocking and avant garde designs. In 1992 he became an invited member of the French Chambre Syndicale de la Haute Couture. He was known for using innovative fabrics and the theatricality of his runway presentations. He once stated that couture is 'the materialization of dream-like visions in fabric form'. This is an exceptional example of his work and in person is even more beautiful then how it looks here. 

Mugler's pieces always have a sense of high drama and otherworldliness to them and this one is no exception. The fabric choice gives it an almost space age feel and yet it at the same time hearkens back to the days of Old Hollywood. The dress is made out of a vivid pink metallic silk lurex jersey that has a subtle iridescent metallic sheen to it. This catches the light so that the entire dress shimmers at your slightest movement. The cut of the dress has a strong nod to the thirties with its bias cut and draped lines. The bodice of the dress is set on an angle with the fabric draped up and towards the single shoulder that the entire dress is suspended from. The top of the shoulder is caught up with a triple loop of a metal snake chain. This adds startling contrast to the pink and also leaves more skin exposed on the top of the shoulder. More of the same metal chain is set on the opposite hip where it is used to catch and gather up the fabric. The chain wraps all around the side of the waist on that side. The fabric is looped around that to create a beautiful cascading effect down the entire side of the dress. Under that is an extremely high slit so that when you walk or sit you get a flash of bare leg high to the thigh. The dress is cut very long and at the back it is has a slight trained effect. The lightness of the fabric lets the entire dress flow wonderfully around you and it really plays with the light. The colour is far better in person and the fabric has a texture and feel to it that cannot be conveyed by the camera. A really exception piece. It appears to have never been worn or worn very little. Excellent condition.

Fully lined in the same fabric through the bust and the skirt is lined in a red silk. The dress closes with a hidden set zipper at the side. Both of the chains details loop and snap into place under fabric folds so you do not see the closures. Inner waist stay. Hand finishes. Tagged a 40. 

Bust: to 18" flat across from side seam to side seam
Inner waist stay: 13" flat across from side seam to side seam, 13.5" if you don't hook the stay closed
Hips: to 19" flat across from side seam to side seam
Length: 62" from shoulder to front hem, 66" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD2565

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

Tina Leser opened her first shop in 1935 and became known for her use of fabrics curved from far off locations. By 1944 she had been awarded the Coty award. In 1948 she took a trip around the world and the places that she went influenced all of her future collections. She loved to take a fabric that was seen as being for casual wear for this time period and using it for evening wear or vice versa. The Tina Leser Originals label launched in 1953, closed in 1964 and then re-opened in 1966.. This is one of the best pieces I have seen from her and is truly a spectacular example of her work. 

More then anything I love the extreme sleeves on this dress. The are truly spectacular. Each sleeve falls to past the knee. It is shaped like a normal sleeve from the shoulder to the elbow and then extends down from there into those long slit panels that you see. These give the dress a wonderfully exotic feel and they create tremendous movement when you move. They are also lined in a soft pale blue to offer contrast against the exterior fabric. The fabric that the dress is made of is equally stunning. It is actually a beautiful light silk voile that is entirely covered in the print that you see. The pattern is fantastic. The intricate design covers ever square inch and you can see how it incorporates that same blue that lines the inside of the sleeves. The front has a high neckline that is detailed with a collar of hand cut out flowers in two sizes. These are then hand placed around the neckline so they form a wonderful 3D effect. The dress falls from there in a generous cut that is meant to just skim over the curves with just a suggestion of shape at the waist. It widens out gently as it nears the hem and there is a high slit set off side at the front for a bit of leg to flash when you walk or sit. It is gorgeous. It appears to have never been worn or worn very little. Excellent condition.

Fully lined in an orange silk through the body with a wide band of blue silk around the inner edges. The lower part of the sleeves are lined in a soft blue silk voile. It closes at the back with a painted metal zipper. In person the dress has a slightly paler, softer feel to the overall colour. It is even better in real life. 

Sleeves: 42"
Shoulders: 15"
Bust: 19" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 59.5" from neck to hem
Slit: 31" up from hem 

Modern Sizing Equivalent: SML-MED

Item# DD3575

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 lovely dress by Reem Acra who for twenty years has been producing ready to wear and bridal collection. Her pieces tend to combine traditional elements with modern aesthetics and her work can be very beautiful. This was shown on the Spring 2006 runway with a slightly different bodice and then a version with sleeves and upper shoulders was used for the Bridal campaign ads that year and that one matches the bodice of the one I have in the shop today. 

The dress is very simple in cut and very flattering. It is made out of a pale silver grey silk chiffon through the skirting and then the bodice is a silk satin that is covered in a combination off seed beads and prong set rhinestones. The strapless bust is set in a high empire line and it is meant to be fitted and just cover the breasts. It is boned and formed inside to created that banded effect and to keep it in place. On to this is a lovely and intricate design that covers the entire bust all the way around. The design combines the tiniest of silver seed beads with small rhinestones. These catch the light and add a bit of glamour against the grey silk chiffon. Under the bust the skirt falls to the floor in a cascade of silk chiffon. It is feather light and made up of multiple layers of silk. There are two top layers of silk chiffon and then under that are two more layers of a silk dyed to the exact same colour. There are lots of little details that portray its high end origins. Each of the two pairs of layers of skirting are attached by little slips on the side so they hang perfectly in place. And at the back each layer closes with its own zipper and closure. It is very beautiful and even better in person as the camera doesn't quite capture the right shade of soft grey that it is or the glimmer of the rhinestones as they catch the light. It appears to have never been worn or worn very little. Excellent condition

Has a built in inner corset through the bust that is boned and closes with a back zipper. Another zipper closes a layer over that and then the outermost layer snaps into place. It appears to have never been worn or worn very little.

Bust: to 17" flat across from side seam to side seam
Seam under the bust: to 16" flat across from side seam to side seam
Hips: open
Bodice: 5.5" from top of bodice to waist
Skirt: 46" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3573

Reference Photos: (1-2) Spring 2006 Reem Acra Runway Collection.  /  (3) 2006 Reem Acra Bridal.

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 dress was shown on the Resort runway for 2008. In Vogue's review of the collection, journalist Nicole Phelps said in part; 'The grand theater-in-the-round setting for Oscar de la Renta's resort show put some audience members in mind of Chanel's recent presentations, but if there was a designer's influence at play in this beautiful collection, other than de la Renta's own, it could have been Yves Saint Laurent's. Loulou de la Falaise, YSL's longtime muse-turned-fellow designer, was sitting front-and-center (coincidentally, as it happened), and up on the raised platform there were seventies references'. The show was presented the same day as the 2007 CFDA Awards where Oscar de la Renta was nominated for Womenswear Designer of the Year which he won (tied with Proenza Schouler).

This Oscar de la Renta dress is absolutely gorgeous. It is red carpet worthy and would even make an amazing wedding dress for the bride looking for a non-traditional choice. It is in immaculate condition. The dress is covered with a dense application of muted pale ivory gold round paillettes in various sizes. These are set onto the entire dress in horizontal rows from the top of the shoulder to the hem. Running around the the neckline is a dense detailing of beadwork. There is also a scattering of pearls that are set in and among the beads. The dress is made up of three layers. There is an inner ivory silk layer topped by a layer of silk tulle net. Then the very outer layer is made of an ivory silk net and it is on this top layer that that all of the sequins, pearls and beads are applied. The edges of the tulle along the neckline and around the openings for your arm are left with a deliberate raw edge. This same raw edge detailing is also done at the hem. The over-sized sequins that cover the dress vary slightly in size and in their colour. This makes the light catch the dress in a slightly different way as you move and it creates the most lovely effect. Their size creates a more overall glow effect rather then a glitzy sparkle. It is very well made and very beautiful. It appears to have been worn very little if at all. Excellent condition.

Fully lined in a cream silk and constructed from three layers as described above. It closes at the back with a metal and nylon zipper. Tagged a size 12

Bust: 18-19" flat across from side seam to side seam
Waist: 14-15" flat across from side seam to side seam
Hips: 19-22" flat across from side seam to side seam
Length: 59" from shoulder to front hem, 60" to back hem

Modern Sizing Equivalent: MED-LRG

Item# DD2777

Reference Photos: Resort 2008 Oscar de la Renta Runway Collection.

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

Bob Mackie was best known for dressing Cher. He had a love of opulence and bead work, both of which he incorporates heavily into the best of his designs. 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 many ways his creations defined their careers and that entire era of Hollywood 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 dress is from his main label and quite amazing. 

Every square inch of this gorgeous little dress is heavily sequinned and beaded. The lines are simple and once on it is extremely sexy and flattering. Onto the black silk base of the dress are hundreds of bands that are made out of a combination of glossy black sequins and tube beads. These are laid out in a sharply angled chevron pattern that comes together down the centre giving the illusion of an even slimmer silhouette. On the skirt the flare pout to match the incredible sweep of the lower skirt. The exterior of the dress is done in a solid black with just the pattern of the sequins and beads to catch the eye. The beadwork is so extensive and it is all glass beads so the dress is fairly heavy off the body. Yet once on the body it lies and drapes in a way that it is balanced and feels comfortable. The bodice is cut to skim over the chest with a scooped neckline. The sleeves are capped and the waist nips in. Under that the skirt flares out in a massive volume. If you lay it out flat you see that it is a true circle skirt. Underneath is a built in crinoline that is a combination of a vivid pink and red. These are set in extravagant, pleated ruffles. If you stand perfectly still you can't see the color underneath but the second you move or sit that vibrant color explodes outwards. The under-skirts also helps to hold the shape and volume that the lower skirt is meant to have. The effect of this is far more dramatic and fabulous on a real body and it really shows off the legs. If you even remotely love it in the photos you will die when you see it in person as it is even better in real life. Very well made. It appears to have ben worn very little if at all. Excellent condition.

Fully lined in a black silk. It closes with a hand set back zipper. Hand finished throughout. Attached underskirts in red and pink. It appears to have ben worn very little if at all.

Shoulders: 15
Bust: 16-17" flat across from side seam to side seam
Waist: 12-13.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 38" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD3361

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

My couture client purchased this set in the spring of 2004 and it is a beautiful example of his work during this time period. This is one of the pieces made for retail sale that season and has many of the hallmarks we know and love about McQueen's work. Lace was used throughout the collection that year. Vogue said of the runway show; 'McQueen's signatures—elaborately pieced tailoring (now beautifully softened with delicate inserts of lingerie)... did star turns' and the this set lives up to that and more. 

Both pieces are made from a black silk taffeta and the top is detailed across the shoulder with a fine gossamer black lace. The skirt takes it reference from many of the cuts seen in the spirited dance show that the collection was presented with for that season. If you look through the photos of the show, you see many skirts were cut with this hip hugging silhouette that then flared outwards at the bottom skirting. On this set the flare is at the back with the front cut to be more of a sleek pencil shape. But when you turn to the side or around, you see that the silk hugs the bum and then flares out quite dramatically on either side at the back. The top showcases more of his elaborate and genius tailoring. It is cut and shaped by a series of vertical curved panels pieced together all the way around the body. It buttons down the front and has flap pockets set on each hip. The entire top of the shoulders and the capped sleeves are made out of a fine black lace that allows a glimpse of skin through its elaborate design. A wide grosgrain ribbon wraps around the top edge of the corseting and finishes with a neat flat bow at the front. The fabric choice gives it shape and holds the intended silhouette and the femininity of the lace is the perfect contrast against that sharp tailoring. This is Mcqueen at his finest and a stunning set that is even better once it is on an actual body. It appears to have never been worn or worn very little. Excellent condition. 

Both pieces are lined in a black silky rayon. The skirt zips to close with a hidden set zipper and the top buttons down the front. Note that it was a little small on the dress form and does button properly once on the correct size person. The skirt is tagged a 38 and the top is tagged a 40. It appears to have never been worn or worn very little. The entire set is a true black in person 

Top
Slightly dropped shoulders: 17"
Bust: 16" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 23" from neck to hem

Skirt 
Waist: 14" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 23.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3572

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 billowing silk taffeta dress and pant sent was shown in two color-ways on the Spring 1999 runway; this green and taupe set and a blue stripe and yellow pant version that has a slightly different sleeve. The twin of the blue version was exhibited as a part of the 2016 ‘Oscar de la Renta: The Retrospective’ exhibition at de Young Museum, San Francisco, curated by André Leon Talley. The exhibit was broken into different themed galleries and this dress was a part of the garden themed section. Oscar was an avid gardener and the works in this section took inspiration from that life long passion.  “A garden is probably the most spiritual and pure of joys. It’s a communion with nature and beauty in the most simple and fundamental form.”– Oscar de la Renta.

In an interesting twist, one of the other dresses that was a part of the garden section of the exhibit was a pale blue striped Haute Couture Balmain dress designed by Oscar and my client had a that dress as well. It is listing along with this one today. It is incredible coincidence to have both dresses in at the same time with that shared bit of exhibition history behind them and both are exceptionally beautiful.

It is interesting to see the cross over from the earlier Balmain piece to this one. Variations on the striped silk taffeta fabric was central to the theme of many of his pieces during this time period. This is definitely one of the most dramatic. The silk is light in weight so that when you walk in this it billows out behind you in the most fantastical kind of way. It is exceptionally long so you get a serious dose of drama behind you that I love. The impact it has in real life and how it moves once on is undeniably beautiful. It is made up of two pieces. The green and ivory striped silk overdress and pair of slim taupe silk taffeta pants that go underneath. The pants are cut very simply with a flat front and no waist banding. They run in a slightly tapered cigarette shape and land just about the ankle depending on your height. Over this is that amazing open front dress. It really needs an actual body under it to truly bring it to life and you can see how it will sit once on from the runway reference photo. It is cut to be very loose and easy. The dress part of this set should fit almost any size and body type as it is deliberately cut full and oversized. The entire edge of the neckline is elastic and finished with a ruffle above that. It slips on over the head and the elastic allows you to pull it down the shoulders leaving a bare expanse of skin. Each sleeve is cut to be incredibly wide and full. It is open through the bust with a row of silk covered buttons and loops running down the centre. The buttons end above the top of the pants so that you get a peak of skin showing between. The body of the dress drops to about the hips and then the skirt is set into that in a curving, ruffled detailed seam that wraps around and dips slightly at the back. The lower skirts are tremendously full and they are cut to trail out behind you in the most fantastical, high drama way. The dress is at its original unaltered length. The fabric is so light that it billows and puffs out around you at the slightest bit of movement. It is dramatic but feels wonderfully light once on. It is perfectly suited to his love of nature and botanical themes. It appears to have never been worn or worn very little. Excellent condition with a small note below. 

Both pieces are unlined. The pants close with a hidden set back zipper. The outer dress slips on and closes at the front with hand covered silk buttons and loops. I see some scuffing and storage marks near the hem of the back skirt. All are minor and they get lost in the extreme length and amount of fabric. I photoed the worst one and that shot is after the photo of the label. It otherwise appears to have been worn very little if at all. Both tags are hand numbered 2256. Sourced from the original couture client. If the pants did not work size wise it would be easy to wear something different under it as the over dress should fit a large range of sizes as it is open through the entire body and generously cut. 

Dress
Bust-hips: open
Length: approx 64" from neck to shortest point of the front hem, 84" to longest point of the back hem

Pant
Waist: 13" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 42.5" from top of bodice to waist
Inseam: 32" from inner seam to hem

Modern Sizing Equivalent: Pants SML-MED, Over dress OSFA

Item# DD3570

Reference Photos: (1) Spring 1999 Oscar De La Renta Runway.  /  (2-4) Photos from the ‘Oscar de la Renta: The Retrospective’ exhibition at de Young Museum, San Francisco. Curated by André Leon Talley.  /  (5) Photo from the book "Oscar De La Renta: The Retrospective" by Jennifer Park and Molly Sorkin.

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

In 1993 Oscar de la Renta took over as Creative Director at Balmain where he designed the Haute Couture collections until 2002. The house had been floundering at that point and he had a huge impact on the reviving the sales of the couture pieces, mainly by catering to private clients, much like Balmain had originally. The runway photo that we found shows the dress layered over a printed pant but all of the subsequent references of it match the set to the one we have here with the pants in the same striped silk as the top piece. The twin of this set was a part of the 2016 ‘Oscar de la Renta: The Retrospective’ exhibition at de Young Museum, San Francisco, curated by André Leon Talley where it is referred to as being 'evening pyjamas'. The exhibit was broken into different themed galleries and this dress was a part of the garden themed section. Oscar was an avid gardener and the works in this section took inspiration from that life long passion. And it holds an extra special significance because the one shown in the exhibit was loaned to the museum by Annette de la Renta, Oscar's wife and muse, giving it an extra layer of personal connection to its provenance. The dress also appears in the book 'Oscar de la Renta: His Legendary World of Style' by Talley. The Met Museum also holds one in their permanent collections and then this one is the third.

In an interesting twist, one of the other dresses that was a part of the garden section of the exhibit was a striped OLDR dress from 1999 and my client had a that dress as well. It is listing along with this one today. It is incredible coincidence to have both dresses in at the same time with that shared bit of exhibit history behind them and both are exceptionally beautiful.

It is extraordinary to think that Oscar never produced a Haute Couture line under his own label and these few short years at Balmain gives us a chance to see just how talented he really was at all levels. Like most Haute Couture, this is a set that only truly comes to life when it is on an actual body. No matter how good it looks in the photos, the impact it has in real life and how it moves once on is undeniably beautiful. The fabric that both piece are made from is a fine chine silk taffeta that hearkens back to the 18th century with its washed pale blue striping. All of the edges are finished in that same fabric but for the edges it has been tightly knife pleated. These form a wide pleated ruffle all around the collar, down the front and around each cuff. One pale baby pink stripe runs along the edge of the ruffle for a magical bit of colour against the blue. That pink is then picked up on each hand made button that runs down the front and is set on each cuff. The buttons are amazing. They are hand made and they each have a tiny, perfect sprig of hand embroidered pink flower splayed across their tops. Under the evening coat, are a pair of silk taffeta pants in the same fabric. The pants are cut very simply with a flat front and no banding at the waist. They run in a slightly tapered cigarette shape and land just about the ankle depending on your height. Over this is that amazing evening coat that has the lines of a formal court dress worked into its cut. It is created with a nod to the decadence of the eighteenth century with a high pleated collar and softly defined shoulders. The sleeves are long and slim, ending in an elaborate ruffled cuff. It skims over the bodice and tapers in at the waist. The buttons to close it run from the collar to the waist at the front. From that point under the bottom button the front is completely open so that when you walk you see the pants underneath. The back of the coat is a work of art. The skirt trails out behind you, falling from that curved horizontal seam at the waist where the fabric is gathered in soft folds. It is tremendously full and when you walk it causes the skirt to billow out behind you. Haute Couture is always about the details and I love that for the seam that runs across the low back, Oscar used a fine pink silk piping to define the seam and where the gathers of the lower skirting are set. It is the perfect detail to tie in with the pink at the front. This is everything you want to see in a Haute Couture piece; elegance, refinement and a dash of coquetry. It is ornate but sophisticated and feels wonderfully light and perfectly suited to his love of nature and botanical themes. “A garden is probably the most spiritual and pure of joys. It’s a communion with nature and beauty in the most simple and fundamental form.”– Oscar de la Renta. It appears to have never been worn or worn very little. Excellent condition. 

Both pieces are unlined and all the interior work is done by hand to Haute Couture standards. The pants close with a hidden set side zipper. There is a built in gusset that is pristine. The evening coat/dress closes with a hand set zipper and then a panel that snaps into place over that with silk, hand covered snaps. Hand made, light shoulder pads. A series of hand embroidered buttons down the front. The inner waist stay hooks to close and you could adjust the hooks if needed or wear it unhooked if you needed the extra room. Each cuff zips to close with a hidden set zipper and has three of the same buttons as decoration. I see one pinhead mar near a front button and a nick out of the fabric near the seam under the arm. One inner seam on either side looks like it was slightly adjusted. There is an extra button sewn to an inner seam. Proper Couture tags on both pieces and the coat one has its couture tape underneath numbered 173 470. It appears to have been worn very little if at all. Sourced from the original couture client 

Evening Coat Dress
Sleeves: 23.5"
Shoulders: 15.25"
Bust: to 19" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam, inner waist stay hooks at 14"
Hips: open
Length: 56" from neck to shortest point of the front hem, 62" to longest point of the back hem

Pant
Waist: 15" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 39.5" from top of bodice to waist
Inseam: 28" from inner seam to hem

Modern Sizing Equivalent: SML-MED

Item# DD3568

Reference Photos: (1) 1998 Balmain Silk taffeta coat and pants from the book "Oscar de la Renta: His Legendary World of Style" by Andre Leon Talley.  /  (2) 1998 Balmain Ensemble from The MET Collection Online.  /  (3-4) Spring 1998 Balmain Haute Couture Runway. / (5-6) Photos from the ‘Oscar de la Renta: The Retrospective’ exhibition at de Young Museum, San Francisco. Curated by André Leon Talley.  /  (7) Photo from the book "Oscar De La Renta: The Retrospective" by Jennifer Park and Molly Sorkin.

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

This dress was made for an exclusive collaboration with Luisaviaroma in 2018. The Attico brand was founded by street-style stars Gilda Ambrosio and Giorgia Tordini and the line has a vintage vibe to it that I love. It was a social media hit with an amazing array of women choosing to showcase it. 

The dress is brand new and unworn. It is made by applying thousands of tiny gold sequins flat onto a semi-transparent black fabric. The sequins are placed side by side and completely cover every inch of the dress. The fabric itself has a touch of transparency to it that adds to its light and sexy feel. It has an easy feel through the body that is flattering and comfortable to wear. It wraps and ties to one side of the inner side seam and then it snaps into place under the bow on the other side. The front plunges down into a low V at the neck and the bodice is cut on a on a flattering curve. It is set wide across the shoulders and the sleeves pouf out around the upper arm and then taper into the wrists. The ties and snap cinch it in at the waist and then it curves around the hips. It is cut very short and you can see just how short it in the various shots added. It is brand new and unworn. These sold out instantly when they were dropped. Excellent condition

Unlined and ties to close at the inner side and then the bow snaps into place. Tagged a size 44. Unworn and pristine. With the tie closure there is some play in the measurements below

Sleeves: 25.5"
Slightly inset shoulders: 15.5"
Bust: to 22" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam and adjustable more
Hips: to 22" flat across from side seam to side seam and adjustable more
Length: 32" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3566

Reference Photos from various Instagram accounts: @the_attico / @silvanovangi / @luisaviaroma / @jessicakahawaty / @martalozanop / @rosacrespo

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 found two versions of this dress when researching it. One was a Haute Couture version in a gold brocade from the Fall 1997-1998 runway. The Couture version took the formed and shaped bust-line to an even greater degree then this ready to wear version that I have here. Then there was an all black version shown for the Fall 1998 ready-to-wear show and you can see it has the same silhouette as this dress does. If you then combine the two, taking that same RTW shape and making it on the fabric from the Couture show, you have this dress. Finding runway references for Mugler's work is not always easy as he would often change designs for production and produced many pieces that were not shown on the runway. It's an extraordinary find.

I love the sharp fitted cut of the dress and that shaped bodice is exactly the kind of lines that we expect when we think of his work. That shaped, curved and pointed bust-line felt scandalous when they were first shown on the runway and still feel that way years later. This is classic Mugler and very collectible as a result. The dress is made out of a gold brocade that is heavy enough so that it was able to be sculpted into that curving shape. It molds and accentuates your curves. The curves through the hips are there whether it is on or off the body and he plays and exaggerates the female form through them. All of the shape is created through seaming to help to give the dress structure, shape and support. The waist nips in and the hips curve out and away from the body. The skirt is cut above the knee and curves in at the hem to further exaggerate the shape. The bust is spectacular. It is seamed and molded like a bra cup and then has those extensions that wing up into points on both sides. The cups are inset at the front so the shape is pushed to the front as you can see in the reference photos. You only have to look at the runway photos included to know how amazing this one is going to be on. The colour in person is a much stronger metallic gold feeling and really is better in real life. The fabric is also surprising soft. It's really fabulous. Excellent condition.

Fully lined in a brown silky rayon and closes with a back zipper. Tagged a vintage Mugler 38. The cups will probably fit up to a B, maybe a small C. They are seamed and wired for shape.

Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 28" from top of bodice to hem and the paint extend about
2.5” above the top of the bodice

Modern Sizing Equivalent: XS-SML

Item# DD3567

Reference Photos: (1) Fall 1997-98 Thierry Mugler Haute Couture Runway.  /  (2) Fall 1998 Thierry Mugler Runway.

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

This is an incredible dress set with all three original pieces that would be from when Marc Bohan was head of the Dior atelier. It is a beautiful and early example of the work being produced by Christian Dior in this time period. This is the Christian Dior - London label and is considered to be demi-couture from this time period of Dior's history and this set in particular is numbered. These where made for the London market based on the runway designs and with many of the same high standard finishes that Haute Couture pieces incorporated. The line was created and designed by Jorn Langberg, Artistic Director of Christian Dior London. We were able to date this gorgeous set by the photo that appears in the November 1968 issue of Vogue. It is exceptional and the textile it is made from is one of the best I have seen from Dior. 

The fabric on this Dior set is jaw dropping. It is a woven gold silk lame brocade with a raised design that gives it remarkable texture. Depending on how the light hits it different aspects of the pattern come to play. It is just incredible. It is made from real metal thread and when you touch it it has a slightly metal feel to it. All three original pieces to the set are present. The very inner layer is a skirt that is suspended from a sleeveless top made out of lining fabric. This is a technique that you no longer see done because of the extra fabric it used and longer zipper requirements but it was the proper way to have a skirt hang perfectly and be the most comfortable for the wearer. Over this is a sleeveless shell that opens up completely down the back with a zipper. It is cut to perfectly fall just over where the skirt underneath begins. It is cut with the slightest of curving in at the waist and each side is notched. Over both of these sits a box cut jacket with glove length sleeves and a simple collarless cut. The jacket is cut on the generous side purposefully. That full shape on the top and more fitted skirt underneath is so representative of this time period and when done by the hands of a genius like Dior, still feels timeless and fresh. The entire set glows like burnished metal and the fabric is unbelievable in person. The photos don't come close to doing it full justice. It is a exceptional piece. Excellent condition with a few small items to note below.

The skirt and top are both interlined in a brown silk organza. The jacket is lined in a brown silk crepe. The inner dress/skirt and the top both closs with a back painted metal zipper. The jacket has no closures. The jacket and shell both have weighted hems. Ribbon edged finishes and hand finished throughout. The inner dress's has been let out and you can see where this was done down the side and along the darts. The silk lining in the shell is beginning to shatter in places. Slight fraying to some edges. All very minor in person and do not detract. Please see the photos after the label shot. The jacket is meant to be worn over-sized.

Inner Dress
Bust: 21" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Bodice: 17" from shoulder to waist
Skirt: 19" from waist to hem

Shell
Bust: 18.5" flat across from side seam to side seam
Waist: 18" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 23" from neck to hem

Jacket
Sleeves: 19"
Shoulders: 16"
Bust: 20" flat across from side seam to side seam
Waist: 21" flat across from side seam to side seam
Length: 25" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# DD1696

Reference Photos: (1) Photographed by Arnaud de Rosnay, Vogue US, November 1968 / (2-3) Cherie, Owner of Shrimpton Couture, by Erin Leydon

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

A version of this set is held by the Liverpool Museum and was a key piece in the exhibit at the Walker Art Gallery Collection for the Fashion Icons: Celebrating Gay Designers exhibit. The show notes for their piece stated; 'Bill Gibb was born in Scotland and moved to London to study fashion design at St Martin’s School of Art. Between 1969 and 1972 he worked as a freelance designer for the fashion house of Baccarat before launching his own company. This evening dress, with its petal-shaped hemline, and glowing jewel-like colours, is typical of much of Gibb’s work in the early 1970s. In particular, his use of an exotic pattern and a metallic Lurex thread in the fabric shows how he was often influenced by rich historic fabrics and non-Western cultures.'

Gibb was one of the most influential and famous designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. This set is a wonderful example of the kind of work he was doing during this time period. His use of these metallic lurex fabrics helped to add a fantastical twist to the story he was trying to tell through his clothing. This set has all four original pieces to it. There is a skirt, a sleeveless tank that buttons at the front, the most fabulous jacket and a matching belt. The skirt is cut to midi length and is made of a series of flat knife cut pleats that fall from a more fitted hip. The choice of the lightweight lurex lets it have a ton of movement when you move and the pleats swish around you when you walk. The sleeveless top tucks into that. It is made in the traditional tailoring manner with a panel of lining fabric attached all the way around the bottom. This is something you normally see in couture pieces. This additional panel of fabric is made so that when you tuck it into the skirt you are not adding any bulk or lines around the hip area. The top buttons down the front and closes with holographic faceted buttons. Topping these two pieces is the jacket. It is cut with high capped shoulders and has an over-sized dog eared collar. It cinches in at the waist by seaming and flares out below that to past the hip. There are big curved pockets on each hip and the same buttons close the jacket that are on the top. It almost has a slouchy cardigan feel to it. The set comes with its original belt that has an unusual finish of a flexible holograph strip on the front of it. This strip picks up on the buttons of the jacket and top. I have shown the belt over the skirt and top, and then also around the jacket, since it works either way. The colour in the lurex is a fabulous mix of a soft green with other colours running through. The heavy dose of glitter running over the lurex softens the fabrics and gives it a fairy tale quality. I love the nod to the forties that the set has and the fabric is truly incredible. This is a rare set from one of my personal favourite designers. It appears to have been worn very little if at all. Excellent condition.

The skirt is lined through the hips and then where the pleats start it is unlined. It closes with a side zipper. The top is unlined and buttons to close with of lining around the lower half that you tuck into the skirt. The jacket is lined in a green silk satin and buttons to close. Two buttons on each cuff. Pockets on each hip of the jacket. Original tie belt. It appears to have been worn very little if at all.

Jacket
Sleeves: 24" approx.
Shoulders: no defined seam
Bust: 18-18.5" flat across from side seam to side seam
Waist: 14.5-16.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Bodice: 16.5" from neck to waist
Skirt: 16" from waist to hem

Top
Bust: 16.5-17.5" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Length: 21" from shoulder strap to hem

Skirt
Waist: 12.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 34.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2739

Reference Photos: (1) Evening dress, Bill Gibb, 1973 from the Walker Art Gallery Collection, Fashion Icons: Celebrating Gay Designers" exhibit / (2) Evening dress, cellulose acetate, nylon and lurex, Bill Gibb, 1973, Liverpool Museum Archives. / (3) Charlotte Rampling wearing Bill Gibb for Harpers & Queen, February 1973. Photo by Barry McKinley.

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 shrug was shown on the runway in a darker colour but I prefer this amazing cream version. Its a little sleeker in feel an the colour feels more elevated to me.  I have held this in my archives for several years now and I think that it is a stunning example of the fur pieces being produced by designers like Valentino during this time period. Fur was well established as being treated like a fabric by this period.  It is made from a soft mink in a pale creamy ivory. In person it has a more creamy feel then how it photoed. The fur is supple and very very soft. What is remarkable is that the curving pattern that you see winding down each arm . The lines all match up perfectly across the back s they go into the sleeves. This gives the shrug an added bit of texture and pattern. To wear it you simply slip it over the shoulder. It has been properly stored and cared for and appears to have been worn very little if at all. No splitting, issues or shedding. Excellent condition

Fully lined in a black and white Valentino printed silk lining. It slips on with no closures. Tagged a 42

Sleeves: 22"
Shoulders: approx 15"
Bust: no defined side seams
Height at back: 14" from top to hem

Modern Sizing Equivalent: XS-MED

Item# S924

Reference Photo: Fall 2004 Valentino Runway Collection, model Malin Persson.

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

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

In 1951, 27 year old James Galanos launched his first label called Galanos Originals.  By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. That said, his ready-to-wear was made to almost that of true couture and with a level of craftsmanship that was on par with the French couturiers. Galanos was a master cutter and draper and he used many couture techniques in the construction of his dresses and gowns. Grace Kelly was an early fan. His work is held in all of the major museums around the world and he is one of my personal favourite designers. 

Here we have a piece that dates to the late 1970s or early 1980s. It is absolutely gorgeous and as good as it looks in the photos, know that it is even better in person. The texture and quality of the fabric should be seen and felt not just viewed on the screen. The skirt is remarkable. It is cut to be one long and lean line. It has a high 19" side slit that allows for a good amount of leg to show and for you to be able to walk with that curved and fitted cut. The fabric is very unusual. It it is a black silk jersey that is a puffed 3 dimensional quality to it created by hand stitching the pattern into the fabric. This adds incredible texture to the dress and is in direct contrast to the more restrained manner that the bodice has been pleat stitched. For the bodice the fabric has been seamed with teeny little pleats that are all set on a curve. These are then hand gathered and ruched over the inner corseting so that the fabric curves around you. Set into the silk of the bodice is a curved  panel of black lace. This is set in and not backed with any lining so that it is transparent and allows your skin to peek through. This curved bit of sensual lace begins just off the centre and between the breasts, curves under and then runs half way down the back on a beautiful sloping curve to expose a sliver of the waist and hip. It gives the dress just the slightest touch of a scandalous feel. Two skinny straps extend out from either side of the lace at the top and curve up and over the shoulder on a curving angle. It is insanely sexy. Exquisite to the last detail. It appears to have been worn very little it at all. Excellent condition

Fully lined in a black and metallic stretch silk jersey through the bodice and it is lightly boned and formed. The fabric of the skirt is self-lined and the interior seams ribbon and piped finished. It closes with a side zipper. All hand work inside.

Bust: to 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 59" from top of straps to hem

Modern Sizing Equivalent: SML-MED

Item# DD2510

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

Isaac Mizrahi presented his first collection through a trunk show at Bergdorf Goodman's in 1987. By 1992 Chanel had bought a stake in the company and Isaac's name was everywhere. He was doing custom work for clients and Hollywood on top of his mainline. In 1995 Isaac was the subject of the movie 'Unzipped' based on his Fall 1994 collection. He is known as much for his personality as he was for his clothing. The Council of Fashion Designers of America (CFDA) recognized him with the Perry Ellis Award (now called the Swarovski Emerging Talent Award) in 1988 and the women's wear designer of the year award in 1989. He loved to experiment and would often change his aesthetics from season to season which was his ultimate downfall. After the fall 1998 show Chanel pulled its stake and the company folded. He did have a couple of subsequent come back attempts, but for collectors these early years are the most important pieces to find.

My client had this dress custom created for herself and worked one on one with Issac on it. It is a dress that really showcases his depth as a designer and it is stunningly beautiful. It is made to demi-couture standards and it looks to have never been worn. The bodice is amazing. It is strapless and is densely covered with large, glossy black beading mixed with large prong set glass crystal rhinestones. These are so heavily applied that you cannot see even a smidge of fabric between them. The size of the beads, combined with the ultra tight spacing of them give it a 3 dimensional effect. The beadwork wraps completely around you to the back. The top of the bodice curves in the most flattering of ways and to is molded to follow the curve of the breast. The dress falls from directly under the bust so that there is no line at the waist to break the beautiful curve of the skirt. The body of the dress is made from a fine black lace and he has set that over a inner nude silk lining. From a distance this gives the effect that you are covered in just a layer of lace. The skirt sweeps down from under that heavily beaded bust, skims past the waist and then starts to flare out from there. It is cut so that by the time it has reached the middle of your legs it flares out tremendously for the lower skirt. This combination of the flared out lower skirt and the black lace give it a touch of a Spanish feel I think. Extra tulle attached to the inner lining help to keep that gorgeous shape that you see. It is even better in person and once on an actual body it really comes to life as the skirts float and swish around you at the slightest movement. It appears to have never been worn or worn very little. Excellent condition

Fully lined in a two layers of a golden nude silk. The innermost layer of the skirt has additional tulle around the hem to help hold the shape. The bodice has a built in inner corset that closes with its own set of lingerie hook and eye. The exterior layer closes over that with a back zipper. It appears to have never been worn or worn very little. 

Bust: 17" flat across from side seam to side seam with an approx A-B cup
Inner waist: 13.5" flat across from side seam to side seam
Hips: open
Length: 56" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3564

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 stunning and rare gown was designed by Bob Mackie. Mackie shot to fame with the work he did dressing Cher. The best of his work is dramatic and opulent and he was a master at print and color. He worked for both Edith Head and Jean Louis, where he drew Marilyn Monroe's famous 'Happy Birthday, Mr. President' dress, prior to working as a costume designer and co-designing with fellow costume designer Ray Aghayan who would become his life partner. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years. In many ways it was his work and his creations that really defined their careers and helped to shape that entire idea of high glamour on the small screen. How work is incredible and this dress is one of the favourites I have had in the shop and shows his range as a designer beyond his signature beaded pieces.

This is an extraordinary Bob Mackie dress that is made in a vivid coral silk chiffon. Onto the silk are huge pink and soft orange closers set among bright green leaves. This colour combination is stunning to see. The bodice is made into a corset that is hidden under the extensive draping of the silk the covers it. Inside it is fully formed and shaped for full support. The fabric at the front crosses over itself to highlight the shape of the bust and the top of the bodice is set in a  high peak. This visually cuts on the waist and adds length. The skirt flows out from under the waist and it is made up of yards and yards of silk set in individual panels priced together. This allows the silk to really move and the movement it creates as you move is just incredible. It is cut on a curve so the layers at the front are shorter which allows some leg to show when you walk. The skirt is made up of thee full layers of silk and under that top printed layer are two more layers of a solid coral silk chiffon. All the silk is cut on the bias. The dress comes with its original matching cape piece. This buttons at the neck and then flows down and around you. It is cut on that same curves line that angles down and back around you. The colour is a bright tropical feeling print and it is truly one of the best dresses of his that I have seen. Excellent condition with one small note below

The bodice of the dress is fully lined in a red silk. The skirt has two inner layers of coral silk that follow the line of the outer layer. The bodice is shaped and and fully boned inside and has an inner waist stay that hooks to close. It then closes with a back painted metal zipper. Hand finished throughout and hand rolled edges. There are some small repairs to the edge of the hem of the cape

Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 12" from top of the high peaked bodice to bottom of inner waist
Skirt: 45" from waist to longest part of hem
Cape: approx 60"

Modern Sizing Equivalent: SML-MED

Item# DD3384

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.