The Leonard Paris label began as a textile firm in 1954 and for the first four years of its existence it only produced fabric. In 1958 they started making garments but it was not until about 1970 when they started using a printed silk jersey for the majority of their collections that the label really took off. They are often compared to Pucci and during the seventies the two labels battled it out to be the label of choice for the jet set. This is a particularly fabulous dress from the label

I love whenever I get a fabulous Leonard dress into the shop. They are so chic and easy to wear and travel with. This one is a beauty that is made out of one of their signature silk jersey fabrics. This fabric choice is what gives these dresses their perfect drape and fit. Each of their dresses were made of custom designed fabrics and prints. The colour combination on this one is really good. It combines a soft turquoise with a black, white and two tones of brown. These make up a gorgeous geometric print that runs over the sleeves and across the shoulders, trails down the bodice and then runs heavily around the hem and up and into the skirt. That pop of turquoise against the other colours is remarkable. The dress is meant to skim over you and widens out a bit as it reaches the hem. I love the sleeve and how they each flare out at the cuff. They are a full 16.5" around at their ends. The bodice dips into a V at the front with a contrasting border for detail. That same border is used at the end of each sleeve. This also comes with a matching belt that is wide and made of the same fabric. This gives you the option of wearing the dress simple and without the belt or use the belt to give it shape. Having the belt made from that same print as the rest of the dress lets it become a design element in itself. It is a real little beauty. Excellent condition with a minor note below.

Unlined and closes with a back, hand set metal and nylon zipper. The fabric is a silk jersey and does have some stretch. Has its original matching belt. I see the barest bit of a mark under one arm near the seam

Sleeves: 22"
Shoulders: 14.5"
Bust: 15-18" flat across from side seam to side seam
Waist: 12-15" flat across from side seam to side seam
Hips: 15-19" flat across from side seam to side seam
Length: 37" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4214

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

This was one of the best dresses from the Spring 2017 collection. It instantly sold out and was photoed on everyone lucky enough to get their hands on one. Its twin walked the runway and Ellie Goulding wore hers to Cannes. “Everyday femininity” was the main inspiration behind the collection and Vogue noted that the usual pant loving Marant; "..admitted that she’d been feeling the idea of dresses more than usual, and the best of the lot were as romantic and flirty as the designer gets: replete with ruffles, covered in Liberty London-style floral prints, and finished with the billowing statement sleeves we’ve seen all over the runways for Spring." This was Look 29 on the runway and one of the best of those dresses.

The dress is in mint condition and was never worn. It still has that crisp, just off the rack feel. It is the perfect easy little summer dress and still feels relevant and fresh. It is made out of a crisp cotton mix covered with a fabulous print that has a strong pops of blue running through it. I love the crispness of the fabric. It is what allows the dress to hold it shape once on. The dress is cut to skim over the bodice and dips down on one side to leave your shoulder and arm completely bare. On the other side there is a dramatic ruffle that starts at the neckline, circles around the shoulder and then trails all the way to the hem at the back. The waist is seamed and the skirt has the illusion of being wrapped in place around you. I love how the hem curves up on the side to play into that wrapped feel. The bottom of the hem is finished with a 6 inch ruffle and this lets it flare out and away from you. The dress comes with a matching tie belt so you can cinch in the waist and I've seen this dress worn with a variety of other belts that really change up the look of the dress. Excellent condition.

Unlined and closes with a hidden set side zipper. Tagged a modern 40. It was never worn and is new without tags

Bust: to 18" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 32" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4215

Reference Photos/Video: (1-3) Spring 2017 Isabel Marant Runway, Look 29. Model: Yasmin Wijnaldum.  /  (4-5) Ellie Goulding at Cannes Lions Entertainment in France, June 2017.  /  (6) Spring 2017 Isabel Marant Matches Fashion Lookbook.

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

This was the collection where Donatella went back to using and styling her models to look like super models like her brother Gianni had done in the past. Vogue said that; 'The aura of glamour that sparked off the flying hair and luminous faces of Carmen Kass, Daria Werbowy, Eugenia Volodina, and Karen Elson was a strong reminder of what once made Versace electrifying.' The collection focused mainly on daywear but a very Versace notion of that. This was Look 25 in the line up and was the strongest piece of the shorter dresses presented. Its twin ended up being the one used for the ad campaign that season and was shot on Demi Moore who looked utterly fabulous in it. I am very happy to have that shot, runway photos and a video so you can see how amazing this dress is once on the body. It is gorgeous.

The dress is made out of a printed silk chiffon that combines numerous abstract versions of various exotic skins. These are laid out in a pattern that mixes and matches them all and this effect is heightened even further by the detailing work that is done on the skirt. The dress is cut to highlight every curve. The bodice is a single layer of the silk chiffon. To keep it in place you slip your arms through the sleeves and then simply tie it around the neck. The front is gathered into two halters that run from the high set waist to the attached scarf at the neck and there's a slit that runs down the center to leave a sexy glimpse of bare skin. The sleeves are long and simple, narrowing down slightly as they reach the wrist. The back is left bare across the top and that long scarf falls from the neck to cascade over it for a bit of a peekaboo effect that is very sexy. The skirt starts from under the bust and is fitted through the waist. Inside there's a bit of a stiffened net corset to help shape and hold it in place. It is fitted over the hips and narrows down as it reaches the hem. An small open vent runs up the back to allow you to walk. The skirt is quite remarkable with the long strips of fabric sewn and overlapped horizontally around it. When you look at it close up you realize it that it's all individual strips and it is quite remarkable. It is stunning and so Versace in feel. Excellent condition

The halter part is unlined and the skirt is lined in a black silk chiffon. There is a stiffened net partial corset that runs around the interior waist for shape. It closes with a hidden set side zipper and ties into place around the neck. No size tag present. It appears to have been worn very little if at all.

Sleeves: approx 25"
Shoulders: no true defined seam
Bust: to 17" flat across from side seam to side seam with room for an A-C cup at front, maybe a touch more if needed
Seam under the bust: 15-16" flat across from side seam to side seam
Natural waist: to 13.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Bodice: 10" from neck to seam under the bust
Skirt: 29" from seam under the bust to hem

Modern Sizing Equivalent: XS-SML

Item# DD4216

Reference Photos/Video: (1-4) Fall 2005 Versace Runway, Look 25. Model: Hana Soukupova.  /  (5) Demi Moore for the Fall 2005 Versace Ad Campaign photographed by Mario Testino.

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

Vicky Tiel was backed by Elizabeth Taylor as a young designer after working on the costumes for 'Whats New Pussycat'. After a stint with a partner she launched her self named label in Paris in 1970. She as one of the very early boutique owner/designer that offered a ready-to-wear option in Paris. That said, her clothes often walk a fine line between ready-to-wear and couture in terms of their construction and techniques used. By the mid to late seventies her style had developed into the ultra sexy and feminine clothing that she is now known best for. By the eighties and into the nineties, she had a cult celebrity following. This is a stunning example of just how gorgeous and dramatic her work could get.

This is a spectacular two piece set in a ivory silk. It is an early example of Vicky Tiel's talent and ability to work and tailor a pieces while working with very fine fabrics. I love the versatility of having the two pieces. It means that you can mix and match them with existing pieces. The colour of the set lends itself to be a great piece for a potential court or more casual wedding or any other great event. Both pieces very light in weight and the silk is very fine. The skirt is a masterpiece. It is banded at the waist and then there are two tiers of fabric under that. The top tier is completely and meticulously pleated with tiny precise knife pleats. At just about the knee the second panel creates a more ruffled feel to the hem. The pleats on the bottom tier open out as they near the hem. The skirt has a lot of fabric and can be worn with or without a crinoline. I have photoed it both ways so you can see the fullness you can achieve. The jacket has a strong nod to the Victorian era with those amazing puffed shoulders. Each shoulder is very full at the top and then narrows down to the wrist. The waist is nipped in and below that is a feminine little hip peplum. The collar is neat and rounded and it closes with a series of silk covered buttons down the front. It is just a gorgeous little set. Excellent condition with a small note below.

Both pieces are unlined. The jacket closes with silk covered buttons down the front and the skirt closes with a side zipper and flat hook & eye at the waist. Light padding in each shoulder. Hand finished throughout. I see one mark on the skirt and a very tiny one on the top. Please see the two photos after the label shot. It is slightly creamier in colour in person.

Top
Neck: 16" around
Shoulders: 15" across
Sleeves: 25" long
Bust: to 18" flat across the back from seam to seam
Waist: 13" flat across the back from seam to seam
Length: 21" from neck to hem

Skirt
Waist: 12-13" flat across from side to side
Hips: open
Length: 29" from waist to hem

Modern Sizing equivalent: XS-SML

Item# DD4211

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 dress walk the runway as look 42 complete with a veiled hat and bouquet of flowers. The intention for this to be used as a wedding piece was clear. Alber Elbaz cited Acapulco as an inspiration and its not hard to imagine that he was thinking is a beach wedding for this gorgeous little dress. In Vogue's review of the collection that noted the same saying; 'You could see it in the lime-and watermelon-wedge pendant necklaces, the straw hats decorated with tropical fabric flowers, and the raffia-accented flats'. This was one of the four final dresses of the show and all four were ready-to-wear wedding dresses, which is not something you normally see mixed in with a collection to that extent. The dress was also featured in Vogue Spain that season and was a sell out at retail. It is just gorgeous.

This is such pretty and easy to wear dress. It is actually a very simple shape that is meant to skim over the bust, waist and hips. It is strapless with a pretty curve to the top neckline that is very flattering. It has an inner built-in boned silk corset to hold it in place and the dress floats over that, widening out as it nears the hem. The fabric is a woven silk that has a slight transparent feel to it. It's then lined in an inner ivory silk layer that makes it opaque enough to wear but still keeps that light fluffy feel. It's very light in weight and just feels like to floats around you. The front is covered in layers of ruffles. These are actually three long ruffled pieces that are set in curving rows over the front. This curving back and forth technique lets them be fuller at the sides and adds to the volume that you see. It would be flatter if they were just strips of ruffles sewn on independently. It's quite genius. The ruffles all have a bit of stiffening at their ends to help hold their shape and have a raw finish. The back is left ruffle free so you get some shape. The dress can be worn full and easy or you can use the matching wide silk satin ribbon belt to send in and give it added shape. In the photos where I have shown it with the ribbon I tied it just under the bust but you could of course place and tie it wherever it suits you best. It's flattering, shows a mile of leg, and is a really fun alternative to the more traditional wedding dress. And even if it's not what you may think of as a main wedding dress it would be a great dress to change into for the reception. And it has enough style that you could wear it for any occasion. It is fabulous. Excellent condition with a note below

Fully lined in an ivory silk and has a built-in boned corset. The corset zips independently at the side and then the outer dress zips to close over that. Comes with its original matching belt. Tag a size 38. See some marks on the inside bodice and there's the faintest touch of discolouration on the top part of the ruffles on each side. None of these would be seen once on. A touch creamier in person.

Inner bust: 16" flat across from side seam to side seam
Inner waist: 13" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 29" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD4212

Reference Photos: (1-2) Resort 2010 Lanvin Collection, Look 42.  /  (3) Tiiu Kuik in Lanvin photographed by Michelle Ferrera for Vogue Spain, November 2010.

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

On the designer site the description of Cecilie's work says is  best; 'Cecilie Bahnsen operates at the intersection of couture and ready-to-wear to create luxury clothing with a relaxed, timeless style. Celebrating the traditions of fine French fashion and the design culture of Scandinavia, the collections combine craftsmanship and details with architectural volumes and sculptural silhouettes to offer a contemporary take on femininity. Unique fabrics are hand-designed each season by founder and LVMH Prize finalist Cecilie Bahnsen, a Copenhagen native who returned to her home town to found her eponymous label in 2015 after studying at the Royal College of Art in London and working with couture houses in Paris.' A version in a white quilted fabric walk the runway for Fall 2019, Look 26 and it was also released in black of which we found many reference photos of it. It is my understanding from my client that a very limited amount were made in the ivory silk faille that I have today. It is stunning in this fabric and colour.

This particular shape is part of her core aesthetic and what catapulted her to fame. These voluminous baby doll dresses are a signature and this one is stunning. These are dresses that you can wear flat boots with and stomp about and then with your next wear you could add your highest heels, pile on the jewellery and be as 'ladylike' as you could possibly be. It would also make a wonderful wedding piece for a bride looking for something nontraditional or as a piece worn to one of the events surrounding a wedding weekend. The fabric is a synthetic that feels and looks like a silk taffeta. It has a lot of volume while staying as light as air. The neckline is squared off and the sleeves are big and poufed. The dress falls in three tiers. The first lays flat across the bust and then the two under that widen out significantly for that baby doll look. At the back the waste dips down on a pretty curve and panels come across the back above that and tie into place with wide black velvet ribbons. This leaves a peek-a-boo effect of bare skin behind the ribbons and panels. The back of the dip sounds slightly lower than the front and the effect is just romantic and pretty and whimsical. Her dresses are high fancy and this gorgeous ivory one is no exception. Excellent condition.

Behind the bust is lined in a ivory silk and the rest of the dress is unlined. It zips to close at the side with a hidden set zipper. The black velvet ribbons tie the back into place. Tagged a UK6 US2. It looks to have been worn very little if at all.

Bust: the front panel is 15" flat across from side seam to side seam but the adjustable back allows you to adjust it by quite a bit up from there
Waist: the front waist seam is 13" flat across from side seam to side seam but the dipped back allows you to adjust it a bit up from there and it would just lie less dipped. The total room is 30" around bit it is meant to dip a bit
Hips: open
Bodice: 11" from top of shoulder to seam under the bust
Skirt: 25.5" from seam under the bust to front hem, 30" to the back em

Modern Sizing Equivalent: XS-SML

Item# DD4213

Reference Photos: (1) Fall 2019 Cecilie Bahnsen Runway, Look 26.  /  (2-5) Various on-model shots. Credits unknown.

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

Hanae was the first woman of Japanese descent to have presented on the Paris and New York runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Her work is exceptional. Hanae Mori excelled at these beautiful prints that combined nature had elements of her homeland. When I find pieces like this one with such a stunningly beautify example of that  I am very happy. I feel that pieces like this are among the very best representations of her work. This one in its pretty and romantic colour palette is even more so.

This is everything you look for in a piece by Hanae Mori. It has one of her custom designed prints screened onto feather light silk that is that has that soft finish to it that the very best silks have. Think the finest silk scarf you could have in terms of weight and feel. It is also a fabric that takes colour exceptionally well. The entire dress has been printed with that gorgeous flower design and I love the dreamy colour combination of the deep rich blue with pinks and lighter blues. The neckline is set high at the front and closes with buttons at the back. The silk has been gathered across the top of the shoulder for pretty detail. From the neckline it cascades and skims loosely over the body, gently widening out until it reaches the hem. The dress is cut to simply float over the body. It has a slit on one side at the hem and this adds to the movement it has once on the body. Inside the corners at the base of that slit, are hidden weights inside the hem and then more on the opposite side so that the dress falls perfectly. It is incredibly loose and easy on the body and there are even pockets on each hip. I have added a pretty pink ribbon to some of the photos so you can see how you can add shape and completely change the look of the dress by adding something at the waist. The sleeves are fantastic. Each is an incredibly full balloon sleeve that poufs about the cuff. The movement and drama this creates is extraordinary. This is a dress that you slip on and feel completely comfortable when wearing it and yet it has as much drama and impact as you could ask for. It is a stunning example of her work and beautifully made. I love it. Excellent condition

Unlined and slips on to wear with three silk covered buttons above a keyhole at the back of the neck. Each cuff closes is the hidden silk covered snap. The ribbon is not original to the dress but will be included. Hand finished throughout with hand finished inner seams. Tagged a vintage 12 and the loose and easy bias cut should allow it to fit a variety of sizes. It will just drape more on a smaller frame and be more fitted on a larger

Sleeves: 27" but meant to come up once on
Soft shoulders: 16"
Bust: to 29" flat across from side seam to side seam
Waist: to 27" flat across from side seam to side seam
Hips: to 25" flat across from side seam to side seam
Length: 58" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4210

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 dress was designed by Belgian-born Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been noted as one of fashion’s 'great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential.' His time at the Lanvin label is one of my personal favourites for the house. I especially love the his work during the period through the late sixties and into the early 1970s. He was a genius at print and colour and he pushed the envelope in terms of using cutting edge fabrics available during this time period. His use of print and colour is just outstanding.

This Lanvin dress is gorgeous. I am in absolute love with it. The dress has a gorgeous graphic colour and print combination that effortlessly combines a stark black and white with colour. The fabric is a light weight cotton voile that  holds colour exceptionally well so the colors are still crisp, bright and true. I love when I find great examples of this label from this time period. The dress has long sleeves and what I did not show in these photos is that the bottom two and half inches are lined in the graphic black and white print inside. Which means that you could actually flip them up for a shorter sleeve look and to get that contrast there as a cuf. It zips down the back and I think its amazing how the pattern at the back and on all the other seams have been matched. The waist is seamed and I have added a pretty black ribbon that I will send with the dress to cinch it in a bit. You could also add a thin or wide belt to get different looks and by changing the colour of the belt it would change what colour is picked up from the print. From the waist the skirt falls to the floor and it widens as it nears the hem. It is gathered in around the waist and that extra fabric that results in the skirt softens the print. The pattern that runs over the entire dress is spectacular and it is an instantly recognizable piece of his work.  Excellent condition

The bodice and sleeves are unlined and the skirt is lined in a black silk. It closes with a back painted metal zipper. The ribbon at the waist is not original but will be included. It appears to have been worn very little if at all

Sleeves: 21"
Shoulders: 13.5"
Bust: 16.5" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 42" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD4209

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 designed by Belgian-born Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. He has been noted as one of fashion’s 'great colorists with his colorful patterns making his 1970s Lanvin designs hugel​y ​desirable and influential.' His time at the Lanvin label is one of my personal favourites for the house. I especially love the his work during the period through the late sixties and into the early 1970s. He was a genius at print and colour and he pushed the envelope in terms of using cutting edge fabrics available during this time period. This dress is from the early part of the 1970s and it is incredible. The Lanvin label is numbered and it is made to demi-couture standards. I love it.

This dress is incredibly beautiful in person. The camera really cannot do it justice. It is made from a fine blue silk tulle that has a floral pattern embroidered over its surface in the same blue. The entire dress is lined in a purple silk and this gives it this very unusual colour that lies somewhere between a deep blue and purple. A metallic gold thread was then embroidered over parts of the floral design. Around the entire lower skirt is a dense application of the gold with two wide panels completely covered in a open chain link design. These circle around the entire hem and lower skirt with more of the floral netting in between. The result is fantastic and I think in person the effect is far stronger then how it photoed. I love how the gold catches the light from every angle. The bodice skims over you and the sleeves are long. Each sleeve has a subtle poufed effect above its elastic cuff that would show more once on an actual body. The waist is seamed but cut more loose and easy. If you wanted a more defined shape you could easily add a ribbon or a belt. The skirt falls to the floor from there and widens out as it nears the hem.  Besides adding beautiful detail those added panels of gold at the hem also help to give just a touch of weight and help the skirt hold its volume and shape. It is very light in weight and just stunning. Far better person then the camera is doing it justice. The fabric has so much texture and the metallic bits pick up the light perfectly. Gorgeous. Excellent condition 

Fully lined in a purple silk chiffon through the top and a purple silk through the skirt. It closes with a back hand set zipper and there is elastic in each cuff. Hand finishes and hand finished inner seams mixed with machine work. The label is numbered. It looks to have been worn very little if at all. The bias cut of the lining and the net give it a little give so I have put the comfortable range of measurements where it will give a bit.

Sleeves: 26"
Shoulders: 14.5"
Bust: 17-19" flat across from side seam to side seam
Waist: 14-15" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 15" from shoulder to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD3925

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

This amazing little dress is from the days when founder Consuelo Castiglioni was the head of the company and acting Creative Director. The brand launched in 1994 and quickly became known for their innovative prints and the way she mixed and matched colors and draped fabrics. This is classic Marni from this time period. It is a beautiful little dress

This dress is one of her very easy to wear loose and open draped pieces. It is just genius. It has sleeves that run just above the elbow and the cut through the bodice is loose and full but gathered all up and to the one side. The neckline is a simple off set scoop then at the back it scoops a bit as well. There are long attached ties on either side of the neck and I have wrapped them around like a choker. When it's on the body you can also tie them looser so you can wear this dress off the shoulder as an option. Under the V at the front the fabric has been gathered in and up. The dress falls in a loose draped shape around and below that. The waist is seamed but it's very open and the skirt has an easy cut as well. It has such a quirky shape that you can totally wear and style this a few different ways. You can also add a belt to give it more shape and an entirely different look. The fabric is a deep blue that's almost a black and is very light in weight. It is a great example of her work during this time period. Plus it has pockets. It appears to have been worn very little if at all. Excellent condition

Unlined and slips on to wear with a hidden set side zipper. Pockets hidden along the hip seams. It looks to have been worn very little if at all. Tagged a 42. The loose and easy cut should fit a range of sizes. It will drape more on a smaller frame and be more fitted on a larger

Shoulders: no defined seam
Bust: to 26" flat across from side seam to side seam
Waist: to 20" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 39.5" from shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4208

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

This gorgeous dress is from the Fall 2003 Dior Boutique Collection and is a staggeringly beautiful example of the work John Galliano was doing during this time period. It was featured in the ad campaign on Angela Lindvall that season in red and walked the runway on Ana Beatriz in white for Look 14 of the presentation. I love having all these reference photos for you so that you can see just how amazing the dress is. It is just spectacular and one of my favorite Dior pieces to have come into the shop.

The dress is made out of a stretch silk feeling fabric that hugs your curves amazingly once on the body. A wide strap extends out from the sides and curves around the back of the neck. The bust dips down and is gathered in and towards the center. This gathering extends from five separate horizontal panels stacked on top of each other and brought into the center knot to emphasize the breasts. Below that he continues to play with this horizontal panel and knot idea bringing that gathered feel down in three other spots on the front of the dress. Panels of fabric are set on curves and angles which allow him to help shape it around the body. It has a touch of a 1940s dress feel to it and is extremely sexy on the body. The back is a simpler version of the front with no knots present. The halter there dips down to leave your entire upper back bare. There is a small slit set off-side under the center of the very bottom knot at the front and this allows a little bit of added bare leg to show. It is incredibly good and a well documented piece of fashion history. Excellent condition

Unlined and closes with a hidden set side zipper. There are two fabric buttons to close at the back of the neck. No size tag present. The fabric does have some stretch

Waist: 15-17" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Length: approx 43" from top of neck to hem
Slit: 9.5" from hem up

Modern Sizing Equivalent: MED-LRG

Item# DD4207

Reference Photos: (1-3) Fall 2003 Dior Runway, Look 14. Model: Ana Beatriz Barros.  /  (4-6) Angela Lindvall for the Fall 2003 Dior Ad Campaign.

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 easiest dress to wear and it was never worn so it is in perfect condition. It is the perfect little dress that translate seasons and will work all year round. Its classic lines keep it feeling relevant and fresh. It is made out of a soft black fabric that drapes beautifully. It is both top stitched and has a open chain stitch technique to piece the various parts of the pattern together. When you wear it you actually get little glimpses of skin through the chain stitches. The cut is loose and easy. It skims over the bodice and the waist and then the skirt flares it from there. I love how the sleeves are short and capped and the soft detail on the shoulders. So sweet. Excellent condition.

The bodice is unlined and the skirt has a chiffon inner skirt. It closes with a hidden set back zipper. The shoulders have light padding. Tagged a modern 42. The easy cut should fit a range of sizes

Bust: to 20" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 35" from top of shoulder to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4206

Reference Photos: Fall 2015 Isabel Marant Runway, Looks 16 & 33.

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 this tucked away in my archives for quite some time and decided it was time to let it go. This is it gorgeous little caftan dress that could potentially play double duty as a light evening coat with a bit of a tweak. It has all reminded me of the caftan that Joan Collins was photoed in 1975 and I suspect that it was made in the same time period. This one zips to open down the front  and on this one the zip is closed at the bottom but it could be opened and switched to one that fully opens. That would give it added versatility and allow you to wear it as a light coat as well as a dress. Of all of Thea's pieces her caftans have come to represent Thea's work like no other piece of her clothing that she designed. Elizabeth Taylor was a huge fan and collector and obviously so was Ms Collins. This one is just fabulous.

The caftan is very beautiful and is made from a stunning ultra soft silk velvet. This fabric is extra special because it looks to have been block printed in some manner. It's very unusual. The colour portion of the fabric is almost like an orange gold colour and it seems to glow from within. You get a bit of a sense of that in the photos but in person it's even better and it is quite beautiful. The print has flowers mixed with abstract patterns and dots that run over the entire dress. Thea was known to hunt antique stores and markets during her extensive travels and use what she found in her designs and this could certainly be a found antique textile. The dress closes down the front with a hidden combination of a zipper and snaps above that. This allows you to leave it open as low as you want in the front and then there is a slit that runs up to meet the base of the zipper from the hem. As mentioned above, the zipper does not fully undo but it could be changed to one that does, and then you would have a piece that you could wear as a dress or as a light coat to layer over other pieces. The cut of the dress is easy to wear. The neckline is a simple scoop and the sleeves are straight. It is cut to skim over the bust waist and hips and then flares out as it reaches the hem. The hem slightly dips longer on either side. You can easily add a soft or structured belt to add shape if you wished and add even more to its versatility. I love that you can wear this in so many ways and one its own or over so many things. This is very special and it is also very beautiful. Excellent condition

Fully lined in a black silk and slips on to wear and then zips and snaps down the front to wear. It's easy and open shape should allow it to fit a range of sizes. Finished by hand throughout. It looks to have been worn very little if at all

Sleeves: 23" and upper arm is 13" around
Slightly dropped shoulders: 16"
Bust: to 19" flat across from side seam to side seam
Waist: to 18" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 56" from neck to longest points of hem at the sides with 3.5" turned under
Front slit: 21.5"

Modern Sizing Equivalent: XS-MED

Item# DD4203

Reference Photo: Joan Collins in Thea Porter, 1975.

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 second time I have has this dress in the shop and this time I found one with a matching crop jacket. I loved this dress the first time and I love it even more this time. James Galanos launched Galanos Originals in 1951. He was only 27 years old.  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. His ready-to-wear was made to couture standards and on par with the French couturiers of the time. Grace Kelly was a huge fan and his work is held in all of the major museums around the world. He is one of my personal favourites and this dress is a stunning example of his work.

The label on this dress is the one that dates from 1954-1963 and when researching within that time period we found a dress in the Met Museum's collection with the same label and that uses the same technique for the way that the skirt is set into the bodice of the dress. The 1957 dress in the Met's collection was also photoed for Vogue that year. I have included both those for reference and it gives you a great idea of how this dress will look on the body but i think this one is even better with its more bare upper body. In the Vogue's description at the time the skirt was described as being; 'narrow in outline, but with beautiful easy folds from the waist, falling in self contained spirals' which is a lovely way to describe the way that it is set into the dress. I love the bright floral print that covers the entire dress. It gives it a bit more of a tropical feel then the more formal version held at The Met. The fabric is a beautiful light weight silk that is completely covered with the large flower print that you see. The colours in the print are spectacular and combine a bright orange, yellow and green on a black backdrop.The skirt is cut so that it gathers up and into the middle of the dress. This gives it that lovely curved line at the front and the draping down each side that you see. It also creates a touch of volume across each hip which makes your waist look smaller. The bodice is suspended by tiny straps made out of the same silk. The front has a wide set scooped neck and the back is the same. The back of the dress closes with a series of buttons that run from the nape of the neck to the waist with a zipper set under that. It is seriously gorgeous on and gives you curves while feeling very forgiving. Over that pops the simplest little jacket made in a matching printed floral silk. It can actually be worn either way around and I shot it both ways. It closes at the back of the neck and then it's open below that on one side and on the other side it has a slit that runs up the center. You can see how this gives a completely different look and feel to the set depending on which side you choose to wear it. The sleeves narrow in at the wrist with a little zippers for the perfect finish. It's a fabulous addition to the dress and the entire set really showcases just what a genius he was. Excellent condition

Both pieces are fully lined in a black silk chiffon. It closes with a low painted metal zipper at the waist and then has a row of buttons above that. The jacket closes at the neck with hook and eye and each cuff zips to close. The silk is cut on the bias. It appears to have been worn very little if at all.

Dress
Bust: to 18" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 15" from shoulder to waist
Skirt: 44" from waist to longest point of hem

Jacket
Neck: 16" around
Bust: 18" flat across from side seam to side seam and narrowing to 17" at the hem
Length: 17.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4204

Reference Photos: (1) F/W 1957 James Galanos Dress in The Met Collection.  /  (2) Model in James Galanos photographed by Irving Penn for Vogue, October 1957.

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 fabulous fall 1970 dress from the Valentino boutique label. Valentino launched his ready to wear label in 1962, just two years after opening his first salon in Rome. He eventually expanded and added other boutiques. His first New York boutique launched in the fall of 1970 and it caused a sensation. Traffic was backed up 3 blocks with everyone who was anyone trying to get in on opening night. More boutiques followed including one at Bergdorfs. He encouraged his couture clients to also shop in his boutiques. He wanted everyone to have the Valentino experience and it should be noted that he often carried the lines he created for his Couture label into the boutique work. The primary difference was in the fabric and construction details but they were still remarkably close in quality. This especially held true in the early days. The line between the two labels was often blurred and on this dress you can see that in the hand finishing that is has. This one is extra fabulous because it is so well documented.

When searching for the date for the dress we found documentation that has both Marisa Berenson wearing it for Vogue that season and also Naomi Simms who wore it to that opening of the New York Valentino boutique. Which gives it a significant place in Valentino's history. The dress is gorgeous and it is made of a black silk chiffon that has a ribbon weave fused directly into the silk. This gives it an oversized thatched woven effect. In between the ribbon weave the silk is semi-transparent and the play between the two opacities is stunning in person. The entire dress is backed with a black silk chiffon lining and that gives the more transparent parts a backdrop so that the silk feels like it has depth. To highlight the design even more is that gorgeous print made up of a pink and purple and gold coloured threads that run over the entire dress. I love how the pattern is heavier at the bottom and then slowly makes its way up to be just scattered paisley's on the black backdrop by the top of the dress. The collar is small and neat and the sleeves are cut to pouf out above the buttoned cuffs. The sleeves are not lined so you get a sense of transparency there. The dress is cut into a chic sheath that skims over your bust, waist and hips until it flares out just slightly at the hem. There's no seam to break the line at the waist, instead he has placed two square pockets on each hip to detail this area. The pocket are amazing. Each zips to close from corner to corner and the zipper is then detailed with a long knotted and fringed tassel. Another matching tassel details the zipper that closes the front of the dress. In both the reference photos a sash was wrapped around the waist for added shape and you could easily re-create that look. I think it looks equally as well worn straight and sleek. It's nice to have both options because the dress looks dramatically different each way. It is gorgeous and very well made. Excellent condition.

Fully lined in a black silk and zippers to close up the front as described above. Each cuff buttons to close with two silk covered buttons and each pocket zips to close. There's an extra button in the lining of the dress. Hand finishes. The dress appears to have never been worn or worn very little. Tag a size 8 with a hand written size label.

Sleeves: 14"
Shoulders: 23.5"
Bust: 17.5" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 52" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4205

Reference Photos: (1) Marisa wearing Valentino, photo by Elisabetta Catalano in Rome, Vogue September 1970.  /  (2-3) Naomi Sims attends the grand opening of Valentino Boutique on October 12, 1970 in New York City.

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 slightly more dramatic version of Yves classic tuxedo suit. For the runway it was presented with a longer skirt and that one was shown for Look 38 of the Fall 2001 Haute Couture collection. My client ordered it with the pencil skirt you see so that she could have more options to wear it. The Fall 2001 collection was one of his final collections and to have a piece from this season is very special. Vogue noted that "Cocktail hour incorporated every possible variation on the tuxedo: There was a button-front dress, a smoking jacket that morphed into a full tulle skirt, and, naturally, an updated version of the masculine tux immortalized by Helmut Newton in the '70s." Yves play on the tuxedo and 'Le Smoking' suit is one of is most famous hallmarks that he first presented in 1966. His play on traditional menswear is lauded by many as 'having empowered women by giving them the option to wear clothes that were normally worn by men with influence and power'. I have included runway photos, video and a photo of the original sketch. The sketch shot includes the fabric swatches above as per his atelier records and you can see it is the same fabric as this one. It is extraordinary set and I love it.

The extra wide collar is what sets this one apart from the many versions he did over the years. It is so bold and yet still elegant and refined in feel. There is nothing quite like the experience of slipping on a tailored to perfection piece of true Haute Couture. It somehow feels different and the feeling is something you can only really experience for yourself. The construction on both pieces is meticulous and it has been sourced from the original couture client. These tuxedo suits were all done a play on a men's tuxedo in mind and then were shaped and tweaked by Yves to be immensely flattering on the female body. It's looks simple but has master level tailoring behind it. The jacket has this sleek cut to it that follows the curves of the body. It is slightly cropped to sit just at the top of the hip. The lower part of the collar is finished in a black matte satin. It's size has been exaggerated to make it the focal point. under that is a single faceted button. Pockets are top set on each side and the shoulders are shaped. The fabric has a fine ribbing to it and it holds the lines perfectly. The skirt is cut into a simple pencil shape. I love that you separate pieces which gives you the versatility of being able to mix and match each piece with other things you already own. It is also a suit that depending on how do you style it, it can easily work for either day or as an evening suit. Yves tuxedo suits changed the way the world approached woman's wear and any example of the Le Smoking version is particularly collectible. This is a wonderful example of his couture tailoring. Itis an important piece of fashion history from one of his final collections. It appears to have been worn very little if at all. Excellent condition

Both pieces are hand lined in a black silk. The jacket closes with a button at the front and the skirt closes with a zipper and hook & eye at the waist. There are two pockets on the jacket. Both pieces are completely made by hand to couture standards. All proper Haute Couture tags present

Jacket
Sleeves: 23"
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 23" from neck to hem at the front, 22 at the back

Skirt
Waist: 15" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 23.5" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3559

Reference Photos/Video: (1-7) Diana Gärtner for Yves Saint Laurent Fall 2001 Haute Couture Runway Collection. Look 38.  /  (8-9) Sketches for the Fall 2001 Yves Saint Laurent Couture Collection as shown in the "Yves Saint Laurent Haute Couture: The Complete Works" Book Set.

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 fabric used for the lower portion of this dress matches the Fall 2000 couture ruffled Chanel coat that I have in the shop and both pieces are from the same client. That said, I do not believe that they were purchased as a formal set because the numbered tags on each do not fall in sequential order like they normally would if that was the case. However, if you look at the runway photo for that look, you can see the similarities to the piece that was shown underneath the ruffle coat on the runway. There is a similarity in the top portion of the dress to Look 34 and we believe that this was a custom made piece whose fabric was chosen to give the option of wearing with the coat. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. It is a beautiful example of the work that Karl was doing for Chanel during this time period and how a couture client could work with Karl to get the look that best suited her and her lifestyle.

This is a beautiful and chic shifts that can easily be styled to work for day or as an evening peace. The skirt is made from a rich black silk and it is immaculately tailored. The cut is very simple. It falls from an easy cut waist and then skims over the hips and narrows in slightly to the hem. Panels of silk are set vertically to create the shape of the skirt and the tailoring is immaculate. I love the slash pockets that are set low on the hip. Attach to the skirt is a sleeveless top that is made from precisely spaced knife pleats all the way around. The fabric has a slightly open woven look and feels like it is a mix of linen and silk. This gives it a slight touch of transparency over the inner lining. The effect is lightness and a touch of volume but without it being too transparent to wear. A softer panel of the silk runs from the top of the waist band and appears to circle back and behind the neck and then comes down and loops in under the bottom of the band at the waist. I just is a little unexpected detail. That soft collar also hides a rather low plunge for a bit of sexiness. The back of the neck is gathered and closes with three hand made fabric covered buttons. The top buttons to close below that but the buttons are all hidden under a pleat so that the line does not appear broken in any way. Is a stunning piece. Excellent condition

The top is hand lined in the same fabric as the exterior and the skirt is hand lined in a black silk. It appears to have been worn very little if at all. Appropriate Haute Couture label and numbered tape present. It is completely made by hand.

Bust: to 18" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: 19.2" flat across from side seam to side seam
Bodice: 14" from neck to top band at the waist
Skirt: 25" from top band at the waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4202

Reference Photos: Fall Chanel 2000 Couture Runway, Looks 20 & 34.

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

This gorgeous little dress is by the Italian designer Alberto Fabiani. His work is held in Museums around the world including The Met and they have a nice little summary of him that I will share here; 'Alberto Fabiani was a well-received Italian designer, rising to fame in the 1950s. He was known for his classic designs and flattering silhouettes. Interestingly, he married one of his contemporaries, Simonneta Visconti, previously Duchessa Simonetta Colona di Cesaro. Their design ideas were quite diverse, each fulfilling the needs of a different clientele." The dress is beautifully made and a fabulous example of Italian design during this time.

The dress is stunning. It is made from that really high end fine wool that you mostly see from this time period and just before. This fabric has a rich weight to it but still feels completely comfortable to wear when it's on the body. The shape is a study in simplicity. It has no collar and curves around the neck. It is notched into a V at the front and this allows some skin to show. At and around the base of the plunge is where that elaborate design sits. The design follows down the center of the dress all the way to about the waist or just past it. It is made from hand applied braided silk cord with a wired silk cord beside that and laid out into an intricate design. Interspersed among the cording are tiny seed beads, larger faceted beads and black crystals to catch the light. The dress is cut with soft shoulders and  meant to skim over the bust, waist and hips. The shape is created by vertical panels set on these beautiful curves at the sides. As it nears the hem it's flares out for that perfect sixties shape. The fabric is turned under at the hem to give both some allowance to be let down if needed and to also act as a slight added weight to keep the shape. Each sleeve follows that same basic shape where they fall from the shoulder and widen out as they near their ends. The ends are shaped into this little curve that comes up on the outside of the arm for a pretty little detail. Each sleeve has its own elaborate medallion that pays off the one on the chest. The majority of the work appears to be done by hand and it is a beautiful little dress. Excellent condition with a small note below.

Fully lined in a hand set black silk except for the sleeves. Some small repairs and minor shattering to the interior lining. Hand finished throughout and closes with a fine back metal zipper.

Sleeves: 20" and 12.5" around the upper arm
Shoulders: 14.5"
Bust: 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 39" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4201

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

This is from the fall 1978 Rive Gauche collection and is a fantasic example of his earlier ready-to-wear. In our hunt for documentation on this piece we also found several runway photos and it seems that it was a highlight of the collection and was shown layered over several looks. It is an absolutely fantastic coat and one of my favourites that I've ever had come into the shop. It is that perfect throw over anything and go but go knowing that you will probably be stopped all day to ask where you got it.

The coat is made from a olive coloured soft ribbed corduroy. I love nod to men's wear that it gives the coat. Yves was very much into non-gender pieces during this time period and this pieces really gives the feel of having stolen a well loved coat from your fathers, boyfriend or brother's closet. The fabric is very soft to the touch and feels so good when on. This fabric choice let him keep the lines and shape of the coat soft and slouchy. It has a very men's trench coat feel to it but softened and with that fantastic fit that Yves excelled at. The front does up with a row of hand carved buttons. The collar above that is neat and simple and looks great worn flipped up. It is easy fitting through the bodice and there is a top stitched leather tie that's true the waist and let you adjust it in or out. Under that the skirt of the coat flares out in a soft and easy shape. Slanted pockets trimmed the same deep brown leather as the waist tie sit on each hip. Two more pockets just like those sit low on the bodice above as well. All four pockets are functional. The sleeves are fantastic. They are cut with a wide and easy feel and then gathered in at the wrist with a buckled strap made of the same dark brown leather on one side and backed with corduroy on the other. Once on it has this slouchy cool feel that is just unbeatable. I love it and it is also a remarkable piece of fashion history. Excellent condition with a small note below

Fully lined in an olive coloured muslin. It closes with the buttons at the front. You can adjust the shape through the waist with the leather tie to wear it completely straight up and down or cinched in for shape. The two bottom buttons at the front are broken. Please see the photo after the label shot. They could of  course be easily replaced. They are original buttons. Minor wear to the edges of some of the leather bits. The loose and easy shape of the coat should allow it to fit a range of sizes. It will feel more oversized on a smaller frame and more fitted on a larger.

Sleeves: approx 25" and 20" around the upper arm
Shoulders: no true seam
Bust-hips : 24" flat across from side seam to side seam and you can bring the waist as needed with the leather tie
Length: 48" from neck to hem. If you really cinch in the waist and blouse over the top it will come up in length accordingly

Modern Sizing Equivalent: SML-LRG

Item# C611

Reference Photos: Fall 1978 Yves Saint Laurent 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 interesting dress because a version of it was shown on the runway for Fall 1972 but this one seems to be even more elaborate than the runway one. And it is usually the opposite of that in many cases. I like to think that the woman that bought this saw the one on the runway and then worked with George to make this one even more dramatic and spectacular. George Stavropoulos was known for his evening wear. He launched his label in 1960 and soon was dressing women like Elizabeth Taylor, Jackie Kennedy, Barbra Streisand and Maria Callas. His dresses were made by hand and to couture standards. By the early 1980s a gown by him started at around $8500 and they went up in cost from there and that starting price point equals to around $26,000US in today's dollars. A vintage Stavropoulos dress is an incredible thing to own and this is one of the best ones I have ever seen.

This dress is drop dead gorgeous and I think it's even better in person. The dress is made out of a ivory coloured silk organza that is heavily embroidered with a leaf pattern. Those silk 'leafs' have been embroidered over the entire dress to highlight the cut. Part of the design are actually individual embroidered leafs that have been appliqued and embroidered into place. It is stunning to see in person. The silk is feather light and I love the airy feeling that this creates. This light feeling is highlighted even more all of those little embroidered pieces. On the skirt they are set so they are scattered lightly over the upper skirt and become denser as they reach the hem. Along the hem are these curving inset panels. They are attached to the dress but the design is finished to follow the jagged edge of the embroidered leafs. I love this double layer of texture this gives around the actual hem and then above it on parts of the dress. The skirt is very full. I have photoed it with nothing underneath but there is enough room that you could add a crinoline underneath  and get a very full look if you wanted. The lightness and fullness mean that when you move the dress will move with you and the effect is gorgeous. The neckline is beautiful. It is squared off on both sides and the applique work is set to go inwards around the neck and slightly up the sides of your neck. It also frames the opening at the front and the back. The bodice is layered over an inner dress that the skirt is attached to. This gives it the look and feel of two pieces but it is actually one dress. It also exaggerates that gradual widening that you see happening from the bust all the way down to the hem. At the same time it also allowed him to do another spectacular edging where that jagged edge is picked up and tied into how it's done at the hem. The last perfect touch are those magnificent sleeves. Each one falls from a rounded soft shoulder and is cut with tremendous volume. They have a huge and elaborate pouf to them. Each of them ends in an elaborate cuff with the same detailing applique that the other edges have. They are the perfect finish to this high fantasy gown. The workmanship is incredible and it is absolutely beautiful. This is a fabric that is notoriously difficult to work with and it shows just what a genius he was by the way that he was able to make it sit so beautifully. The majority of work is all done by hand and it would have taken many hours of work to create this dress in this way. This is a dress that must be on a body to really come to life. As good as it looks here it is nothing compared to it on and moving. This would make an extraordinary wedding gown for the bride looking for something unique. Excellent condition.

Fully lined in an ivory silk that has a stiffened inner hem to help hold the volume. It closes with a zipper on the inner dress and then the outer dress snaps into place over that with hidden set silk covered snaps. The inner seams are finished by hand to couture standards. The colour in person is softer and even prettier then how it photoed. The camera gives it more shadow than it has in person on the embroidered parts. It is a touch creamier in real life. This is cut generously underneath the top added bodice but the skimming design will work on a smaller frame as well and could easily be altered if needed

Sleeves: approx 21"
Shoulders: no defined seam
Inner bust: to 18" flat across from side seam to side seam
Inner waist: to 17" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 16" from top of shoulder to inner waist
Skirt: 44" from inner waist to longest points of hem

Modern Sizing Equivalent: SML-LRG

Item# DD4200

Reference Photo: Fall 1972 Stavropoulos 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.

Loris Azzaro launched his label in 1967 and quickly defined his trademark looks by using ornate fabrics and avant garde ways of defining the body. Some of the most beautiful women in the world wore his clothing including Marisa Berenson, Raquel Welch, Jane Birkin, Sophia Loren, Brigitte Bardot and Tina Turner. It was a label that defined sexiness and had a certain French flare that women world-wide loved. By the seventies and eighties he was experimenting with volume and proportions and new fabrics that at the time were all cutting edge. This is a stunning example of his work from the early 1970s and this one is even more special since it is both a book piece and the dress from the ad campaign that season. Especially luck finding this photo because on my dress form and in person the dress can look pretty straight up and down, but once on the body it transforms into the bombshell dress you see in the reference photo. It's spectacular

This is a killer dress. It is one that will come to life even more once it is on an actual body because as mentioned above, this is a dress that in person it is even better. The first thing you see is that the entire dress is covered in overlapping gold sequins that catch the light from every angle. This alone takes your beathe away when you see the dress in person. The bodice of the dress has this cut out and  sculpted feel to it that is fantastic. There is a wide collar that wraps around your neck and then curves down into the bodice. A low scoop out is open and bare under that and then the bodice is seamed to be fitted and shaped around you. It nips in at the waist and then the skirt under that curves over your hips and the falls to the floor in a sleek column to the floor. At the back it is slit up the center quite high so that you see a flash of leg as you walk away. The entire back is also left bare and open and it is as incredible from the back as it is from the front. The dress is wonderfully made. It is a stunning dress and you will definitely turn heads in it when you walk into the room. This might make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any fabulous event. Great condition with a note below.

Unlined with narrow silk panels covering the inner seams and hand stitched into place. It closes with a zipper at the back and hook and eye at the neck. It looks like someone extended the back neck at some point and stitched in a small overlap at the front. There are areas on the bodice and near the back edge where some sequins have started to loose their gold colouring. And on looks like those areas are catching the light differently but they could easily be replaced if you if it bothered you please see the photos after the label shot. Hand finished throughout.

Neck: 16" around
Bust: 16-18" flat across from side seam to side seam
Waist: 12-13.5" flat across from side seam to side seam
Hips: 16-18" flat across from side seam to side seam
Length: 60" from lower seam at neck to hem
Back slit: 22.5" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD4199

Reference Photo: Spring 1973 Loris Azzaro Ad in Jour de France Magazine, as seen in the book "Azzaro: Fifty Sparkling Years".

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 Capriccio label was founded in 1987 and they quickly grew in popularity. During the late 1980s and early 1990s they were the brand to wear and they were known for their historically based designs with the added volume and excess of the eighties. Some of the Capriccio stores had an in-store area where you could get custom pieces in silks and based on the rest of the pieces from the estate I have been working through lately this may be one of those. It is incredible and it would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event. It is just so spectacular. 

This is actually a set and I love that about it because it makes it that much more versatile. You can wear it together for the full on effect or mix and match either with simpler pieces from your wardrobe for an entirely different feel. I also think there is the possibility that the top could be worn as an ultra-mini depending on how it sits on you. Both pieces are made out of a tea stain feeling coloured silk organza. This fabric choice helps to keep the volume and shape that you see. It also keeps both pieces extremely light in weight. The top is spectacular. It is cut so that it skims down and past the hips and has a back and front draped panel at the center that extends down over the skirt. It is shaped through the waist by the way that the fabric is formed and gathered into the middle. Pin tuck detailing runs from the collar to that panel on both the front and back. Elaborate floral appliqué work adorns the entire front and details part of the back. The collar is high and the top is cut to skim over the bust. The sleeves pouf out dramatically and are caught up with a little clusters of lace appliqué and beadwork. This gives them that extreme full volume feel but they still have a sense of  shape and detail. The lower portion of the sleeves are gathered all along the lower arm to the wrist. Each is then finished with appliqué work all the way down. The skirt below that has incredible volume and fullness. It is cut to be more fitted over the top of the hips and then opens out to that incredible volume that you see. When laid out flat the lower portion under the hips is a full circle skirt. Depending on your height it will be full length or fall to just about the ankle. The amount of detailing on this piece is fantastic. This may not be a piece for everyone but on the right person this is going to be unbelievably spectacular. It appears to have been worn very little if at all. Excellent condition

The top is made from a double layer of the organza and the skirt has an inner cream silky rayon lining. The top slips over the head to wear with pearl buttons at the back of the neck and on each cuff. The skirt closes with a zipper and flat hook and eye at the waist. Rolled padding on the very edge of the inner shoulder to help support the volume. The top is tagged a size small and the skirt a medium. You could get a little more room on the neck by moving the buttons probably up to 1/2-3/4" depending on where you place them.

Top
Sleeves: 23"
Slightly extended shoulders: 16"
Bust: to 19" flat across from side seam to side seam
Waist: to 17.5" flat across from side seam to side seam
Hips: to 26" flat across from side seam to side seam
Length: 36" from neck to longest point at the front and approx 28" to the sides.
Neck: 15" around

Skirt
Waist: 14" flat across from side seam to side seam
Seam at the hips: 18" flat across from side seam to side seam
Length: 42" from waist to hem

Modern Sizing Equivalent: SML-LRG

Item# DD4198

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 one of my favorite pieces from the Spring 2015 Saint Laurent runway. At this point Hedi Slimane was the creative director since joining in 2012. He would depart in 2016 but at this point his future still seemed firm. The collection was short and sexy. Vogue's review of the show ended by saying "this collection straddled Slimane's worlds: L.A. groupies in Paris couture. You know he gets off on that idea. He's not the only one. The energy was contagious tonight. "I was having an orgasm," we overheard a model-slash-writer pronounce on her way out the door." The runway version was deeper cut at the front but that did not stop this version being seen everywhere after. We found multiple photos of being worn by the 'It' girls of the time and it still feels as fresh and sexy now as it did then. I love it.

This dress is so easy to wear and so flattering. It just slips on, zips at the back and drapes and falls into place. The front falls into a fairly deep V and then the fabric is gathered in towards the center at the base of that V. This gives you shape without being tight and fitted. Just Kim over you in the most flattering of ways and you can see by all of the added reference photos how gorgeous it is once on. From the waist that flares out into the swingy sexy flirty little skirt. The skirt is cut to be short and the fabric is so light that it feels a little scandalous when it's on the body but it does cover you. The sleeves have that classic slight balloon feel to them and pouf out of above their buttoned cuffs. The red is the perfect red that will flatter most skin tones and those white dots that cover the silk just make the dress feel joyful. It's that perfect mix between girl next door innocence and sexiness. It's one of my favourite dresses from the time that Hedi was the Creative Director. It looks to have been worn very little if at all. Excellent condition

Fully lined in a red silk and closes at thew back with a hidden set zipper. Each cuff buttons to close with silk covered buttons. Tagged a 42. Appears to have never been worn or worn very little

Sleeves: 23.5"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 34" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4196

Reference Photos: (1) Spring 2015 Saint Laurent Runway, Look 28. Model: Kiki Willems.  /  (2) Anna Ewers, in Saint Laurent, by Norman Jean Roy for Harpers Bazaar, May 2015.  /  (3) Natalie Joos, in Saint Laurent, & Giovanna Battaglia at the Laure Heriard Dubreuil Pop Up Shop at the Ritz Paris, July 2016.  /  (4) Christina Aguilera in Saint Laurent, May 2015.  /  (5) Marie-Pier Morin in Saint Laurent for Loulou Magazine.

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 might be one of the cutest dresses that Yves ever did and the print is of course an homage to his own French Bulldogs that he loved so much. Its twin walked the runway and was styled with a wide leather belt to really play on the proportions and cinch in the waist. It is one of my all time favourites and I am very pleased to have this wonderful dress in the shop for you.

This is gorgeous little dress. On the hanger it looks like nothing tell me a pill is that fantastic print. But it's just hits the body his genius with cut comes to life. The top is meant to be full and easy over you. The upper bodice is yoked on the front and the back and it has light padding in the shoulders for structure. A row of glossy white buttons closes the partial opening at the back of the neck. The waist is seamed and it is meant to blouse over top of it. If you decide to add a belt like they did on the runway it will really emphasize the waist and the volume above even more. This skirt is cut to be slightly fuller around the hips and then narrows down slightly as it reaches the hem. I love the slash pocket sit on each hip. The sleeve incredible. They come out from the top of the shoulder where they're slightly gathered and they are cut to come out from just above the waist and narrow down to an elastic cuff. This makes them incredibly full and when you push the up to just past the elbow they are even fuller as you can see in the reference photos. It's just a beautiful little dress and perfectly represents this time period. Excellent condition with a small note below.

Unlined and closes with a side set zipper. Three buttons at the back of the neck to close the small opening there. Elastic in each cuff. There is the tiniest bit of yellowing to one of the bulldog prints at the neckline and I see a repair at the top of the side zipper. It is completely hidden once in by the volume of the sleeves. Please see the photos after the label shot. Tagged a vintage YSL 40. It's oversized cut should work on smaller frames too

Sleeves: 17" and will pouf up more when on
Extended shoulders: 18"
Bust: open with no true side seams
Waist: 13.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 18" from top of bodice to waist and will pouf up when on
Skirt: 24.5" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD4197

Reference Photos: Spring 1987 Yves Saint Laurent 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 a stunning example of Halston's later work. It is from 1983 and of this point Halston had just signed the international licensing agreements that would be the beginning of his downfall. That makes this a piece from one of his final self designed collections before being forced out of his own company. His prices for the main line were sky high at this point and the work put into the pieces was impeccable. When hunting for documentation for this one we found one photo of an unknown woman wearing it to a Nato party that year. There is the possibility that it is from a slightly earlier collection and the woman is re-wearing from her own closet. Either way it gives you a better idea of how spectacular it is on the body. 

The fabric for all of Halston's beaded and sequin pieces were being made in India during this time period. Halston personally chose the fabrics and materials that were used for each piece of his main line collections. These beaded pieces were especially intricate and the majority of the garments produced were heavily beaded and/or sequinned. This set is gorgeous. Both pieces use a black silk chiffon as their base and then onto that is an intricate design made of a combination of tiny tube beads, faux pearls, tiny silver sequins and rhinestones. These have all been hand applied and individually applied over the two pieces. The bead work is laid out so that it becomes heavier around the edges of both pieces. Both piece also have this fantastic fringe made out of little pear-shaped faux pearls spaced side by side that follow every edge. It's incredible to see and like jewelry on the pieces. Clusters of all the other elements are tightly spaced around the edges of the jacket, the end of the sleeves and then around the hem of the skirt. They scatter out in a wider dispersed pattern from there to completely cover both pieces. The skirt has a simple cut with an easy-to-wear elastic waist and then it widens out slightly to the hem. The jacket has no collar and curves down and around to the hem. There are no closures and it's meant to be worn open and over something else. The shoulders are soft and it is looser fitting through the body. The sleeves are incredible. They have those insane fringed cuffs and each sleeve is cut to balloon out above the wrist. You can see that in the photos I have here and even more so in the reference photo attached. I love the versatility of having the two pieces because you can mix and match them with other pieces, but together they are truly spectacular. The silk chiffon keeps them extremely light in weight and even though they are backed in another layer of black silk chiffon there's still a bit of a play on transparency that the set has. It's spectacular. Excellent condition with a note below

Both pieces are fully lined in a black silk chiffon. The jacket has no closures and the skirt has elastic at the waist. All the applique work is done by hand. Perhaps the occasional loose or missing bead or applique. Tagged a vintage Halston 6. The elastic in the waist feel stretched a bit and would be an easy fix if you needed the waist smaller. Its current range of measurements are listed below but it could go down by a few inches if needed.

Jacket
Sleeves: 24" approx.
Slightly dropped shoulders: 16"
Bust- bottom seam: approx 18-19"
Length: 22.5" from neck to hem

Skirt
Waist: 13-19" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 28" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4193

Reference Photo: Guests at a Halston Party for NATO Committee, October 24 1983.

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

This is an interesting dress because it's from the Miss O label that Oscar de la Renta started during this time period for his younger audience. What makes it interesting is that a very near version of it walk the runway for the Fall 1988 show. You can see how he slightly changed the design to give it a bit of a younger feel and make it easier to wear. I've included that runway photo here for you said that you can see how fantastic it is on the body. It is a gorgeous little dress

The dress is made out of a soft black jersey fabric that has an almost T-shirt feel to it when you touch it. The fabric is gathered over the dress from the top of the bodice to the hem and all the way around the back. Vertical stitches give it a pattern within the pattern and extra interest. It is to cut to hug the body and the neckline is cut flat across the front. Wide black velvet straps curved over each shoulder and attach to the back. From the front it's a fantastically fitted dress that shows off all your curves and has the interest from the gathering. At the back is where it gets spectacular. A black panel runs over the zipper and onto that panel are seven floral buttons that have rhinestones set inside and into the buttons. This creates a beautiful bit of flash and glitz at the back. Under that there's an inset of black lace lined in a nude chiffon for a sexy little kick as you walk away. It's very chic and sexy. Excellent condition

Bust: to 17" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: to 17" flat across from side seam to side seam
Length: 36" from top of shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD4194

Reference Photo: Fall 1988 Oscar de la Renta 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.

The twin of this dress walked the runway for the Fall 1982 show and I love that we found photos of it for you so you can see just how spectacular it is one and how the sleeves sit once on a body. This silhouette with its dramatic sleeves and full skirts was an important element for that season. It is just a stunning example of one of his most recognized looks.

The dress is made from a combination of two of his favorite fabrics, silk taffeta and silk velvet. These became signatures of his and ran through his collections from the start of his career to the finish. It is a stunning piece. The top is cut to skim over the bust with a scooped neckline at the front. It is seamed at the waist and then extends down over the top of the hips. There is an attached silk taffeta sash that wraps around the waist and cinches you in for added shape and detail at the waist. The sleeves are full with a beautiful sweeping cut that starts at the shoulders and remains full to just past the elbow. At that point the fabric changes to to a velvet. Four glossy dome buttons  detail the lower part of the sleeve. These are meant to be pushed up slightly to exaggerate that pouf of the upper sleeve even more. The skirt falls from under the velvet and it is beautifully full. The photos do not really do the amount of fabric in the skirt full justice. I love that under the top purple layer of silk there is a lining finished in a coral red silk taffeta. You don't see that inner layer when you are standing, but when you sit or move just right, you get that extra flash of color. It's a small detail that I am obsessed with. The fabric choices helps keep the intended shape and volume. Pieces by Yves from this time period have become an important piece of fashion history and having documentation like this one has makes it that much better. Excellent condition.

Fully lined through the bodice in a black silk satin. The skirt is lined in a deep red silk taffeta and the sleeves are unlined. It closes at the side with a metal and nylon zipper and each cuff buttons to close. The sash is attached at the back. Slight flattening to the velvet here and there along the waist seam that is covered by the belt once on. Tagged a vintage YSL 40.

Sleeves: 29"
Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 17" from shoulder to waist
Skirt: 43.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2856

Reference Photos: (1-2) Fall 1982 Yves Saint Laurent Runway.  /  (3) Alice Englert wearing this dress for Harper's Bazaar, 2023.

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

This beautiful silk chiffon and cut metallic velvet fabric was integral to the Fall 1977 presentation by Oscar de la Renta. The twin of this set walked the runway along with two other versions in this same beautiful fabric. I love that we found these photos because it give you an idea of how beautiful the dress is on the body. The fabric is absolutely stunning and the lines of this drape fantastically. It's also rare to find documentation of pieces this early which makes the set that much better.

This set from Oscar de la Renta has such a rich, luxe feel to it while still having a bit of a bohemian vibe. The colour is this absolutely stunning deep purple burgundy that is beautiful to see in person. This is a set made up of two separate pieces. Having these separate pieces makes it very versatile since you can mix and match them with other pieces in your existing wardrobe. The fabric is stunning. The base is an ultra fine silk chiffon that has a touch of transparency to it. Onto that is a silk velvet that is cut out into a floral and leaf pattern and then infused directly onto the silk. A metallic thread in the same exact colourway was then used to outline and highlight the pattern that runs over the pieces. This touch of metallic detailing lets the pieces catch the light from every angle and adds a bit of a glitz and glam to the set. Both pieces are lined with another layer of the same colour silk chiffon but there's still a stunning play on transparency with the outer fabric. The silk is light in weight and floats beautifully over the body once on. The skirt has a band at the waist for shape and then the silk falls to the floor from there to widen out slightly as it near the hem. The top goes over that and just slips on to wear. The neckline is simple with no collar and has an attached silk braided cord. This allows you to adjust the neckline so that you can wear it loose with a more open V underneath or tie it tight and just have a slit keyhole underneath. Each corded tie ends with a pretty fringed tassel. The body of the top is loose and full. Each sleeve is also full and billows out above an elastic cuff. Each sleeve is finished with another cord and fringed tassel detail. The banded waist already gives shape at the waist when you tuck the top in. You could emphasize that shape even more by adding a belt. It a even more gorgeous in person. And it has pockets on the skirt. It appears to have been worn very little if at all. Excellent condition

Both pieces are lined in a matching silk chiffon including the sleeves. The skirt closes with a side set zipper and a flat hook & eye at the waist. The top slips on to wear with an attached cord at the neckline. The cuffs have elastic at their ends and the cord there is decorative. It appears to have been worn very little if at all. 

Top
Sleeve: approx 24"
Shoulders: 15"
Bust-bottom seam: to 19" flat across from side seam to side seam
Length: 21.5" from shoulder to hem

Skirt
Waist: to 13" flat across from side seam to side seam
Hips:to 22" flat across from side seam to side seam
Length: 42" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD4192

Reference Photos: Fall 1977 Oscar de la Renta Runway.

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

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

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

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

Sleeves: 24"
Slightly inset shoulders: 13.5"
Bust: 16" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 37" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# C609

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

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD4189

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

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