In 1951, 27 year old James Galanos launched his first label called Galanos Originals. By 1954 he had won a Coty award and the Neiman Marcus award. By 1958 he was producing clothing that could range in price from $200 to $3000, an astronomical price for ready-to-wear for that time period. That said, his ready-to-wear line was made to almost true couture standards and piece in it were made with a level of craftsmanship that was on par with the French couturiers. Galanos was a master cutter and draper and he used many couture techniques in the construction of his dresses and other pieces. Grace Kelly was an early fan and he was truly one of the great American designers. His work is held in all of the major museums around the world and he is one of my personal favourite designers. The label that is in the coat is the one that was the one used between 1963 and 1977 giving us a definitive time period that it would have been made in. This coat is just stunning

This coat is so well made and tailored that it is a thing of beauty to see. It is made from a heavier weight creamy ivory coloured wool and this is what gives it its structure. It is cut in that highly structured manner of this time period with a more fitted upper body and then it flares out wide through the lower half of the coat. Every line of this coat is fantastic. The collar is oversized and sits more towards the back so that the points of the lapel fall on the shoulder. It then creates a neat little wide set V as it angles in towards the first top button. The buttons that run down the front are a matching ivory and they are thick cut and round. The sleeves are long and sleek and cut on a slight curve in the proper tailoring manner to follow the arm. The edges are top stitched and there is a large front pocket set right at the waist. This become the main design detail and it quite fabulous in its unusual placement. The skirting of the coat opens with inverted pleats set at each side and then again at the back. Each of these has this wonderful pointed 'arrow' top stitching at the top of the seam that I just love. All of the seams are set on the vertical so there is no cross line to break the eye. The final perfect finishing touch is the stark black silk taffeta lining that offers a stark contrast to the cream exterior. It is truly one of the best vintage coats I have seen and a wonderful find. Excellent condition with a minor note below. 

Fully lined in a black silk taffeta and closes with buttons at the front. The front pocket is functional. This is a medium to heavy weight coat. Hand finished throughout. Some very minor pilling to the fabric here and there but I am being very picky. Very faint grubbiness around the bottom edge. Again being insanely picky. Both of these would not show in the photos. It is beautifully made and tailored . 

Sleeves: 23"
Shoulders: 14"
Bust: 18" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Length: 43" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# C598

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 coat was photoed with Yves Saint Laurent himself, backstage during the Fall runway show by Roxanne Lowit. We also found runway footage of the coat as it walked the catwalk that season. It is an exceptional rare and wonderful piece by Yves Saint Laurent. These gold brocade pieces are what defined that season and I am very pleased to have found this example. It is one of the only gold one I have ever come across and it is in mint condition. It is magical and is a definitive piece that you instantly identify as a YSL piece. 

The coat is made from a gold wool and metallic thread brocade that has an embroidered gold design woven through the fabric. This is done so that it has a slightly raised feel to it and gives the coat the beautiful texture that it has. The two parts of the design also allow for a play on the tones of gold used and the raised parts have a more metallic lame feel to them which makes the brocade pattern really pop. The coat perfectly represents this time period and what he was doing design wise. You can see the transition from the opulence and over the top feel of his earlier Russian collection and how he was slowly moving into simpler, sleeker shapes for the 1990s without sacrificing his love of high glamour and theatrical components. That touch of excess from the 1980s is still there through that gold fabrication, but the shape is getting slightly sleeker and more powerful in feel then his earlier collections. The collar is high to frame the neck line. Curved vertical seaming runs down the front and back from the shoulder. This draws the waist in and gives the illusion of more shape. The skirting of the coat is cut to be full and have that Russian feel to it. It is inset into the waist by a series of soft pleases and you can slip your hands into the hidden pockets to give it even more volume if you wish. The sleeves are magic. Each is set high into the shoulder so they cap and pouf at the top. They continue to be wide and narrow down just a touch to the wrist. Each cuff ends in a series of three gold toned metal and rhinestone encrusted buttons. These are set into proper dressmakers buttonholes that are decorative. Five larger versions of the same buttons run down the front to close the jacket. The buttons are a thing of beauty in themselves. With this one I think that if you wanted you could even add a series of hidden hook and eye under the waist so that you could close it all the way down and have it play double duty as a dress. It is amazing on the body and one of my favourite YSL pieces I have ever had in the shop. Excellent condition

Fully lined in a black silk satin. It closes at the front with the buttons. Padding in each shoulder. Tagged a vintage YSL 34 and has a generous cut through the waist and bust. Pockets along each hip. It appears to have been worn very little if at all. It is a medium weight coat

Sleeves: 24"
Wide set shoulders: 16"
Bust: 16.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 17" from top of bodice to waist
Skirt: 28" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# C599

Reference Photos/Video: (1) Fall 1991 Yves Saint Laurent Runway Collection. /  (2) Yves Saint Laurent, Avenue Marceau à Paris, March 1991. Photo by Roxanne Lowit.

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 exact twin of this dress was shown on the Fall runway in 2005 for Look 63. In Vogue's review of the collection journalist Nicole Phelps said in part; 'Oscar de la Renta's shows are always elegant and invariably luxe. But for fall, the designer really went to town with the signature embellishments loved so well by his mother-daughter fans (like Tina and Beyoncé Knowles, who made their way to their seats after the lights had dimmed)....Evening was just as ornate... His red carpet numbers ranged from streamlined racer-back columns with heavy dustings of sequins to Empire-line tulle princess gowns to brocade showstoppers that grazed the toes of audience members as they glided by—just the thing for a larger-than-life diva like Knowles.' This is one of the brocade showstoppers that the review mentions and is utterly beautiful. Its label has fallen out but it is from the same estate I am working my way through. The original owner was friend with Oscar so there is also the possibility that this one was made for her and it did not have/need a label if it was customized. It is unbelievable in person.  

This Oscar de la Renta dress is stunning. It is red carpet worthy and would even make an amazing wedding piece for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. It is in fabulous condition. It is coming from the same estate of a woman I am just starting to go through who was personal friends with Oscar and she bought some of his most beautiful pieces. The dress is made from yards and yards of a black silk brocade that has deep rich jewel toned flowers woven through the fabric. The silk he chose is just incredible. It has a black base with beautiful metallic feeling motifs woven through the silk. The flowers are done with varying states of fraying and this is deliberate. It gives the dress this worn decadence that is very beautiful and the flowers then become a three dimensional design element in themselves. The silk is just heavy enough to hold the shape and structure of the dress but even with all of that fabric it is not so heavy that it is uncomfortable to wear. It has a full built in boned corset inside the bodice so you don't have to worry about additional underpinnings. There are also full built in underskirts. I did add a crinoline to the dress for some of these photos so that you can get an idea of just how full the skirt is and see its full shape. I also photoed it without a crinoline so that you can see how it falls on its own with just its already substantial inner skirts. The bust is strapless and fitted with a modified soft sweetheart bodice. To highlight the bust even more there is a fabulous ruffled detail that curves and cups under the breasts. It tightly hugs the body, curving in at the waist, and then skims over the top of your hips. The seaming is all done on the vertical to create that beautiful shape and give the the dress a sense of added length. The skirt flows directly out from the bodice and is cut to sit slightly more sleek and flat at the front. You then have all that wonderful volume starting at each hip and going around to the back. The back of the dress is very dramatic. It is trained so that it flows out behind you in a dramatic swoop of fabric. There is a wide inner band of stiffened netting that circles the hem to help hold the skirt up and keep the shape rather then have it just drag behind you. On the sides of the skirt there are dramatic panels of the same fabric set into large ruffle detailing that give a slight bit of movement when you walk. The upper back is left bare. All of its details combined with that spectacular colour make it a very stunning gown. It is a beautiful example of Oscar's work. Excellent condition.

The outer layer is lined with a black silk organza. There is a full built in corset that closes with its own zipper and then the dress closes over that with a hidden set zipper. A wide band of stiffened netting finishes the hem as mentioned above. There is an inner silk layer with a stiffened hem and then a tulle and silk layer over that and between he outer silk. No size tag but most of her things were an ODLR 0 or 2 and this one is that same size. 

Bust: 15.5" flat across from side seam to side seam
Waist: 12-12.5" flat across from side seam to side seam
Hips: open
Length: 54" from top of bodice to front hem, 70" to back hem

Modern Sizing Equivalent: XXS-XS

Item# DD3865

Reference Photos: Fall 2005 Oscar de la Renta Runway Collection, Look 63. Model: Julia Stegner.

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

This fabulous dress is the twin the dress that walked the fall 1986 Yves Saint Laurent Rive Gauche runway. I was so pleased to find a shot of it on because it really shows you just how much it comes to life when worn. He did several variations of this look for that season and I have included some photos of the one gold sided version as well since the cut is similar and it gives you some different angles to be able to see how the dress looks on the body. I am obsessed with his work and this one is so well known and documented. It is a pleasure to have it in the shop.

This gorgeous dress mixes a solid black silk crepe mixed with a gold lame that has a printed effect to it for the bodice. The skirt is then made from a slinky black jersey. It also comes with its matching sash in the same printed gold lame jersey fabric. The patterned portions of the gold have been used for each side of the front bodice and when it catches the light is gives the suggestion of a snake print. The bodice is set into a deep V. I have set it to be deeply plunged but you could cross it over a bit more and have the sash hold it more closed. The gold fabric is set to drape loosely over you at the front and it then curves up to the top of each shoulder. The bodice nips in at the waist and then the sash adds definition and shape. I love how the sash is so wide set around you and then the ties fall almost to the hem at the front. It makes it so glamorous and it gives the dress that wonderful 1940s feel too. The sleeves are short and simple so that all the focus is on the gold at the front. They are cut to have a slight pouf out above the elbows. The skirt is made of a black jersey and it falls to the floor in a pretty sweep of fabric. It is a gorgeous dress and a wonderful piece of his fashion history. Excellent condition with one small note below

The back of the bodice is lined in a black silk chiffon and the skirt, sleeves and front bodice are unlined. It closed with a side set zipper and the belt hooks to close. Each shoulder has light padding. Has its original matching belt. It appears to have never been worn, or worn very little. Tagged a vintage YSL 34. There is one small repair on a sleeve. Please see the photo after the label shot

Shoulders: 14"
Bust: to 18" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: 18" across lowest seam at very top of hips, open under that
Bodice: 14" from neck to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3866

Reference Photos: (1-2) SS 1986 Yves Saint Laurent Runway Collection. Model: Mounia Orosemane.  /  (3) Model in Yves Saint Laurent, 1986.

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

Emanuel Ungaro launched his label in 1965 after stints at both Balenciaga and Courreges. He was a brilliant designer who was known for his extravagant fabrics and flamboyance. He often participated in the design and execution of new fabrics and for him the design process started there. His work always has a sense of exuberance and joy to it and he mixed fabric and prints with a master's eye. Ungaro started out as a designer who did very structural and conceptual space age pieces but by the time he started his ready to wear line, Ungaro Parallele, in 1968 he was already starting to soften his look. By the late seventies and early eighties, the time period that this dress is from, his designs had become softer and more body conscious.

This is a fabulous little Ungaro dress with the prettiest floral print running over its surface. It somehow manages to be dramatic, sexy and yet pretty and sweet all at once. It is made from a soft silk jersey and is cut to be very fitted on the body. The shoulders are cut high and the sleeves are soft and full. I love how the front is cut out on an angle and the back has an open cut out for a glimpse of bare skin. The waist is all gathered and draped to highlight your shape and then under that the skirt is set with a draped feel over to the one side. Little bows are the perfect finishing touch. There is a flat bow at the bust, one on the side of the skirt  and then each sleeves ties into place so you can make it as poufed out above the tie as you wish. It has it a bit of a forties vibe to it and is very pretty. Excellent condition

The body of the dress is lined in silk and there is a layer of added structure that helps keep the shape. It closes with a side painted metal zipper and hook and eye at the back neck over the cut out. The fabric has some stretch.

Shoulders: 13"
Bust: 15-17" flat across from side seam to side seam
Waist: 12-14" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 37" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD2843

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 exact twin of this dress was shown on the Spring runway in 2006 for Look 37. 2006 was an important year in Oscar's history. This is the same year that Parsons awarded him with the Lifetime Achievement Award at their 58th Annual Benefit and Fashion Show. In Vogue's review of the collection journalist Nicole Phelps said in part; 'After last season's Russian sojourn, Oscar de la Renta returned to his Latin roots for spring. And why shouldn't he? In the 40 years he's been in business (he celebrated the anniversary this year), regular flamenco infusions have served him well. With the Williams sisters, Eva Longoria and Candace Bushnell watching from the front row, de la Renta played to his strengths: flounces galore, toreador jackets, and a spicy palette of marigold, red, and warm neutrals, often finished off with a smattering of crystal embroidery. For day, wooden beading at the hip or contrast piping along seams gave classic silhouettes a sprightly flare....All told, an Oscar collection is like a trip to the Prado. Faced with such an embarrassment of riches, it's too easy to miss the many fine things.' This is one of those gorgeous pieces that have that latin flare and flounce and it was one of the best in the show 

On the runway the dress was worn by model Maria Fuema and it was styled with maximum simplicity. It was just Maria in all her beauty in this beautiful dress. Her makeup was barely there and they did not even add an earring to detract from her or the dress. It was a stunning moment and I am happy to have the runway clip included here so that you can see just how beautifully the dress moves with its flouncy lower skirt. We also found a photo of the dress on Jessica Simpson and we were especially happy to find a photo of the dress on her with Oscar himself. 

The fabric that the dress is made out of is very unusual and combines several elements. Through the body of the dress is a green silk organza and then this is covered in stripes made of embroidery, netting, lace, grosgrain and silk ribbon. The skirt is made of a series of overlapping tiers done in a silk organza that have been edged in a white thread and then detailed with circles of white sequins. I have taken close ups for you because the fabric is just incredible and all the small details in it add to the overall beauty of the dress. The fabric is just heavy enough to be able to hold the shape that you see but is still light enough that it moves wonderfully. The bodice is strapless and shaped to accentuate the bust. There is a full built in cupped corset inside the dress for support. The waist nips in and then continues to hug the body to past the hips. Below that the skirt is full and has a lot of movement thanks to the ruffles and tiers it is made out of. It moves when you move and it is just beautiful. Everything in the pattern lines up perfectly at the seams and no matter what angle you see it from the dress is stunning. It looks to have been worn very little if at all. Excellent condition

Fully interlined in a nude silk chiffon through the body and green organza in the skirt. There is a full cupped and boned corset inside the bodice. The dress has a hidden side set zipper on the exterior and then another second zipper on the side under that to close the inner corset. Tagged a modern ODLR 4. The green is slightly deeper in person.

Bust: to 15.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Bodice: 9" from top of bust to waist
Skirt: 28" from waist to front hem

Modern Sizing Equivalent: XXS-XS

Item# DD3863

Reference Photos/Video: (1-4) Spring 2006 Oscar de la Renta Runway Collection, Look 37. Model: Maria Fuema.  /  (5-6) Jessica Simpson in Oscar de la Renta at the 10th Annual Accessories Council ACE Awards, 2005.

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 the 1980s and 1990s Gianni Versace ruled the catwalks. He was the favourite of the Supermodels and they were featured predominately in his runway shows and his ad campaigns. Versace launched his label in 1978 and in 1989 he presented his first couture collection. The days that Gianni headed the label were heady, glamourous ones and set the tone for the label as we know it today. He remained at the helm of the brand until his death by assassination in 1997. This is from those years in the 1990s when the label was everywhere and everyone wanted to own and wear a Versace. Vogue recently added this show to its runway archives and in the show notes Gianni was quoted as saying; 'To use art in a flat way, without creative intervention, is in bad taste. I mix it up'. Also of note is that this was one of the collections that Donatella pulled from when she re-issued some looks for her Spring 2018 collection which commemorated the 20th anniversary of her brother’s death. 

This suit is the exact twin of the catwalk one and I am pleased to have some runway footage of the suit here for you so that you can see how it looks and moves once the body. You will note that for the runway they folded the tops of the pockets down. I lightly steamed them to match for one photo here but I prefer them they way they look when they lay out fully flat so you see every bit of the detail on them.  They also feel more 'naughty' that way. It was  belted for the show and it would be easy to add your own belt to get that same look if you wished. The suit is so very Versace. It is sexy and bright and you won't be missed by anyone once you have it on. Both pieces are made for a bright vivid lime green silk that is a touch brighter and more true then how it photoed here. It is stunning in person. The silk has a paisley design in a slightly more matte thread to give it this interesting tone on tone pattern.  The skirt is short and fitted with a flat front and no waist band. It is cut to curve up and into the waist so that it follows the curves of the body. The jacket goes over this and is cut full through the shoulders and bust, comes in at the waist and then sits snug over the hips. The epitome of the nineties silhouette.  Each sleeve is long and ends in this interesting flared cuff that end with a single gold toned metal button. You can wear the cuff long or flipped up like you see in the runway shot. More of the same buttons run down the front of the jacket to close and all of the buttonholes are done in the proper dressmakers technique. The collar is notched and simple. The jacket closes high enough up the front that you can easily wear it on its own without having to wear a top under it. The pockets are the star of the show. There are four and each is a round circle that has been top stitched. Of course the placement of the pockets on the bust have that very risqué feel to them and it is what gives the suit that shot of Versace sexiness. It is wonderful and very rare. It looks to have been worn very littlee if at all. Excellent condition 

Both piece are lined in a green silk. The skirt closes with a hidden set zipper and the jacket buttons to close. The jacket is light padded through the shoulders and all of the pockets are functional. Tagged a 38. Amy colour change or little bit of yellow in the shots is just the lighting and camera. It is is perfect in person. 

Jacket
Sleeves: 23"
Shoulders: 14"
Bust: 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 36" from neck to hem

Skirt
Waist: 12.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 18" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3864

Reference Photo/Video: Spring 1991 Versace Runway Collection, Look 53.

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

The dress is absolutely gorgeous. The label that is in it was the one used starting in 1977. Looking at the dress it is almost hard to imagine that it is not from an earlier time period with its decidedly Old Hollywood feel. It is made out of a fine silk chiffon that has been dyed to a deep moss green. In the skirt they are also more olive coloured panels mixed in and this adds depth there. The bust is shaped and structured underneath that draped exterior. You would not think it to look at it but that part of the dress is very formed underneath and hides an inner foundation that follows the complete length of the bodice. The top is cut straight across and it curves in at the waist and then hugs the tops of the hips. A long chiffon panel snaps into place on one side of the interior and you can then drape this over your shoulder to create a few different looks. You can let it sit to cover your entire arm like a half cape or just have it trail down the back for a little floating detail as you walk away. You could also have it float over the entire upper chest to drape over the other shoulder. That panel is completely removable so you could also wear the dress without it for a true starless feel. The panel is long enough to play double duty as a sash or even a head piece. You have a lot pf options with it. The silk has been hand draped over the bodice and I love the contrast between the horizontal draping there against the vertical panels in the skirt. The skirt itself is a marvel. It is literally made up of vertical panels of silk that have been cut in different widths and slightly different lengths. These are layered over a inner single layer skirt of the same silk chiffon. When the dress is on it gives the illusion that you are very bare under the panels. Each panel is set in by hand and this would have been a meticulous and tedious method that would have added several hours of construction time to the dress. The panels give the dress a very unexpected sexy feel as they move around you and give the illusion that you will get a glimpse of your full leg at any moment. The dress is stunning on and the movement that the panel over the shoulder and the panels of the skirt have when you move is stupendous. Excellent condition 

Fully lined in a green silk and closes with a hand set zipper at the side. Hand finished throughout. The shoulder panel snaps onto place with silk covered snaps. It appears to have been worn very little if at all.

Bust: 15.5" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips at the bottom of the bodice: 17" flat across from side seam to side seam
Length: 48" from top of the strapless bodice to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3862

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 exact twin of this dress was shown on the Fall runway for 2006 for Look 61. 2006 was an important year in Oscar's history. This is the same year that Parsons awarded him with the Lifetime Achievement Award at their 58th Annual Benefit and Fashion Show. In Vogue's review of the collection journalist Nicole Phelps said in part; 'While other designers flit from one influence to another, Oscar de la Renta has made a four-decade-long career of staying true to his brand of ladylike elegance'. On the runway the dress was worn by model Liya Kebede and it was styled with maximum simplicity. It was just Liya in all her beauty and this stunning gown. Her makeup was barely there and they did not even add an earring to detract from her beauty or the beauty of the dress. It was a stunning moment and I am happy to have the runway clip included here so that you can see just how beautifully the dress moves. 

This Oscar de la Renta dress is stunning. It is red carpet worthy and would even make an amazing wedding piece for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. It is in fabulous condition. It is coming from the same estate of a woman I am just starting to go through who was personal friends with Oscar and she bought some of his most beautiful pieces. The dress is made from yards and yards of a black silk brocade that has a vivid teal blue pattern woven through the fabric. The silk he chose is just incredible. It has a black base with beautiful motifs woven through the silk. They become a design element in themselves. The silk is just heavy enough to hold the shape and structure of the dress but even with all of that fabric it is not so heavy that it is uncomfortable to wear. It has a full built in boned corset inside the bodice so you don't have to worry about additional underpinnings. I did add a crinoline to the dress for some of these photos so that you can get an idea of just how full the skirt is and see its full shape. I also photoed it without a crinoline so that you can see how it falls on its own. The bust is strapless and fitted with high peaks on each side of the bodice. They curve toward the centre with a scalloped pattern at the edge. It hugs the body, curving in at the waist, and then hugs over the top of your hips. The seaming is all done on the vertical to create that beautiful shape and give the the dress a sense of added length. It is cut to follow and highlight the curves of your body to below the hip. At each hip there is a panel of fabric added to create a fantastic curved ruffle. This acts like a modern day pannier and is quite a beautiful detail. The skirt flows directly out from the bodice with no seam at the waist to break the line. It is cut to sit slightly more sleek and flat at the front and then you have all that wonderful volume starting at each hip and going around to the back. The back of the dress is very dramatic. It is trained so that it flows out behind you in a dramatic swoop of fabric. There is a wide inner band of stiffened netting that circles the hem to help hold the skirt up and keep the shape rather then have it just drag behind you. The upper back is left bare and it is just impossibly wonderful. Those details combined with that spectacular colour make it one of the best gowns I have seen from this time period. It is a stunning example of Oscar's work. Excellent condition.

Unlined with ribbon finished seams. There is a full built in corset that closes with its own zipper and then the dress closes over that with a hidden set zipper. A wide band of stiffened netting finishes the hem as mentioned above. There is an inner grosgrain waist stay that hooks to close. I see a break in the silk that covers the interior netting at the hem but it is inside the dress so does not show at all. Tagged a size 2. 

Bust: 15.5" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Hips: open
Length: 53.5" from top of bodice to front hem, 75" to back hem

Modern Sizing Equivalent: XXS-SML

Item# DD3861

Reference Photos/Video: Fall 2006 Oscar de la Renta Runway Collection, Look 61. Model: Liya Kebede.

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

The twin of this dress was Look 70 on the Spring 2016 runway. In 2016 Valentino was headed by both Maria Grazia Chiuri and Pierpaolo Piccioli. They had stepped into Mr Valentino's shoes and were breathing new life into the brand. The show was based on Africa as its inspiration and at this period of time the world was watching refugees attempting the journey to Italy. In the Vogue review for this collection Maria and Pierpaulo were quoted as saying; 'We probably feel that the greatest privilege in doing our work is that fashion can give a message,” said Chiuri. “We think every person coming here is an individual, and we can show that we can improve ourselves by understanding other cultures.'... 'The message,' added Piccioli, 'is tolerance. And the beauty that comes out of cross-cultural expression.' Many of the pieces fused Italian and African traditions, 'They met in the textiles'. This dress was one of the simplest of the show but is also one of the most beautiful and best cut with its simple monastic lines. 

The dress is made from a high end silk crepe that is entirely cut on the bias. This is what lets it move so beautifully over the body once it is on. When you walk, the fabric and that back cape catch the air and billows out around you. The colour is a deep hunter green and the dress is the twin of the runway version so you can see exactly how it moves in the video added here. It is constructed so that it drapes on the body perfectly. The dress is suspended from the shoulders by straps that curve up from the fabric of the bodice at the front and then change to skinny little straps that run down the back. It plunges into a low V at the front and the back is deeply scooped so that your entire back is left bare. It skims over the waist and then the skirt falls to the floor in a sweeping expanse of fabric. The skirt is cut beautifully and gradually widens out as it nears the hem. That and the bias cut of it is what gives it the floating effect it has when you move. A low back panel of silk is set to follow the lines there and this panel is what gives the dress its caped feel. The dress has this clever wrap effect to achieve this at the back with the back panel simply snapping into place along the side of the waist. I love that where it snaps into place it creates the slightest fold that gives shape to the waist area. And how that same effect is done on the other side as well even though that side is sewn into place. The precision in cut to have these match and sit like that should not be underestimated. It is very beautiful. It has not been worn and still has it original Valentino hang tag. It is stunning and a beautiful example of how simple doesn't have to mean boring by any means. Excellent condition

Unlined with inner finished fresh seams. The inner dress has a low set zipper at the back and then the back panel wraps and closes with snaps at one side of the waist. Tagged a Valentino 38. The easy cut should fit a range of sizes. If you are not very big busted this might work on a medium as well. Original hang tag attached.

Bust: open at each side so variable. Each triangle is about 6" across at the base
Waist: 13.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 60" from the top of the shoulder to the front hem, 64" to the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3860

Reference Photos/Video: Spring 2016 Valentino Runway Collection, Look 70. Model: Bara Podzimkova.

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 piece is wonderful and shows the range of what Hanae Mori was capable of. It is simple and beautiful but still striking. It dates to the late 1970s, early 1980s and it is an absolute work of art. Hanae was the first woman of Japanese descent to have presented on the Paris and New York Runways and the first Asian woman to be admitted as an official Haute Couture house to La Chambre Syndicale de la Couture Parisienne. Her work is exceptional and plays a strong part of my own personal archives. I own the exact twin of this kimono and would never part with mine as it is so versatile. 

I have worn variations of this exact kimono for years now whenever I head out for the evening. It is the perfect pop of color over a dress and is light and luxurious feeling for evening. I have even in a pinch have wrapped and closed it with a large pin, or just wrapped and belted it with the matching belt, and worn it as a dress. It is absolutely stunning. This really shows her talent for taking traditional elements from her own culture and giving them a more western world twist in terms of modifying the cut. It is made of a red silk and lined in silk as well. The colour is beautiful red and that is softened with the pretty and romantic flower and butterfly print that covers its surface. The red of the silk is that perfect shade that flatters most skin tones and the print is done in a mix of pretty soft blues and greys. It has a matching sash belt that you can use to add shape and cinch in the waist. The sleeve are cut to be wide and full and the body is loose and easy. It looks to have never been worn or used and would be perfect to use as wedding kimono, to take on your honeymoon, or to top an evening ensemble. Of course it also works as a lingerie piece and a dress. It is the ultimate multi-tasker. The print that covers the kimono is hand screened and painted with hauntingly beautiful butterflies that flit across the surface of the silk. The butterfly is a Hanae Mori signature and I love that they are used with such romantic abandon on this kimono as they trail across its surface. Excellent condition

The kimono is fully lined with a pale soft purple/blue tissue silk and has no closures. This one comes with , its matching sash belt. The fabric is signed throughout. Tagged a S but the open, loose cut will allow it to fit just about any size. It looks like it has never been worn. 

Sleeves: approx 27" from the natural shoulder to the longest post they fall and are 23" around
Shoulder: no defined seam
Bust: to 22" flat across from side seam to side seam
Waist-hips: to 21" flat across the inner seam but adjustable with the sash
Length: 56" from neck to hem

Modern Sizing Equivalent: XS-LRG

Item# DD3857

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 a stunning dress that has a Saks Fifth Avenue tag and no other so its origins are a bit of a mystery. It is coming from the same estate of a woman I am just starting to go through. She bought a lot of Oscar de la Renta, Fath, Versace and other high end labels and you can tell that this a dress of quality even without knowing her label preferences. It is made out of a beautiful clear and true red matte silk satin. The fabric is just heavy enough to be able to hold the shape, but is still light enough that with every move it billows out around and behind you. The bodice is very unusual. At the front it is strapless and curves across your bust. At the back it has an almost racerback feel with the an angled cut that extends all the way to the high back of your neck. It then extends out and wraps around to form a collar that you see at the front. This gives the dress a bit of an edgy feel that I love. The bust is fitted and shaped to accentuate your curves. Below that the skirt is very full and billows out and around you beautifully. It is cut to be very full. It curves over the hips and then flows to the floor as it widens out. At the back it is cut longer then the front to give it a beautiful curve. Big soft pleats start at each side of the hips and then continue to the back. The way they are set into the base of the back give the skirt more fullness there and the effect is just beautiful. From the side this creates a beautiful curving angle from the waist to back hem. No matter what angle you see the dress it is stunning. It is just fabulous. Excellent condition

Fully lined in a red silk through the bodice and a the skirt is self based in a black. Built in inner skirts that give it the fullness that you see and then a red silk inner skirt under that. It closes with a back hidden set zipper.  Ribbon edged finished seams. It appears to have never been worn or worn very little.

Neck: 12.5" around
Bust: 16" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Inner hips: 22" flat across from side seam to side seam
Bodice: 15" from neck to waist
Skirt: 42" from waist to front hem, 48" to the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3858

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

Jacques Fath showed his first collection of just twenty garments in the spring of 1937. It was received well and he steadily built a strong clientele, eventually expanding into America. The label was shuttered in 1957 after Fath's death three years earlier. In 1992 the label was revived and for the next ten years or so continued to present runway collections. This dress is from that period in the 1990s and is a wonderful piece. It has a definitive nod to Fath's earlier work with its high Hollywood drama. It is fabulous. 

This is a wonderful cropped feather cape that is quite wonderful. The color of the feathers is a pale and pretty soft ivory. It hooks at the neck and then simply falls over the shoulders to wear. The neckline is quite high so that it frames the face beautifully. I love the short cropped cut to it and the way the feathers are set in distinct rows with a border of feathers around that to add a little interest and contrast. The choice of the soft down feathers gives it a pillow soft feel and makes it very romantic and feminine. It has that bit of a old Hollywood feel to it and the length means it can top just above anything from jeans to a full on wedding look. Excellent condition

Fully lined in a matching ivory silk organza set by hand and hooks at the neck to close. There is a slight bit of grubbiness to the feathers here and there but it is very minor. The easy cut should allow it to fit a range of sizes.

Neck: to 20" from hook to hook
Length: approx 16" from neck to hem including feathers

Modern Sizing Equivalent: OSFA

Item# S965

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

McQueen's Fall 2006's collection was called "The Widows of Culloden" and it was dedicated to his muse and friend Isabella Blow. The Alexander McQueen site says of this collection: "The inspiration here is highly personal – the designer’s own heritage – which goes at least some way towards explaining the exquisite hand-craftsmanship that goes into each piece as well, of course, as bird head-dresses and McQueen tartan. The collection is luxurious and romantic but melancholic and even austere at the same time. The silhouette – all nipped waists, bustles and exaggerated hip lines – is designed to exaggerate a woman’s form and each piece is unique, a one-off couture creation with emotional content intended to be handed down from generation to generation like the most precious of heirlooms." This was also the show where Kate Moss made the famous glass box closing look. Vogue described that feat by saying; "Only Alexander McQueen could provide the astonishing feat of techno-magic that ended his show. Inside an empty glass pyramid, a mysterious puff of white smoke appeared from nowhere and spun in midair, slowly resolving itself into the moving, twisting shape of a woman enveloped in the billowing folds of a white dress. It was Kate Moss, her blonde hair and pale arms trailing in a dream-like apparition of fragility and beauty that danced for a few seconds, then shrank and dematerialized into the ether." They went on to talk about the collection saying; "The quality of the performance—and the extraordinary workmanship in the clothes that preceded it—was a timely reconfirmation of McQueen's unique powers as a showman-designer, and a far cry from the more straightforward presentations he¿s given the last few seasons. For this collection, he delved into his past, revisiting his Scottish family roots and refining the contents of the rampaging tartan "Highland Rape" show with which he began his career in London in the early nineties. Shorn of its original rawness and anger, the result was a poetic and technically accomplished tale that involved romantic images of Scottish fantasy heroines wandering glens and castle halls in vaguely Victorian tartan crinolines, bird-wing or antler-and-lace headdresses, feathered gowns, and pieces made from brocades that might have been dragged down from ancient wall-hangings." I have also included a shot from one of the McQueen book pages that tells more on the show and mentioned these suits specifically. This was one of his most extraordinary shows and this suit is the twin of the full shot that walked the runway for Look 15 in that show. It is fabulous. 

The suit is identical to the one that walked the show. Very few of these would have been produced and it is amazing to have such an wonderful piece of his work in the shop and to have the full suit. A piece like this truly showcases McQueen’s strong tailoring background and master cutting abilities. The suit is made from a mens suiting fabric and gives a nod to his heritage and strong tailoring roots. The jacket is also cut with a nod to a traditional men's suit and then he has twisted and shaped the collar and brought in the waist to create a more feminine shape. I love that it still feels very refined despite its avant grade shape and cut. The shoulders are shaped and lightly padded to hold their shape. Each sleeve is cut on a slight curve in the proper manner of tailoring a sleeve. The body of the coat is shaped with a female body in mind and is cut in at the waist for shape. It closes with a single button there. I am obsessed with the collar. It is cut to be very over-sized and covers the entire upper bodice. The lapels curve around the neckline and run down to the button at the waist. It is wonderfully wide and has been finished with a series of properly done button holes that run around the outer edge. This gives it a very unusual detailing and I love that he did not do the all too obviously step of adding buttons. The back collar is rolled and secured with a stitch at each side to create height and shape. Under the waist the jacket skims over the hips. Pockets sit on each hip and they still have their original tacking. At the back it is cut to have a panel that flares out a touch. The skirt is as wonderful. It is cut with a flat front and no band around the waist. It is also high cut so curves up at the waist a touch. It flares out as it nears the hem and there is a panel of extra fabric set to one side. This flares out and moves when you move and is quite extraordinary. You really need to watch the runway clip to see just how stunning it in on and moving. The inside is lined in a copper toned silk that picks up on the colour of the exterior. The workmanship is meticulous and it is an absolutely beautiful and a rare piece of his work. It still has its original Bergdorf's hang tag and was never worn. Excellent condition. 

Both piece are fully lined in a copper toned silk. The jacket closes with a single button at the front. The skirt closes with a hidden set zipper. Both the skirt and the jacket are tagged a size 44. Padding on the shoulders and the pockets on the jacket have their original tacking to close them. It's original shop tag is still attached. 

Sleeves: 24"
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Waist: to 15.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: 61" from neck to longest point of hem

Skirt
Waist: to 14.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 30" from waist to shortest point of hem, 34" to the longest

Modern Sizing Equivalent:

Item# DD3856

Reference Photos/Video: (1-4) Fall 2006 Alexander McQueen Runway Collection. Look 15. Model: Ana Mihajlovic.  /  (5-6) From the book "Alexander McQueen" by Abrams and edited by Claire Wilcox.

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

Vogue's review of this collection was done by Hamish Bowles who said in part; "With their ironed hair, pale lips, and exaggerated doe-eye makeup, the leggy girls on Karl Lagerfeld's Chanel runway were channeling Penelope Tree, the iconic and kooky sixties model. With a major Chanel retrospective opening in May at the Metropolitan Museum of Art's Costume Institute, Lagerfeld also delved into Coco Chanel's history—specifically a 1920's liaison with the Duke of Westminster that saw her borrowing knits and tweedy pieces from his chic country wardrobe. Lagerfeld feminized his layered cardigan and plus fours with scarves twinkling with diamond camellias and topped them with adorable newsboy caps, knit cloches, or floppy berets." I love the nod to the tweed that the pieces had and the kicky skirts like this one are perfect to pair with a great boot. 

The suit is constructed from an absolutely stunning metallic tweed version of the Chanel signature fabric. The fabric combines a silk thread with mohair and a gold metal thread that he has worked through the entire suit. This gives it an exceptional but subtle sheen and a very luxurious feel. It is absolutely beautiful. To heighten that sense of luxury Karl added a rabbit fur trim to the jacket. The fur has been set to run down the front edges, curve around the back and then also circle the hem. It also details each cuff and the pockets. The jacket is cut in that classic Chanel box shape. The sleeves are long and I love the pockets that sit on each side. It hooks to close down the front with hidden set hook & eye so there is nothing to break the line. The skirt is cut with a slight flare as it nears the hem. It is set all the way around with series of wide flat pleats, giving that nod to the schoolgirl and the sixties the show was based on. The upper part of the skirt is more fitted around the hips and then it opens up to create the beautiful lines that you see. The entire suit is lined in the highest quality camellia flower embossed black silk. This is classic Chanel right down to the chain stitched by hand into the hem of the jacket. It is exceptional. Excellent condition.

Both pieces are fully lined in a black silk embossed with the Chanel camellia flower print. The interior hem of the jacket is finished with one of their signature metal chains. The skirt closes with a hidden set zipper. The jacket hooks to close down the front. Pockets on the jacket and the skirt. The colour and texture are even better in person. Both pieces are tagged a Chanel 40. There is the slightest bit of pilling to the silk on the interior of the jacket from rubbing against the skirt when it was stored. 

And just a note on their fabrics.... The Chanel boucle and tweeds are created with their proprietary method of weaving that they themselves describe as "by weaving the warp and weft, using a variety of different kinds of threads which creates a unique and somewhat irregular appearance. The warp – vertically strung – is the background of the fabric, the base that will support the assembly of materials. There can be up to 12 different threads used for a single warp. The weft – woven horizontally – gives the fabric its unique character and can have an unlimited number of threads. Tight, perforated, textured, thick, with a relief, plaited, random, twill… the potential number of effects is endless". This technique gives you that classic Chanel look.

Jacket
Sleeve: 25"
Shoulders: 15"
Bust: 19.5" flat across from side seam to side seam
Waist: 18.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 20" from neck to hem

Skirt
Waist: 15" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 22" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3854

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

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

The Davidow label was a manufacturer of suits and coats and made a name for themselves in the 1960s by starting to produce copies of Chanel. Which they did pretty amazingly and at a price more suited to those who could not afford couture (this time period pre-dated Chanels foray into ready-to-wear). These were sold through better shops throughout America and were widely popular. 

This coat is a marvel. It made me gasp when I saw it. It is very well made and the fabric is extraordinary. I doubt you will see another like it again. It is made out of a soft flat pile chenille type velvet in a combination of a deep red and a black on a white base. The base fabric appears to be a heavy, almost canvas type fabric and then the black and red chenille have been applied in a pattern onto that. The pattern is so intricate and it has a wonderful 3D effect. I love the care put into matching the pattern on the sleeves to the body of the coat. The horizontal rows run over the entire coat in an incredible and intricate design. The coat has a bit of a military feel to it and I love how the pattern is laid out to highlight the high collar and sculpted lines. Flap pockets are placed high on the breast on the front of the coat. They are perfectly set to follow the pattern and each has a large decorative gold toned dome button. The same big gold dome buttons run down the front giving the coat a neat and polished feel. The shoulders are soft and the sleeves are long. A matching belt cinches in the waist and adds shape. The fairly simple design of the coat allows that beautiful fabric to take centre stage. An interesting thing about this one, it closes almost all the way to the bottom hem so could be worn as a dress as well. Excellent condition with one minor note below

Fully lined in a black silk and closes with the gold toned dome button down the front. The top flap pockets are decorative only. Hidden working pockets along the seams at the front. Hand finished throughout. It appears to have been worn very little if at all but there is evidence that it was let out on the upper bust on both sides. It is fine as is or could be taken back in if needed.  Please see the final photo after the label for a close up of the seams there

Sleeves: 23.5"
Shoulders: 15"
Bust: 18" 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: 43.5" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C596

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

This is a beautiful example of Valentino's work that he was doing during the 1980s for his ready to wear boutique label. I have had the dress that matches this coat in the shop a very long time ago and was very pleased to find the coat after all these years. A couple of versions of it walked the runway that season and they were captured in runway shots where the models are decadently dragging the coats behind them in that very eighties runway kind of way. This one has hand hand written tag on it near the label so is possibly one of the actual pieces shown on the runway or was perhaps a special order. I love it.

This is that perfect over-sized, padded shoulder coat that feels suddenly so fresh again. It's overdone proportions were meant to balance out more fitted things underneath and that still holds true today. That impact of its volume mixed with that huge rose print is just fantastic. The coat is made out of a wool that has a felted feel to it. This gives it a lovely matte and soft texture that I am sure he did deliberately to mimic the velvet texture of a rose petal. It also softens the print and gives it a dreamy romantic feel. The coat is cut in that very eighties way with wide set, strongly padded shoulders. The sleeves are long and lean and the coat is a straight column from the shoulder to the hem. On the dress form it comes in a bit toward the bottom and it will do that a touch on an actual body too, but when laid out flat out it does have a very straight, long feel. Pockets sit low on each hip and a third one sits at one breast to giving it a touch of masculine suit cut. The collar is high and done in a ring of black velvet. That play between the masculine and the feminine is something that Valentino excelled at and this coat is the perfect combination of the two. It is perfectly representative of the feminine 'power dressing' look of this era. It looks to have been worn very little if at all. Excellent condition 

Fully lined in a quilted black silk satin and zippers to close at the front. Padded shoulders and all the pockets are functional. It is meant to be oversized so should fit a range of sizes.  

Sleeves: 24"
Shoulders: set over the natural shoulder due to the padding and are 17.5"
Bust: to 23" flat across from side seam to side seam
Waist-hips: 24" flat across from side seam to side seam
Length: 49.5" from neck to hem

Modern Sizing Equivalent: MED-LRG

Item# C595

Reference Photo: F/W 1985 Valentino Runway Collection

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

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

This is a lovely and classic feeling coat that is made from a slightly heavier weight black wool and this is what gives it its structure. It is cut in the manner of a longer pea coat feel with a more fitted upper body and then it flares out slightly through the lower half of the coat. Every line of this coat is fantastic. The collar is set to be oversized and sits across the front in this great curving notched affair that adds to the chic feel of this coat. A double row of buttons run down the front. The sleeves are long and each ends with the most amazing cuffs that are flipped over and notched on a curve to emulate the collar. All of the edges of the coat have been topstitched for a subtle detail that really emphasizes the lines and cut. This same stitching treatment edges the collar all the way around. Then it has a series of big thick round buttons that run down the front. It is very very well made and it is just incredible to see in person. The seams give it a wonderfully structured and sculpted feel and the dropped seam at the hip adds an interesting final detail. It is a gorgeous and chic vintage coat. It appears to have been worn very little if at all. Excellent condition 

Fully lined in a black silk and closes with the buttons at the front. Pockets hidden along the side seams. This is a medium to heavy weight coat and is beautifully made. Sizing is based on the shoulders and it is generous through the body so if you are small shouldered it may accommodate a bit larger size as well

Sleeves: 22"
Interior shoulders: 15.5"
Bust: to 20" flat across from side seam to side seam
Waist: to 21" flat across from side seam to side seam
Hips: 24" flat across from side seam to side seam
Length: 46" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# C592

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

Isaac Mizrahi presented his first collection at a trunk show at Bergdorf Goodman's in 1987. By 1992 Chanel had bought a stake in the company and Isaac's name was everywhere. He was doing custom work for clients and Hollywood on top of his mainline. In 1995 Isaac was the subject of the movie 'Unzipped' based on his Fall 1994 collection. He is known as much for his personality as he was for his clothing. The Council of Fashion Designers of America (CFDA) recognized him with the Perry Ellis Award (now called the Swarovski Emerging Talent Award) in 1988 and the women's wear designer of the year award in 1989. He loved to experiment and would often change his aesthetics from season to season. This is an amazing example of the custom piece that he was doing and comes directly from the client that worked with him and purchased it from him. 

My client had this dress custom made for herself and worked one on one with Issac on its design. It is a gorgeous dress and it really feels like its time period with its nod to Old Hollywood combined with a twist of modernity through the quirky placement of the bow at the back. It is made to demi-couture standards. The dress is very long and the lines have been kept simple. The bodice is molded and sculpted into a plunging V at the front and again at the back. The fabric on the bodice extends into the straps that curve up and over each shoulder. The simplicity of how it is made is what gives it is sculpted feel. The wonderful curving shape from there has all been created through long vertical seams. This means that there is no horizontal line at the waist to break the beautiful curves the dress creates. Even off of the body and on the hanger this one has curves. That is how well made and scalloped it is. The fabric that Isaac chose for the dress is a heavier silk matte satin that holds the shape he meant it to have but without being too heavy on the body. The light purple colour is beautiful. The photos have come close to capturing the colour but in person is a touch lighter and brighter and even better. It skims over the bust and waist and over the hips. Then at about the knee the lower skirt starts to begin to flare out in an angled and sculpted line. The lower skirting is set into the body of the dress on an angled seam and this clever seam placement helps to elongate the line of the dress to make you look supermodel tall. At the back of the skirt where it meets the rest of the dress there is an oversized bow that is also set on an angle that follows the seam there. I love how it makes a tremendous impact from the back as you walk away. Even from the front view you see that bow peaking out slightly on either side making you wonder what is there. The skirt is cut slightly longer at the back to create that beautiful shape that you see. All of the shaping has been creating by seaming and fabric placement and it really shows just how great Isaac could cut a dress. It is even better in person and once on an actual body it really comes to life as the skirt moves around you. Excellent condition

Fully lined in a matching purple silk and closes with a hidden set back zipper. The slightest bit of scuffing to the very back hem. Please see the last photo after the label shot. 

Bust: 17" flat across from side seam to side seam with an approx A-B cup
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 59.5" from top of shoulder to front hem, 62" to the back

Modern Sizing Equivalent: SML-MED

Item# DD3595

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 woman behind the Maggy Rouff label was Maggy Besançon de Wagner and she started her label in 1928 after working at the Drecoll Haute Couture atelier. After only one season in business the Maggy Rouf label became an official member of the Chambre de commerce et d'industrie de Paris. The label continued to produce Haute Couture until 1965. Maggy developed a staunch following for her work and for her gowns in particular. One of the hallmarks of her designs was that each piece had a main focal point. Like the stunning back panel on this dress for example. Draping techniques, as we see around the hip area on this dress, where also a signature element of her work. This is a stunning dress and her Haute Couture examples are rare and becoming increasingly valuable. 

This dress has all the hallmarks of Haute Couture that you want from this era. It is entirely made by hand and the fabrics that were chosen to make it are exceptionally beautiful. Two different fabrics have been combined to make the dress that you see here. The main body of the dress is made from a rich, luxurious silk brocade made from a gold metallic thread woven through on a purple silk. This gives the dress an exotic, royal feel, and the fabric seems to glow from within as it catches the light from every angle. The thread is woven into the silk and not just applied onto it as a print. This gives it a slightly raised texture to it that is beautiful to touch and feel. Maggy chose a fine matte silk satin in a brilliant purple hue to use for the straps that curve up and over each shoulder and for that incredible inset panel at the back. The dress is cut to skim over you and curve in at the waist for shape. It is cut straight across at the neckline and has a panel in a contrasting pattern that is draped across the bust. The waist is curved in and there is a hand draped gathering that runs softly across the front at the hips. This balances out the panel at the bust and helps to highlight and show your curves in that perfect Hollywood starlet feel of this time period. The back is jaw dropping. The straps curve down to a low set back to leave lots of bare skin exposed. It is gathered in at the back waist to create shape. Inset at the low back is a sweeping train of the purple silk satin. This cascades to the floor ad opens and widens out as it nears the hem to create a trained back skirt. At the small of the back a flat bow in the same purple silk is the perfect finishing touch. Inside the dress there is a fully boned and structured bodice along with a waist stay to hold the dress perfectly in place. This dress is an incredible piece of mid-century Haute Couture. Excellent condition.

The inner bodice is boned and set into the inner purple silk lining. This inner bodice layer closes with its own series of snaps and hooks that run down and behind a painted metal zipper that closes the outermost layer of the dress. An inner waist stay hooks to close. The back train is lined in a stiffened netting to help hold the shape and the hem is finished in dressmakers tape. Inner silk lining. The dress is completely made by hand to the Haute Couture standards of the period and is done with remarkable construction technique. There is one tiny area on the inner lining's hem that has a touch of fading, that of course this is not something you would ever see when on. Perhaps the tiniest bit of grubbiness to the trains hem but I am being extremely picky.  Otherwise appears to have been worn very little if at all

Bust: 18" flat across from side seam to side seam
Waist: 13.5-14" flat across from side seam to side seam
Inner hips: 19" flat across from side seam to side seam
Length: 58" from top of shoulder to front hem, the train extends another 10" ato its longest point at the back

Modern Sizing Equivalent: SML-MED

Item# DD3851

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

Say the name Zac Posen and you immediately think red carpet and glamour. He is one of the best known modern designers and his name was already a buzz with fashion insiders before he even launched his own self named label. He held his first fashion show at the age of 20 and that same year founded his own company, Outspoke, through which he opened his signature label. 2002 saw the debut of his first ready-to-wear collection and soon Natalie Portman was a fan, Vogue's Anna Winter threw in her support and the label was on its way. The label lasted until 2019 and was a red carpet favourite for all the years in between. My client told me that she had this dress for at least ten years and never ended up wearing it so it is as if it just stepped off a rack condition wise. A similar dress with some of the same design elements walked the runway for the 2014 season so I have dated it to that year. It is a stunning example of his work.  

This dress is just remarkable. It is very sexy and provocative once on the body. It is also in its original uncut length so perfect for my taller girls should they need the length yet would be alterable if you don't. The purple of it is very unique and in person it has a softer, dustier feel to it for lack of a better descriptive word. It is really stunning. The fabric is completely cut on the bias so off the body it is one ultra long swath of fabric but once on the body it settles around your curves and highlights everything perfectly. The front and the back are cut into a low V and then the waist nips it. The shape is all created by the most clever seaming that harkens back to the type of work they were doing in the 1930s. From the waist the dress curves out over the hips and then is cut inwards a bit so it sits along the legs. At about the knee the skirt flares out dramatically. When laid out flat the amount of fabric around the lower skirting is more than a full circle. When you move it moves and the effect is amazing. My photos don't come close to doing it its full justice and when it is on the body it really comes to life. If all of that were not enough it was then highlighted with series of raw edged, exposed seams that give it an almost futuristic feel and highlight the shape and curves of the body even more. It is incredible and even better in person and on a body. Excellent condition 

Lined in a mixed silk stretch fabric and has a hidden set zipper at the back. Bias cut and was never worn. Tagged a modern US 8 and the fabric does have stretch. The range given is the comfortable stretch laid flat. The bias cut will move to accomodate the body some as well. 

Bust: 17-19" flat across from side seam to side seam
Waist: 14-15" flat across from side seam to side seam
Hips: 18-21" flat across from side seam to side seam
Length: 66" from top of bodice to front hem, 70" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3852

Reference Photo: Spring 2014 Zac Posen Runway, Look 28.

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 Chanel Cruise collections have an interesting history. Gabrielle Chanel actually sailed and her love of the sport led to her inception of a 'cruise' collection in the 1920s. She was not the first to come up with this concept but hers were among the first to show a complete collection in a fully fledged show. They eventually fell off in popularity and it was not until Karl Lagerfeld took over Chanel that the cruise collections started again. I have had a version of this dress in the shop before and I added the photos of that one on me here. The scarf on this one is longer as is the back train so has even more drama. It is a very easy to wear dress with lots of impact, and of course, Chanel is never a bad idea. 

This Chanel dress is from the 2002 Cruise collection and it is phenomenal. It successfully marries an unexpected stretch jersey fabric choice with insets and draped panels of silk chiffon. The cut is pure evening, while the fabric has a more relaxed feel. This makes it wonderfully easy to wear and very comfortable once on the body. The colour of the dress is a deep midnight blue that almost appears to be black in certain lights. The fabric is light in weight but with enough substance to hold the shape and give it the wonderful curving shape through torso and the skirt that you see. The bodice of the dress is suspended by straps that curve over each shoulder.  One shoulder has looping panels of silk chiffon that you just fall over your shoulder. This panel then falls down the back of the dress all the way to the floor and a little past the hem for a very dramatic feel. The bodice is more fitted and a draped silk chiffon panel curves over it on both the front and back. The skirt is cut to hug your curves over the waist and hips. It then narrows in until it flares out in a dramatic expanse of chiffon and jersey at the hem. The back flares out behind you in a bit of a train and the bottom half of the skirt has a more transparent feel with its chiffon panels that are inset in points all-around the bottom portion of the dress. The movement that all these elements of the dress has once it is on is incredible. The double C logo sits on the top of one shoulder strap for the perfect finish. The construction is immaculate and it looks to have been worn very little if at all. Excellent condition

Fully lined in a matching blue silk chiffon and it zips to close at the side with a hidden set zipper. The fabric does have some stretch. It is tagged a Chanel 40. The fabric does have stretch and give so may accommodate a frame more towards a size large as defined by my size chart below 

Bust: to 18" flat across from side seam to side seam
Waist: 14.5" flat across from side seam to side seam
Hips: 18-20" flat across from side seam to side seam
Length: 59" from top of shoulder to front hem, 69" to the longest point at the back

Modern Sizing Equivalent: SML-MED

Item# DD3850

Reference Photos: Cherie, Owner of Shrimpton Couture, by Erin Leydon. Cherie is wearing a Magnetic Midnight X Shrimpton Couture 'Star Bright' Headpiece - available on the site here >

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

This dress is from the Nina Ricci Haute Boutique demi-couture label from the 1980s and it has that amazing eighties aesthetic to it. The Nina Ricci brand was founded in 1932, at 20 Rue de Capucines in Paris and quickly became one of the top couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant, as head of the brand. Over the following three decades, Pipart's couture vision 'celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day.' This dress fits perfectly into that aesthetic and I think it is absolutely fabulous. 

I love the bold cut of the dress combined with the richness of the black velvet and the luxuriousness of the silk taffeta. Using velvet allows the black on the skirt and the sleeves to be as deep and dark as they possibly could be. Then the use of the silk taffeta through the body offers this amazing contrast to that. It allows the body of the dress to become its own element. Before I even begin to describe the dress I have to tell you that it will truly only come to life on an actual body. Its genius  lies in the movement of the skirt and the shape and volume created through the body and the sleeves. I am actually seeing a lot of similar pieces on the runways this past season or so and they are all based on work like this. The sleeves are cut long and each narrows to a zipper cuff. At the top of each arm is an explosion of volume through the shoulders that is reminiscent of the earlier mutton sleeves. These modern versions are cut on a curve and to the same high level of tailoring that the sleeves of the far past would have been. The effect this creates and the volume it gives is remarkable. The silk taffeta that makes up the body of the dress runs from the neckline to past the hips and is gathered and curved to give you an hourglass feel. The neckline is a modified sweetheart and it curves over the breasts and is gathered in the centre where it is caught up with a large silk bow. It then follows your body to run over the waist and the upper hips where another bow sits off to one side. The skirt falls from under the silk taffeta and it is cut on the bias and done in the same velvet as the sleeves. It has a lot of fabric and is set on an angle with one side falling longer then the other. On the side that curves up there is a slit that runs right up to where the silk taffeta ends. This allows almost your full leg to show when you walk or sit. Trust me - once on the body this one is incredible. The dress is very well made with a hand set inner silk lining and that black silk interior gives it a rich and sensual feel. Excellent condition

Fully lined in a hand set black silk and closes with a back zipper. Inner waist stay that hooks to close. Each cuff has zippers to close. Hand finishes. It appears to have been worn very little if at all. 

Sleeves: 24"
Bust: to 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 58" from neck to longest point on the hem
Slit: approx 33" from the longest point of the hem to the top of the slit 

Modern Sizing Equivalent: SML-MED

Item# DD3849

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

The Nina Ricci brand was founded in 1932, at 20 Rue de Capucines in Paris and quickly became one of the top couture ateliers in the world. This dress is from the main Nina Ricci line and it is made to level that I would consider to be demi-couture. It dates to the Fall 2006 collection and its twin walked the runway on model Jeisa Chiminazzo. Designer Lars Nilsson was the head of the atelier at the time and he had been there since 2003. His take over of the label was met with rave reviews and he was asked to reinvigorate the then floundering label. He remained there until 2006 so this dates to mid-way of his tenure. In the review of the collection that season by Vogue, they were harsh of the sportswear looks presented but raved about the evening looks saying; 'What his soigné fans love him for is his easy way with a dress. Several of the versions he showed today featured an artsy, swirling print, while the others came in those multicolored layers of organza, chiffon, or silk gauze. His facility with such concoctions makes spring a natural for Nilsson.''

This was a standout piece from the show and it is gorgeous and even better in person. The dress is a fantastical confection of black netted tiers that run from the top of the dress to the hem. The upper shoulders and bodice are a single layer of the netting and this curves over the shoulders and across the upper back to give you a glimpse of the skin underneath. Over the bodice it is cut into a modified sweetheart neckline that is caught up in a long loose and easy tie at the center for added detail. Under that the dress skims over you to the floor and each layer of the netting lies over the one beneath it. These tiers expand out in width as they progress down the body gently widening out as the dress nears the hem. This cut is incredibly flattering as the netting moves with you for a sensual feel but it hides all and every flaw. To give the dress the high glamour that it has, each edge of every layer has a wide band of beadwork that circles all the way around you. These bands are collectively made up of thousands of tiny tube beads hand sewn into place and following the edges of the netting. The gloss of the black beads against the black net is gorgeous. I love that the runway shots give you a bit of an idea of just how wonderful the dress is on. It is truly magical.  Excellent condition.

Fully lined in a black silk and closes with a hidden set zipper set the side. Tagged a US6 / FR 38. It appears to have been worn very little if at all. 

Bust: 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 62" from shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3848

Reference Photos: Fall 2006 Nina Ricci Runway Collection. Look 34. Model: Jeisa Chiminazzo.

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

This is an incredible set that dates to the time period when Marc Bohan was head of the Christian Dior atelier. It is a beautiful and early example of the work being produced by Christian Dior in this time period. This is from the Christian Dior-London label and it was considered to be demi-couture from this time period of Dior's history. Pieces with this label where made for the London based Dior shops and the designs were based on the Paris collections. They were produced with many of the same high standard finishes that the Haute Couture pieces incorporated. The line was overseen by John Langberg who was the Artistic Director of Christian Dior London. Langberg would tweak the Paris looks of the house to meet the needs of Dior's London clients. All under the eye and approval of Mr. Bohan. It is exceptional and an excellent investment piece as well. Dior prices continue to skyrocket and finding early and stunning examples like and in this condition is getting harder and harder to do. 

This suit still feels perfectly on point for a modern girl which shows you just how well great design holds up even after 50+ years. The skirt is exceptional. It is cut in a sleek little flare that skims over the hips and then flares out with hidden flat inverted pleats at each side. The actual width around the botton hem stops just short of a full circle skirt. This is all achieved by the cut because there is no pleat work done around the waist. This would have taken a tremendous amount of fabric to achieve and wouldn't even be done in modern production outside of Couture. Around the waist the silk lies flat and neat and is very flattering. When you stand still the skirt lays flat and smooth but when you move you get an incredible burst of movement and volume. The skirt is suspended from a sleeveless top made out of lining fabric. This is a technique that you no longer see done because of the extra fabric it used and longer zipper requirements which also added to the costs. At this point in time though it was the proper way to have a skirt hang perfectly and be the most comfortable for the wearer. Then over that goes the little top that closes at the back with a zipper. It is cut to perfectly fall just over where the skirt underneath begins. It is cut with the slightest of curving in at the waist. It is beautifully constructed and it is cut to fit and flatter the body. The shoulders are soft and the sleeves are capped and simple. I love that there is no collar. It just simply cut with a wide set high scoop at the neckline. A large bow has been set off to one side at the back and partially snaps over the zipper. At the front it is gathered in slightly towards the middle and there is a little strip of fabric there that suggests that it is being held in place by that strip. It is genius and meticulously tailored. The fabric deserves its own mention as it is a very high end silk with a twill like finish. The colour is a beautiful bright pink fuchsia combined with white and it is stunning to see in person. If you are looking for a statement set this is it. It is simple, chis and elegant, yet extremely glamorous because of that stunning colour and silk fabric choice. Excellent condition

Both pieces are fully lined in an ivory silky rayon. The top zips to close at the back and the skirt with its attached lining also zippers to close. A bow snaps into place over the zipper of the top. There is some minor shattering of the inner lining of the top under the arms but they are clean and fresh otherwise and the lining is very stable. Please see the final shot after the label 

Top
Slightly dropped shoulders: 16"
Bust: 19.5" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Length: 17" from neck to hem

Inner Dress/skirt
Bust: 18.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from shoulder to waist
Skirt: 25" from waist to hem with 4" turned under the hem

Modern Sizing Equivalent: SML-MED

Item# DD3847

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

Kenzo Takada founded the Kenzo label in 1970 and the label is still in existense despite the loss of Takada on Oct 4, 2020. He was also the honorary president of the Asian Couture Federation. The Kenzo label was and still is a great success with a strong following. My client bought this in Paris and never ended up wearing it so it still has all of its original hang tags attached. On the runway it was shown with a longer skirt but the reference photo still gives you a great idea of how it looks like on the body.

Kenzo traveled the world and his designs often mixed in the influences from those travels. He would mix traditional Japanese cuts with Western tailoring methods and fabrics from around the world. The interior of the clothes were as important to him as to the exteriors and they are immaculately finished like this one. This suit is so pretty. The fabric is a soft flat pile velvet that holds the colour printed onto it perfectly. It looks like it should be heavy but it is actually light and easy to wear. The velvet is very fine and soft. The skirt is cut in a pencil shape until just above the knee and then it has a very full ruffled and gathered finish so that that when you move it flares out for a very pretty effect. At the very bottom of the hem under the gathered portion it is finished with a wide ruffle that adds to the pretty lines. For the skirt the lining is a gorgeous contrasting pink floral print on a white backdrop. Topping that is that darling little jacket. It is cut to be fitted to the body with long sleeves that end in a contrasting pink velvet finish at the wrist. This same pink velvet accents the lower portion of the collar. Huge colourful buttons run down the front. The waist nips in and then the hips flare out in a slight peplum. The jacket is lined a beautiful turquoise floral print so you get a lovely flash of colour if you wear it open. It was never worn and has its original hang tags. Excellent condition.

Both piece are fully lined as described above. The skirt has a zipper to close and the jacket closes with hidden set snaps under the buttons at the front. New with its original tags. Both pieces are tagged a 40 and are cut very generously in size. 

Jacket
Shoulders: 15" across
Sleeves: 21.5" long
Bust: 18" flat across the back from seam to seam
Waist: 17" flat across the back from seam to seam
Length: 18" from neck to hem

Skirt
Waist: 15.5" flat across from side to side
Hips: 19.5" flat across from side to side
Length: 30" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3846

Reference Photos: Fall 2005 Kenzo Runway Collection, Look 7. Model: Lindsay Ellingson.

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

Jean Louis is the designer who created that dress that Marilyn Monroe was sewn into when she sang Happy Birthday to  President John F Kennedy. Louis worked in the movies heading the costume department at Columbia Pictures before starting his own label in 1961. Once he began designing under his own label he concentrated on suits and evening wear and was known for his beautiful fabric choices.

You can always see the wonderful lines and attention to detail that those years of heading a costume department added to Jean Louis' already amazing talent. He truly knew how to cut a dress. This is a wonderful and early dress from his self-named label that is made out of a stunning silk brocade. The colour is amazing and in person you get more of a sense of the depth created from the way that the silk was woven. Several shades of pink are combined with soft greens for the base of the fabric. The design there has that soft water colour feeling and suggests a floral print. Then over that there is a more matte pink thread that has been woven on top of the underlying print. This gives it a very pretty and romantic feel. The silhouette of the dress still has that wonderful influence of the 1950s that you can see in its lines. It is beautifully made. The dress is cut to fall to a midi length with a more fitted bodice and full skirt. If you are shorter it will feel a bit longer on you. The neckline is scooped and cut wide across so you see a bit of collar bone. Slim sleeves fall to the elbow with a pretty gathered detail that curves around the arm. Below the bodice the waist nips in with a piped seam. The skirt flares out to be quite full under that. All of the volume of the skirt is created by the soft pleats set into the waist that then expand out as it reached the hem. A deep pleat sits at the middle of both the front and the back for even more fullness. The fabric is extraordinary. Excellent condition overall with a note to review below

Fully lined in a cream silk crepe and it closes with a hand set back painted metal zipper. Hand finishes throughout and very well made. The silk shows the beginning of some shattering along the edge of the hem of the skirt and on the edge of one sleeve. Turning up the hem a touch more would eliminate this if it bothered you. It is still strong and stable otherwise. Please see the photos after the label shot. It is completely wearable as is if you wanted to keep it at its present length. 

Sleeves: 16.5"
Shoulders: 14.5"
Bust: 18.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 14.5" from neck to waist
Skirt: 36" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3845

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 spectacular piece is by Pauline Trigere and is one of her best documented pieces even if you did not immediately recognize it. It's twin was featured in one of the most iconic editorials ever for the December 1966 issue of Vogue that was lensed by Henry Clark. The entire editorial was shot on location in Turkey. The fashion details in that issue described this piece as a: "High waisted drift of sun printed chiffon with a toga-scarf. By Trigere of Staron silk". This is an exceptional example of her work and I love that you can play with the attached scarf to create a number of ways to wear it. You are only limited by your own imagination.

When you look at the photos from Vogue, or the photos here, especially the published one, you think this is a dress. However it is actually a jumpsuit with extremely wide cut legs. Inside there is a built in body suit in a nude crepe lingerie fabric that keeps the semi-transparent fabric of the legs from being too scandalous. This inner suit is cut long and seems to extend down past where the leg meets your torso. I think this would give you the option of wearing the pant higher up if you were small enough. The silk used is almost weightless and the colours in it combine pink with a pale mint, shades of coral and a tangerine colour, to give it the feel of a sunset. Which was the exact mood it was shot for in Vogue. The pants flow to the floor and are cut to be extremely wide and full. A long panel of fabric is attached at the front under the waist band and gathered. This can be worn several ways. I have shown it swooped up and over one shoulder like they did for the Vogue shoot and I also curved it up one side around the neck and then tucked  it under itself to create a halter that leaves the back completely bare. You could even add a belt to really secure it in place. That front panel actually extends down past the hem in length so there is a lot of fabric to play with for styling. In the photos the model wore a body suit under it and you could do the same or even just wear a bandeau or a skimpy halter to allow more skin to show. It is a very unusual design and I love it. I purchased this years ago I and was told it came from a models closet so there is the possibility that it actually is the actual piece used in this shoot. It is very beautiful. Excellent condition with a note below.

The pants and front panel are unlined. There an attached nude crepe half bodysuit inside the pants. This inner piece zips up the back with a painted metal zipper. The silk of the pants then snaps in place over the bodysuit to fully hide it. Hand finishes. Has a hand numbered tag inside #159. I see wear and repairs to the fabric on the inside band of the waist where it hooks to close. Please see the photos after the label shot

Top band of waist/Underbust: to 14" flat across from side seam to side seam
Hips of inner body suit: 19.5" flat across from side seam to side seam
Length of inner suit: 23.5" from top of band to inner seams
Pant length: 45" from top of band to hem with a 4.5" turned up interior hem
The front attached fabric panel is 56" long from where it is inset to the hem

Modern Sizing Equivalent: XS-MED depending on how how you wear it

Item# DD2996

(1) Editha Dussler in Pauline Trigere, from the editorial Eastward to Eden, Vogue, December 1966. Shot by Henry Clarke. (2) Outtake from that same shoot.

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

Holly Harp opened a shop LA in the late 1960s and created custom clothing under the Holly's Harp label. She tended to create her clothing out of a hodge-podge of new and old materials. In the beginning she favored things like feathers and fringe but her aesthetic became more 'grown up' and glamorous as her career progressed and she started to focus more on jerseys and draping. She was an avid thrifter and you can often see the influence of earlier decades in her work like with the kimono-esque hand painting and embroidered work on this piece. 

This is an amazing dress that is so unusual and avant garde. It was very difficult to photo as it really need a moving body underneath it to really bring it to life. You can wear it in so many ways and I think once on the body you will quickly figure out the best way to wear it on yourself. It is one of the most interesting design pieces I have ever had in the shop. It is made from a beautiful fluid silk done in a rich ombre toned yellow that has a hand painted design on parts of it done in a brilliant purple. Black stripes are worked into the design as well and these highlight the line and cut. The silk also has dots that are woven directly into the fabric and these are finished with a different sheen so that they catch the light. To wear it you wrap the inner skirt part around you and secure it with a button at the side. The waist of this inner skirt has elastic so it will accommodate a range of sizes. From the skirt that entire upper body of the dress extends out as one extremely long panel. The motion of twisting it over and around the front of you is what keeps the side opening of the skirt covered and secure. Part of the way along that panel is the opening for the neck and it is at this point that it gets fun. You can literally wear it in as many ways as you can think of and I did all these options just by changing the way it drapes. Add a belt to help hold configurations in place and you would have a whole new slew of styling options. By changing the way you wear the upper draped part of the dress you get a whole different feel of the outfit. On the one long panel there is a crane applied onto the silk and there are also little squares of metallic gold thread that have been used to give just a little extra glint of high glamour. This subtle pop of gold is wonderful. The entire thing is meant to be worn loose and easy but you could also add any kind of belt for some added shape and it would look equally as incredible. It also comes with a little cream coloured stretch body suit that you can wear underneath. This is a set that really transforms on an actual body and is even better when on and moving. It is truly an incredible once in a lifetime vintage find. Excellent condition

Both pieces are unlined. The skirt slips on with elastic at the waist and then buttons to close at the side. The top portion is attached and as described above. The body suit does not have her tag in it but did come with it so will be sent with the dress. The loose and easy cut should work on a full range of sizes. Larger sizes might not be able to use this bodysuit but you could easily substitute a larger modern one in its place. The size range is based on the dress. 

Body suit
Bust: 13-17" flat across from side seam to side seam
Waist: 11-14" flat across from side seam to side seam
Hips: 13-17" flat across from side seam to side seam
Length: will stretch to approx 32" from top of shoulder to inner seam

Skirt
Waist: 13-18" flat across from side seam to side seam
Hips: open
Inner skirt length: 38" from waist-hem
The attached panels are several yards long

Modern Sizing Equivalent: SML-LRG

Item# DD3843

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 am always thrilled to find a really great Emilio Pucci piece. The truly great ones are getting very hard to find and this one is exceptional. By the 1960s, the time period that this dress is from, Pucci was a world-wide phenomenon. Hollywood stars like Marilyn Monroe, Sophia Loren and even Jackie Kennedy were huge fans. For all of the many attempts since to catapult the label back to the height of its glory, the days when Emilio himself oversaw the label and designed the prints will always be the most special to me. This dress is gorgeous. 

This is one of the prettiest Pucci dresses I have ever had in the shop. It is very unusual to find one that sits off the shoulders like this one does and I love it. It is done in a gorgeous combination of a pink and yellow print that is worked onto a soft pastel peach backdrop. In person the overall effect is a little softer and more pastel feeling then how it photoed. These colors are combined into a soft and romantic floral design that sweeps over the entire dress. As is typical in a Pucci dress, he has used bands of a different printed silk to define each section of the dress. On this dress these borders are pretty little curving flourishes rather than the typical geometric print that his borders are usually finished with. This adds to the soft and feminine feel it has. The cut is very flattering. It sits off the shoulders so that your shoulders are left bare. A band of the border runs all the way around and the back dips into a very subtle V. Under the neckline border is a ruffle that falls over your arms and across the back and bust. I love this because when you move it has a gentle movement that just is beautiful. It is cut to skim over the body and with just a suggestion of a waist. From there the skirt flares out to the floor gradually widening out quite a bit as it nears the hem. There are yards and yards of silk in it. I love how it is all cut on the bias so the dress has the most incredible movement and fullness as it swirls around you. It is very feminine but sexy at the same time. I absolutely love it. Excellent condition with one small note below

Fully lined in a white silk chiffon and closes at the side with a painted metal zipper. I one dot of a mark near the side at the front. It is very tiny and nothing you would notice when on. Please see the photo after the label shot

Shoulder opening: to 19" across
Bust: 18.5" flat across from side seam to side seam
Waist: 15.5" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Length: approx 56" from top of the off shoulders to the hem

Modern Sizing Equivalent: SML-MED

Item# DD3844

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 three tops that my client had made about 15 years ago using a combination of new with antique / vintage fabrics and detailing from various 1920s pieces that were beyond repair or found as fragments. Each is a one off and the only one like int ever made. This one uses a vintage silk kimono fabric for the body of the top that is a bright coral orange colour and is just fantastic. The top is cut into an easy to wear sleeveless tank that you just slip over the head to wear. The main part of the top is made from the kimono fabric and then there is a solid coloured matching silk stripe that runs down each side. The upper shoulders are made from a pretty pastel turquoise silk chiffon. I love the colour combination and contrast that the two colours create. Hand applied to the front is a fantastic found hand beaded piece and embroidered fragment from the twenties. This is set to follow the scoop of the neck and trail down the front. Her tailor was couture trained and all three of these tops are beautifully made. Excellent condition 

Unlined and slips on to wear with a hook and eye at the back of the neck. It appears to have never been worn or worn very little. The loose and easy cut should allow it to fit a range of sizes. 

Bust-hips: 19" flat across from side seam to side seam
Length: 23" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# S958

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

This jacket is from the Yves Saint Laurent variation line which was an experimental lower priced lined that last for a short time period during the 80s. Most of the pieces you see from it are not what I look for from his work on a day to day basis but this jacket had such great lines I could not resist picking it up. There was just something so young and fresh about it and it is really in par with the regular label snd what he did in the couture line for this type of look that I decided to make an exception. It is quite fabulous actually. 

The cut of the jacket is magnificent and it has all the fullness and impact of its more couture counterparts. The cut through the body is very full and meant to b oversized. Each sleeve is also cut to be incredibly full and then narrows down a bit as it reaches the cuff. The body of the coat is made from a deep copper coloured nylon that has a bit of a metallic finish to it. This is then lightly padded inside and cross quilted so you get a bit of a puff jacket feel. The neck line is high and it has no closures down the front. It simply settles into place after slipping it on. There are pockets on each hip. To give it more of a wow factor it has been edged in a deep dark shaved fur that I believe is shaved fox. This runs round the neck and then down the front to curve all the way around the hem. Each sleeve ends in a ring of the same fur. The fur has an added bit of texture created by cleverly shaving it into the pattern that you see. Inside it is fully lined in the fur as well except for the sleeves that have an inner quilted lining. I love the contrast between the metallic colour and the statement the fullness of the jacket makes. Excellent condition.

Fully lined in the same fur as the exterior detailing with the sleeves finished in a quilted lining. It has no closures at the front and just slips on to wear. Pockets on each side. Padding in the shoulders. It appears to have been worn very little, if at all. It is meant to be worn oversized

Sleeves: 23"
Shoulders: have padding and extend beyond the natural shoulder so will work on a range 
Bust: to 24" flat across from side seam to side seam
Waist-hips: 26" flat across from side seam to side seam
Length: 29" from neck to hem

Modern Sizing Equivalent:SML-LRG

Item# C586

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

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