This exquisite Pierre Balmain Haute Couture dress is a stunning and very rare example of what the house was producing during this time period. It is true Haute Couture and has been entirely made by hand to Haute Couture standards. It is from the Spring 1956 collection and a long full length version of the dress was photoed on Renée Breton. I love having the reference photo of it as it gives you a very good idea of how wonderful it will be on. Besides being a very wearable cocktail dress and an extraordinary piece of fashion history, this would make a stunning wedding choice for the bride looking for something not as traditional or as an option for an event over a wedding weekend.

The dress is made from the most exquisite French Alencon lace. Alencon lace is characterized by a delicate mesh work motifs surrounded by a raised rim of fine silk cording. Though it can now be made by machine  the lace used on this dress would be the authentic hand made version and would have been made and brought in specifically for this dress. The silk cord has been meticulously hand applied to the lace to follow and define each delicate motif within the pattern. The lace runs from just under the high set waist to the hem and it is breathtaking to see. At the hem the lace has been hand stitched onto a silk organza edging for a very refined finish. For the bodice he chose a simple silk jersey. It is strapless and cut to hug the body. The silk has been hand draped over the bodice in soft folds. The folds are set on a slight angle and in the center a section has an an opening on either side. Through that winds a wide black silk taffeta sash that follows under the bust and then ties at the back. The use of the contrasting black ribbon adds a stark contrast to the ivory and also visually cinches in the waist area. The skirt billows out to a beautiful fullness beneath the nipped in waist. The shape and fullness that you see is all built in. Under the top layer of lace there are layers of silk netting and tulle. The inner construction of the dress is absolutely exquisite. The bodice has a boned lingerie net corset that is made entirely made by hand and to Haute Couture standards. It has several straps that wrap around you to help hold the dress in place and built in cups. Under the skirt there are a three full layers of silk tulle and netted underskirts. I did not add any additional crinolines for these shots but you could create an even fuller shape by adding another underskirt. It is a beautiful example of the very early work that the House of Balmain was doing and a wonderful example of the golden years of Haute Couture. It is a work of art. Excellent condition with some minor notes to review below.

Fully lined in a ivory silk with extensive boning, inner construction and skirting. It closes with an intricate combination of chest and waist stays that hook to close and there are two zippers. One closes the inner corset and the other closes the exterior dress. The inner layers of the skirt are attached with some having addition half layers at their hems for additional volume. The innermost skirt is interlined with netting and the built in corset is made of lingerie netting, metal boning and padding that has been made by hand. Proper Haute Couture label and tape underneath, though the writing on the couture tape under the label has faded to almost nothing. I see a couple of small areas of darkening to the inner bodice. On the exterior bodice there are very light changes in color at the across the sides near the arms. There is a mark near the top of the zipper and the lace at the bottom of the zipper is a little fuzzy looking. Please see the photos after the label shots.

A small note for brides. The Black sash is just lightly tacked onto place and could easily be removed, set aside to keep, and yo could then switch it out to an ivory (or to any other color) if the black was too stark. You could then have it fall as long as you wish as well.

Bust: 15" flat across the back from side seam to side seam with cups built in that would fit an A or smaller
Waist: 11.5-12" flat across from side seam to side seam
Hips: open
Bodice: 5" from top of bodice to seam under front cups
Skirt: 36" from seam under the cups to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3344

Reference Photos: Renée Breton in Pierre Balmain, 1956. Photographed by Georges Saad

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

The Balmain transformation from what it was originally to what it is today began when they hired Christophe Decarnin. He was the designer that gave it its edgy feel that has continued to the present day under Olivier Rousteing, the label's current Creative Director. When the Fall 2008 collection showed Vogue's Nicole Phelps said in part: 'And as promised, Spring's haute hippie feathers, fringe, and tie-dye were replaced by an all-Billy Idol soundtrack and enough leopard-print chain mail, python-pattern denim, and crystal-embroidered lightning bolts to make you wonder if there was anything at all left on the shelves at Trash and Vaudeville. To be fair, Decarnin's creations are much finer than the East Village emporium's, but they appeal to a similar kind of chick, one with a killer body and an active nightlife.' The twin of this dress closed the show and it is perhaps one of the most memorable and significant pieces that Decarnin designed for the label. It was produced in very limited quantities and instantly sold out world wide despite a very hefty retail price. 

The dress is incredible and the skirts are all still their original lengths. I note that as I have only ever seen one other of these for sale and it had its skirts shortened at some point. The length is integral to the design in many ways. The skirt panels are incredibly long and light in weight so that when you move they float and billow around you as you can see in the runway footage. Above the skirts it is extremely fitted long curving bodice that is constructed to highlight your every curve. On the interior of the bodice there is a full boned corset with built in cups. The corset is cut to run from the bust to the top of the hips so that you are molded and shaped into place. On the outside the silk is hand draped and placed into position to form soft gathers that run around you. A huge zig zag bolt runs down the front. It is densely covered in crystals and it separates the prints on either side of you. The silk on one side is zebra and the silk used for this is a light scarf weight silk. The other side is finished in a black and white leopard print. On that side the silk is more of a silk faille and slightly heavier in weight then the zebra printed silk is. This change in weights of the silk is genius because it means that the way the silk moves in the skirts changes and you get more movement. The crystal covered panel that divides the two printed sides curves over just one shoulder and then runs down the front in the dramatic zig zag that you see. At the back it extends just past the shoulder and curves to the side. To close the dress Decarnin  has used one of the signature chunky Balmain zippers to divide the two prints. The zipper is set on a curve that follows the curve of your body and it becomes an incredible design detail in itself. The dress is fitted to the top of the hips and then the skirts flare out into long trains of fabric. The predominant part of the skirt is made from the leopard print and this is set on a curve at the hem that extends out to the side and to the back. There is a smaller panel at the front that is made out of the zebra print silk that also extends out and back. Where the two fabrics meet at the front side, they are only attached at the to and not together. This means that an opening is created that goes right up to the top of the thigh. When you move your entire legs shows. We have included the runway footage for reference so that you can see just how incredible it is when it is on and you walk. Excellent condition with a minor note below.

The inner bodice has a fully built in boned corset made from a nude colored lingerie stretch corseting nylon fabric that has built in cups and is finished by hand. The fabric is hand draped over this and the crystals and lightening bolt have been attached by hand. It closes with a curved set zipper that allows the form fitting construction of the dress. Tagged a 40. There are a couple of small repairs along the hem of the trained skirts. Some tiny pulls in the silk of the bodice. Please see the photos after the label shot. Hand finished throughout. The inner foundation garment does have some stretch. You might be able to squeeze out a bit more room when on a real body.

Bust: 15-17" flat across from side seam to side seam
Waist: 11.5-12.5" flat across from side seam to side seam
Hips: 16.5-17.5" flat across from side seam to side seam
Bodice: 33" from top of shoulder to bottom of inner foundation garment
Skirt: 28.5" from bottom of inner foundation garment to shortest hem, 53" to the longest hem

Modern Sizing Equivalent: XS-MED

Item# DD3115

Reference Photos: F/W 2008 Balmain Runway, Final Look.

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 Balmain transformation definitely began while under the tutelage of Christophe Decarnin. He was the designer to bring 'more hard rock and punk' to the label, which has continued to the present day under Olivier Rousteing. The review from Vogue that year stated: 'Was it just coincidence that Christophe Decarnin showed his Balmain collection in the same room—the swimming pool at the Ritz—that Gianni Versace used for his couture spectaculars? There was certainly an almost Gianni-like gaggle of fans jostling outside, and a heated buzz of anticipation in the house for the man whose frank embrace of rock-chick bling, rounded "tennis ball"-shouldered jackets, and elaborate jeans have shot him to the position of No. 1 most copied designer in the space of two seasons. The choice of venue only added to the sense of expectation heaped on Decarnin's performance as fashion's latest appointed savior of good-time, high-sparkle, downright sexy dressing.... The cult peaked-shoulder Balmain jacket was reiterated in force: same signature shape, now manifested as a leather biker as well as a tuxedo jacket, and often paired with new drapey harem pants or skinny jean-cut black trousers. Every look was thrust into deep-cuffed suede boots with a stack of silver buckles running up the side. What is interesting is that just this past season this high 'Pagoda' shoulder was shown in the latest Balmain and Balenciaga runways for the Spring 2021 season. None of them hit the same mark as this does with its additional embellishments. I love this one and it is a very collectible piece of future vintage and is certainly important for the person archiving important pieces now. 

The jacket is made out of a black cotton velvet and this fabric choice gives it a rich edgy feel while allowing the exact shape intended to be kept. It has an almost sculptural feel to it. The shoulders are extremely strong and set in high peaks shaped by  extensive padding sculpted underneath. The sleeves fall from there and as you get closer to the piece you see how the fabric has been pieced together and seamed using proper couture techniques so that they fall perfectly. The bodice of the jacket is nipped in at the waist to give contrast to the amazing shoulders. This is all done by vertical seaming and shaping. Set inside the front edge is a lingerie inspired panel that hooks to close like a corset. This is a stunning detail that is hidden like a little secret from all but the wearer when the jacket is closed. Around the neck and running down the front is a raw edged silk tulle detailing that has a wide band of glass rhinestones, metal studs and silver chain set the full length of the jacket. Where it reaches the lower hem of the jacket it extends past another 11 inches to end in a raw edged tulle ribbon and chains. It is an incredible piece and you can see on the runway shots and video just how incredible it moves and sits on the body. It appears to have been worn very little if at all. Excellent condition 

Fully lined in a black textured fabric and closes down the front with metal hook & eye as shown. It is tagged a modern Balmain 40. It appears to have never been worn or worn very little. Padded and sculpted shoulders

Sleeves: 21"
Shoulders: inset and approx 15" inside
Bust: to 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 22" from neck to hem and the embellishments extend down past that 11"

Modern Sizing Equivalent: SML-MED

Item# S927

Reference Photo: Sasha Pivovarova for Fall 2009 Balmain Runway, Look 17.

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3568

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

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

This was a key piece from the 2015 Balmain Resort collection and its twin was Look 29 on the runway. The skirt has never been worn and it still has all of its original tags. This collection created a frenzy for the pieces offered and this skirt in particular sold out and was wait listed world wide. It has that curved and fitted cut that Balmain is known for and has the added dimension and texture created by what it is made out of. The black and white stripes that you see are a raffia feeling material that is set in horizontal rows. This gives the skirt an extra dimension and depth that it would not have otherwise. It is cut to sit high up on the waist and is fitted to hug your hips. At the back is the signature Balmain chunky zipper. It has all its original tags still attached and has never been worn. Excellent condition.

Fully lined with their signature black ribbed fabric and closes at the back with the zipper you see. Tagged a modern 40. All original tags attached including an attached StyleBop return tag. Unworn.

Waist: 13" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 23" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S913

Reference Photos: (1) Resort 2015 Balmain Collection, Look 29.  /  (2-3) Erica Pesolini, Paris Fashion Week, Fall 2015.

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

This exquisite Pierre Balmain Haute Couture dress is a stunning and very rare example of what the house was producing during this time period. It is true Haute Couture and has been entirely made by hand to Haute Couture standards. It is from the Spring 1956 collection and a long full length version of the dress was photoed on Renée Breton. I love having the reference photo of it as it gives you a very good idea of how wonderful it will be on. Besides being a very wearable cocktail dress and an extraordinary piece of fashion history, this would make a stunning wedding choice for the bride looking for something not as traditional or as an option for an event over a wedding weekend.

The dress is made from the most exquisite French Alencon lace. Alencon lace is characterized by a delicate mesh work motifs surrounded by a raised rim of fine silk cording. Though it can now be made by machine  the lace used on this dress would be the authentic hand made version and would have been made and brought in specifically for this dress. The silk cord has been meticulously hand applied to the lace to follow and define each delicate motif within the pattern. The lace runs from just under the high set waist to the hem and it is breathtaking to see. At the hem the lace has been hand stitched onto a silk organza edging for a very refined finish. For the bodice he chose a simple silk jersey. It is strapless and cut to hug the body. The silk has been hand draped over the bodice in soft folds. The folds are set on a slight angle and in the center a section has an an opening on either side. Through that winds a wide black silk taffeta sash that follows under the bust and then ties at the back. The use of the contrasting black ribbon adds a stark contrast to the ivory and also visually cinches in the waist area. The skirt billows out to a beautiful fullness beneath the nipped in waist. The shape and fullness that you see is all built in. Under the top layer of lace there are layers of silk netting and tulle. The inner construction of the dress is absolutely exquisite. The bodice has a boned lingerie net corset that is made entirely made by hand and to Haute Couture standards. It has several straps that wrap around you to help hold the dress in place and built in cups. Under the skirt there are a three full layers of silk tulle and netted underskirts. I did not add any additional crinolines for these shots but you could create an even fuller shape by adding another underskirt. It is a beautiful example of the very early work that the House of Balmain was doing and a wonderful example of the golden years of Haute Couture. It is a work of art. Excellent condition with some minor notes to review below.

Fully lined in a ivory silk with extensive boning, inner construction and skirting. It closes with an intricate combination of chest and waist stays that hook to close and there are two zippers. One closes the inner corset and the other closes the exterior dress. The inner layers of the skirt are attached with some having addition half layers at their hems for additional volume. The innermost skirt is interlined with netting and the built in corset is made of lingerie netting, metal boning and padding that has been made by hand. Proper Haute Couture label and tape underneath, though the writing on the couture tape under the label has faded to almost nothing. I see a couple of small areas of darkening to the inner bodice. On the exterior bodice there are very light changes in color at the across the sides near the arms. There is a mark near the top of the zipper and the lace at the bottom of the zipper is a little fuzzy looking. Please see the photos after the label shots.

A small note for brides. The Black sash is just lightly tacked onto place and could easily be removed, set aside to keep, and yo could then switch it out to an ivory (or to any other color) if the black was too stark. You could then have it fall as long as you wish as well.

Bust: 15" flat across the back from side seam to side seam with cups built in that would fit an A or smaller
Waist: 11.5-12" flat across from side seam to side seam
Hips: open
Bodice: 5" from top of bodice to seam under front cups
Skirt: 36" from seam under the cups to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3344

Reference Photos: Renée Breton in Pierre Balmain, 1956. Photographed by Georges Saad

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

The Balmain transformation from what it was originally to what it is today began when they hired Christophe Decarnin. He was the designer that gave it its edgy feel that has continued to the present day under Olivier Rousteing, the label's current Creative Director. When the Fall 2008 collection showed Vogue's Nicole Phelps said in part: 'And as promised, Spring's haute hippie feathers, fringe, and tie-dye were replaced by an all-Billy Idol soundtrack and enough leopard-print chain mail, python-pattern denim, and crystal-embroidered lightning bolts to make you wonder if there was anything at all left on the shelves at Trash and Vaudeville. To be fair, Decarnin's creations are much finer than the East Village emporium's, but they appeal to a similar kind of chick, one with a killer body and an active nightlife.' The twin of this dress closed the show and it is perhaps one of the most memorable and significant pieces that Decarnin designed for the label. It was produced in very limited quantities and instantly sold out world wide despite a very hefty retail price. 

The dress is incredible and the skirts are all still their original lengths. I note that as I have only ever seen one other of these for sale and it had its skirts shortened at some point. The length is integral to the design in many ways. The skirt panels are incredibly long and light in weight so that when you move they float and billow around you as you can see in the runway footage. Above the skirts it is extremely fitted long curving bodice that is constructed to highlight your every curve. On the interior of the bodice there is a full boned corset with built in cups. The corset is cut to run from the bust to the top of the hips so that you are molded and shaped into place. On the outside the silk is hand draped and placed into position to form soft gathers that run around you. A huge zig zag bolt runs down the front. It is densely covered in crystals and it separates the prints on either side of you. The silk on one side is zebra and the silk used for this is a light scarf weight silk. The other side is finished in a black and white leopard print. On that side the silk is more of a silk faille and slightly heavier in weight then the zebra printed silk is. This change in weights of the silk is genius because it means that the way the silk moves in the skirts changes and you get more movement. The crystal covered panel that divides the two printed sides curves over just one shoulder and then runs down the front in the dramatic zig zag that you see. At the back it extends just past the shoulder and curves to the side. To close the dress Decarnin  has used one of the signature chunky Balmain zippers to divide the two prints. The zipper is set on a curve that follows the curve of your body and it becomes an incredible design detail in itself. The dress is fitted to the top of the hips and then the skirts flare out into long trains of fabric. The predominant part of the skirt is made from the leopard print and this is set on a curve at the hem that extends out to the side and to the back. There is a smaller panel at the front that is made out of the zebra print silk that also extends out and back. Where the two fabrics meet at the front side, they are only attached at the to and not together. This means that an opening is created that goes right up to the top of the thigh. When you move your entire legs shows. We have included the runway footage for reference so that you can see just how incredible it is when it is on and you walk. Excellent condition with a minor note below.

The inner bodice has a fully built in boned corset made from a nude colored lingerie stretch corseting nylon fabric that has built in cups and is finished by hand. The fabric is hand draped over this and the crystals and lightening bolt have been attached by hand. It closes with a curved set zipper that allows the form fitting construction of the dress. Tagged a 40. There are a couple of small repairs along the hem of the trained skirts. Some tiny pulls in the silk of the bodice. Please see the photos after the label shot. Hand finished throughout. The inner foundation garment does have some stretch. You might be able to squeeze out a bit more room when on a real body.

Bust: 15-17" flat across from side seam to side seam
Waist: 11.5-12.5" flat across from side seam to side seam
Hips: 16.5-17.5" flat across from side seam to side seam
Bodice: 33" from top of shoulder to bottom of inner foundation garment
Skirt: 28.5" from bottom of inner foundation garment to shortest hem, 53" to the longest hem

Modern Sizing Equivalent: XS-MED

Item# DD3115

Reference Photos: F/W 2008 Balmain Runway, Final Look.

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 Balmain transformation definitely began while under the tutelage of Christophe Decarnin. He was the designer to bring 'more hard rock and punk' to the label, which has continued to the present day under Olivier Rousteing. The review from Vogue that year stated: 'Was it just coincidence that Christophe Decarnin showed his Balmain collection in the same room—the swimming pool at the Ritz—that Gianni Versace used for his couture spectaculars? There was certainly an almost Gianni-like gaggle of fans jostling outside, and a heated buzz of anticipation in the house for the man whose frank embrace of rock-chick bling, rounded "tennis ball"-shouldered jackets, and elaborate jeans have shot him to the position of No. 1 most copied designer in the space of two seasons. The choice of venue only added to the sense of expectation heaped on Decarnin's performance as fashion's latest appointed savior of good-time, high-sparkle, downright sexy dressing.... The cult peaked-shoulder Balmain jacket was reiterated in force: same signature shape, now manifested as a leather biker as well as a tuxedo jacket, and often paired with new drapey harem pants or skinny jean-cut black trousers. Every look was thrust into deep-cuffed suede boots with a stack of silver buckles running up the side. What is interesting is that just this past season this high 'Pagoda' shoulder was shown in the latest Balmain and Balenciaga runways for the Spring 2021 season. None of them hit the same mark as this does with its additional embellishments. I love this one and it is a very collectible piece of future vintage and is certainly important for the person archiving important pieces now. 

The jacket is made out of a black cotton velvet and this fabric choice gives it a rich edgy feel while allowing the exact shape intended to be kept. It has an almost sculptural feel to it. The shoulders are extremely strong and set in high peaks shaped by  extensive padding sculpted underneath. The sleeves fall from there and as you get closer to the piece you see how the fabric has been pieced together and seamed using proper couture techniques so that they fall perfectly. The bodice of the jacket is nipped in at the waist to give contrast to the amazing shoulders. This is all done by vertical seaming and shaping. Set inside the front edge is a lingerie inspired panel that hooks to close like a corset. This is a stunning detail that is hidden like a little secret from all but the wearer when the jacket is closed. Around the neck and running down the front is a raw edged silk tulle detailing that has a wide band of glass rhinestones, metal studs and silver chain set the full length of the jacket. Where it reaches the lower hem of the jacket it extends past another 11 inches to end in a raw edged tulle ribbon and chains. It is an incredible piece and you can see on the runway shots and video just how incredible it moves and sits on the body. It appears to have been worn very little if at all. Excellent condition 

Fully lined in a black textured fabric and closes down the front with metal hook & eye as shown. It is tagged a modern Balmain 40. It appears to have never been worn or worn very little. Padded and sculpted shoulders

Sleeves: 21"
Shoulders: inset and approx 15" inside
Bust: to 17" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 17" flat across from side seam to side seam
Length: 22" from neck to hem and the embellishments extend down past that 11"

Modern Sizing Equivalent: SML-MED

Item# S927

Reference Photo: Sasha Pivovarova for Fall 2009 Balmain Runway, Look 17.

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

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

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

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

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

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

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

Modern Sizing Equivalent: SML-MED

Item# DD3568

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

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

This was a key piece from the 2015 Balmain Resort collection and its twin was Look 29 on the runway. The skirt has never been worn and it still has all of its original tags. This collection created a frenzy for the pieces offered and this skirt in particular sold out and was wait listed world wide. It has that curved and fitted cut that Balmain is known for and has the added dimension and texture created by what it is made out of. The black and white stripes that you see are a raffia feeling material that is set in horizontal rows. This gives the skirt an extra dimension and depth that it would not have otherwise. It is cut to sit high up on the waist and is fitted to hug your hips. At the back is the signature Balmain chunky zipper. It has all its original tags still attached and has never been worn. Excellent condition.

Fully lined with their signature black ribbed fabric and closes at the back with the zipper you see. Tagged a modern 40. All original tags attached including an attached StyleBop return tag. Unworn.

Waist: 13" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 23" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# S913

Reference Photos: (1) Resort 2015 Balmain Collection, Look 29.  /  (2-3) Erica Pesolini, Paris Fashion Week, Fall 2015.

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