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. Pipart, who had previously worked for Balmain, Fath, and Patou brought a wide range of experience in all aspects of fashion to 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.' He designed the Couture end of the label until 1998 making this a gown from one of his final seasons. This is an incredible and very beautiful piece of Haute Couture. Hey finding a gown at this level seems almost miraculous. It is truly one of the most beautiful things I've ever seen.

The twin of this dress walk the runway for the Haute Couture show that season and it was also photoed for L'Officiel that season and we also found a stunning editorial photo that caught it in the most spectacular shot. I love having all of this documentation because it shows you how phenomenal this dress is once on the body. This is truly a dress that you know has to be a true Haute Couture piece the moment you set your eyes on it. I think it is a work of art. The dress is strapless with an optional very tiny strap that comes out from the center of the bodice and wraps and ties around the neck. It will stay on with or without that small strap so it's your choice to wear it or not. The bodice is fitted to the body to hold the dress in place and the inner structure is outstanding. It is boned and cupped but all of that work is completely hidden underneath the silk lining. On the exterior the entire bodice is covered in glossy black beads that are spaced tightly together. The size of the beads vary as they run from the waist up to the top of the bodice. They are smaller around the waist and spaced further apart and then by the top of the bodice are so tightly spaced that they are almost stacked on top of each other. This creates a dense application of bead work that completely covers the black silk velvet base. In spots around the bodice are these large square-ish black pailettes for blocks of gloss to catch the light even more. Then interspersed among all of that are black iridescent feathers and long metallic strands. These are set to stand straight out from the bodice to create a cloud around you. The feathers add this fantastical sense of couture and fantasy. They also create incredible movement as each one moves independently from the other with the slightest bit of a breeze. The bodice is molded and shaped around you and then nips in the waist. The skirt under that is is a statement in its own right. It is an explosion of silk that poofs out all the way around you. The volume is so much that it almost creates a shelf as it come off of the hips. The silk curves up and under the hem to create a bubbled effect. It is shorter at the front so when you walk and sit you can see some leg. This helps to balance out the volume that surrounds you and add a flash of bare skin. It is longer at the back and depending on your height will trail out behind you just a touch. All of the volume is created by an inner structure that is hidden inside the skirt. You can feel stiffened netting and tulle that is all set inside the skirt so that the shape is held perfectly. I used no extra crinolines or anything else under the skirt to add volume when I shot these photos. The volume is all built in and the result of the masterful construction of this gown. The bead work is glass and between that and the sheer volume if the skirt the dress does have weight to it. When you hold this dress it is very heavy and you can feel that it is a Haute Couture piece. Once on the weight of it distributes and balances out wonderfully and the inner construction holds it all perfectly in place. This is truly an extraordinary piece of modern couture and is exceptionally beautiful. It appears to have been worn very little if at all. No matter how good you think it looks in the photos, it is better in person. Excellent condition.

Fully lined in silk with light burning through the bodice an additional added structure inside. The skirt loops under itself so the lining is the same fabric as the exterior. The skirt is filled with what feels like stiffened netting and tulle. This is placed throughout the entire skirt to give it the volume you see. There is an inner zipper to close the bodice and the waist stay to help the dress stay in place. Two tiny straps extend out from the center of the bodice and tie in place behind the neck. It appears to have been worn very little if at all. The dress is finished to Haute Couture standards and entirely made by hand. The proper Haute Couture label is present.

Waist: the inner waist stay has three hooks to accommodate a 23" 24" and 25" around waist size. If you left that unhooked or extended it the waist will accommodate up to a 26" sized waist.
Hips: open
Bodice: 10" from highest point of the bodice to the waist
Skirt: approx 17" from waist to shortest part of the front hem, 52" to the longest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD4240

Reference Photos: (1-3) Fall 1996 Nina Ricci Haute Couture Runway.  /  (4) Fall 1996 Nina Ricci Haute Couture. Photo by Bruno Bisang.  /  (5) Inna Zobova in Nina Ricci Haute Couture for L'officiel de la Mode n808, September 1996. Photo by Michel Nafziger.  /  (6-9) Jurnee Smollett, in this dress, at the Vanity Fair After Oscars Party, 2023.

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

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 Is one of his more quirky pieces and I am obsessed. I have had piece in the shop in the past that has this faux handbag applique but they were all from the 50s and 60s when that was a bit of a rage. I loved finding this 1980s designer version.

This dress is so eighties in every way and I love it. I am almost sad at how it photoed on the mannequin because on person its so much better. And these on the body are fabulous. Dresses like this really need a person in them to come to life. The dress is made out of a fine black wool that has a silk like finish to it. The fabric choice helps to hold the shape and support the applique work done onto it. The shoulders are set wide and there is light padding underneath. Each sleeve is gathered at the top of the shoulder and is meant to pouf a bit. The sleeves narrow down to a gathered cuff that hide a zipper. The body of the dress is full and easy with no defined waist. It simply falls from the shoulders so that the volume is on the top and then narrows down to skim over the hips to a pencil cut skirt. Then appliqued onto the dress is that fabulous faux bag that crosses over one shoulder and down to the hip. The strap is a wide silk textured ribbon that is finished in a flat bow at the top of the shoulder. This angles down to meet the 'bag' made out of a metallic embroidered velvet. The upper edge of the bag is gathered in and finished with a ruffle of a bright blue silk for an unexpected pop of colour. Anther bow sits below that. The best part? It is open at the top so that it is a functional pocket. The final little detail is the inside lining of the collar. It is the same blue as the ruffle on the bag. I love this little hidden secret. Excellent condition

Fully lined in a black silk and closes at the back with a zipper. Padding in each shoulder and a hidden zipper at each cuff.

Sleeves: 24"
Shoulders: 15"
Bust: 18.5" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 40" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4104

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 wonderful black silk gazaar dress is from the Nina Ricci Boutique ready to wear line. When hunting for a reference to date it by, we happened across a photo from 1972 that has a variation of this dress with a different neckline and no sleeves. I like this off shoulder version even more and love that the photo at least gives you an idea of how the dress looks like on the body. The Ricci atelier was launched in Paris in 1932, with Nina retiring from designing in the early 1950s. Jules Francois Crahay then headed the design team until he left for Lanvin in 1963. Gerard Pipart took over from Crahay and stayed on with Ricci until 1998. This dress would have been made during his tenure with the house. It is an incredible example of the work being done by the label during this time period and might be my favourite Ricci dress in the shop to date.

The dress is made from a beautiful black silk gazaar that feels like it has been treated so that it holds its shape and volume even more then it normally would. The fabric has a very fine woven feel to it and just a touch of transparency that keeps it feel light and easy. It has just enough weight and structure to be able to create the impressive lines and volume that you see but without making the dress heavy or bulky to wear. The photos really do not give it full justice and it is an integral part of the design of the dress. The bodice is cut to skim over you to the waist. Running along the edge of the neckline is a 6" wide ruffle. This falls from the elastic finished edge and puffs softly around you. The elastic that runs through the top edge of the neckline allows you to wear the dress off the shoulders leaving you bare. Long sleeves sit under that and they each end in a full circle of fabric to create a pretty 4.5" ruffle. The waist nips in and I have added a grosgrain ribbon that I will send with the dress that allows you to cinch the waist in further. The skirt falls to the floor from there and has yards of fabric in it that create the fullness and volume that you see. The skirt falls in a gently widening line and is finished by a 9.5" ruffle that goes all the way around the hem. The dress has a simple silk taffeta skirt underneath and I did not add any additional  crinolines. The volume you see is achieved solely by the cut and the fabric choice. It is incredible and I love everything about it. Excellent condition

Lined in a black silky rayon through the bodice and the a black silk taffeta through the skirt. The sleeves are unlined. The dress closes with a back zipper. The grosgrain tie belt is not original but will be sent with the dress. It appears to have never been worn or worn very little. It is even better in person.

Sleeves: 20" from the top edge to the end of the ruffle. Meant to sit off shoulder. The upper arm is 12.25" around
Bust: 17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Inner hips: to 23" flat across from side seam to side seam
Bodice: 10" from top of the center of the neckline to waist seam
Skirt: 43.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD4052

Reference Photo: Robert Ricci, with two models in Nina Ricci evening wear, UK, October 1972.

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

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. Pipart, who had previously worked for Balmain, Fath, and Patou brought a wide range of experience in all aspects of fashion to 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.' He designed the Couture end of the label until 1998 making this a gown from one of his final seasons. This is an incredible and very beautiful piece of Haute Couture. Hey finding a gown at this level seems almost miraculous. It is truly one of the most beautiful things I've ever seen.

The twin of this dress walk the runway for the Haute Couture show that season and it was also photoed for L'Officiel that season and we also found a stunning editorial photo that caught it in the most spectacular shot. I love having all of this documentation because it shows you how phenomenal this dress is once on the body. This is truly a dress that you know has to be a true Haute Couture piece the moment you set your eyes on it. I think it is a work of art. The dress is strapless with an optional very tiny strap that comes out from the center of the bodice and wraps and ties around the neck. It will stay on with or without that small strap so it's your choice to wear it or not. The bodice is fitted to the body to hold the dress in place and the inner structure is outstanding. It is boned and cupped but all of that work is completely hidden underneath the silk lining. On the exterior the entire bodice is covered in glossy black beads that are spaced tightly together. The size of the beads vary as they run from the waist up to the top of the bodice. They are smaller around the waist and spaced further apart and then by the top of the bodice are so tightly spaced that they are almost stacked on top of each other. This creates a dense application of bead work that completely covers the black silk velvet base. In spots around the bodice are these large square-ish black pailettes for blocks of gloss to catch the light even more. Then interspersed among all of that are black iridescent feathers and long metallic strands. These are set to stand straight out from the bodice to create a cloud around you. The feathers add this fantastical sense of couture and fantasy. They also create incredible movement as each one moves independently from the other with the slightest bit of a breeze. The bodice is molded and shaped around you and then nips in the waist. The skirt under that is is a statement in its own right. It is an explosion of silk that poofs out all the way around you. The volume is so much that it almost creates a shelf as it come off of the hips. The silk curves up and under the hem to create a bubbled effect. It is shorter at the front so when you walk and sit you can see some leg. This helps to balance out the volume that surrounds you and add a flash of bare skin. It is longer at the back and depending on your height will trail out behind you just a touch. All of the volume is created by an inner structure that is hidden inside the skirt. You can feel stiffened netting and tulle that is all set inside the skirt so that the shape is held perfectly. I used no extra crinolines or anything else under the skirt to add volume when I shot these photos. The volume is all built in and the result of the masterful construction of this gown. The bead work is glass and between that and the sheer volume if the skirt the dress does have weight to it. When you hold this dress it is very heavy and you can feel that it is a Haute Couture piece. Once on the weight of it distributes and balances out wonderfully and the inner construction holds it all perfectly in place. This is truly an extraordinary piece of modern couture and is exceptionally beautiful. It appears to have been worn very little if at all. No matter how good you think it looks in the photos, it is better in person. Excellent condition.

Fully lined in silk with light burning through the bodice an additional added structure inside. The skirt loops under itself so the lining is the same fabric as the exterior. The skirt is filled with what feels like stiffened netting and tulle. This is placed throughout the entire skirt to give it the volume you see. There is an inner zipper to close the bodice and the waist stay to help the dress stay in place. Two tiny straps extend out from the center of the bodice and tie in place behind the neck. It appears to have been worn very little if at all. The dress is finished to Haute Couture standards and entirely made by hand. The proper Haute Couture label is present.

Waist: the inner waist stay has three hooks to accommodate a 23" 24" and 25" around waist size. If you left that unhooked or extended it the waist will accommodate up to a 26" sized waist.
Hips: open
Bodice: 10" from highest point of the bodice to the waist
Skirt: approx 17" from waist to shortest part of the front hem, 52" to the longest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD4240

Reference Photos: (1-3) Fall 1996 Nina Ricci Haute Couture Runway.  /  (4) Fall 1996 Nina Ricci Haute Couture. Photo by Bruno Bisang.  /  (5) Inna Zobova in Nina Ricci Haute Couture for L'officiel de la Mode n808, September 1996. Photo by Michel Nafziger.  /  (6-9) Jurnee Smollett, in this dress, at the Vanity Fair After Oscars Party, 2023.

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

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 Is one of his more quirky pieces and I am obsessed. I have had piece in the shop in the past that has this faux handbag applique but they were all from the 50s and 60s when that was a bit of a rage. I loved finding this 1980s designer version.

This dress is so eighties in every way and I love it. I am almost sad at how it photoed on the mannequin because on person its so much better. And these on the body are fabulous. Dresses like this really need a person in them to come to life. The dress is made out of a fine black wool that has a silk like finish to it. The fabric choice helps to hold the shape and support the applique work done onto it. The shoulders are set wide and there is light padding underneath. Each sleeve is gathered at the top of the shoulder and is meant to pouf a bit. The sleeves narrow down to a gathered cuff that hide a zipper. The body of the dress is full and easy with no defined waist. It simply falls from the shoulders so that the volume is on the top and then narrows down to skim over the hips to a pencil cut skirt. Then appliqued onto the dress is that fabulous faux bag that crosses over one shoulder and down to the hip. The strap is a wide silk textured ribbon that is finished in a flat bow at the top of the shoulder. This angles down to meet the 'bag' made out of a metallic embroidered velvet. The upper edge of the bag is gathered in and finished with a ruffle of a bright blue silk for an unexpected pop of colour. Anther bow sits below that. The best part? It is open at the top so that it is a functional pocket. The final little detail is the inside lining of the collar. It is the same blue as the ruffle on the bag. I love this little hidden secret. Excellent condition

Fully lined in a black silk and closes at the back with a zipper. Padding in each shoulder and a hidden zipper at each cuff.

Sleeves: 24"
Shoulders: 15"
Bust: 18.5" flat across from side seam to side seam
Waist: 17" flat across from side seam to side seam
Hips: 19" flat across from side seam to side seam
Length: 40" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4104

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 wonderful black silk gazaar dress is from the Nina Ricci Boutique ready to wear line. When hunting for a reference to date it by, we happened across a photo from 1972 that has a variation of this dress with a different neckline and no sleeves. I like this off shoulder version even more and love that the photo at least gives you an idea of how the dress looks like on the body. The Ricci atelier was launched in Paris in 1932, with Nina retiring from designing in the early 1950s. Jules Francois Crahay then headed the design team until he left for Lanvin in 1963. Gerard Pipart took over from Crahay and stayed on with Ricci until 1998. This dress would have been made during his tenure with the house. It is an incredible example of the work being done by the label during this time period and might be my favourite Ricci dress in the shop to date.

The dress is made from a beautiful black silk gazaar that feels like it has been treated so that it holds its shape and volume even more then it normally would. The fabric has a very fine woven feel to it and just a touch of transparency that keeps it feel light and easy. It has just enough weight and structure to be able to create the impressive lines and volume that you see but without making the dress heavy or bulky to wear. The photos really do not give it full justice and it is an integral part of the design of the dress. The bodice is cut to skim over you to the waist. Running along the edge of the neckline is a 6" wide ruffle. This falls from the elastic finished edge and puffs softly around you. The elastic that runs through the top edge of the neckline allows you to wear the dress off the shoulders leaving you bare. Long sleeves sit under that and they each end in a full circle of fabric to create a pretty 4.5" ruffle. The waist nips in and I have added a grosgrain ribbon that I will send with the dress that allows you to cinch the waist in further. The skirt falls to the floor from there and has yards of fabric in it that create the fullness and volume that you see. The skirt falls in a gently widening line and is finished by a 9.5" ruffle that goes all the way around the hem. The dress has a simple silk taffeta skirt underneath and I did not add any additional  crinolines. The volume you see is achieved solely by the cut and the fabric choice. It is incredible and I love everything about it. Excellent condition

Lined in a black silky rayon through the bodice and the a black silk taffeta through the skirt. The sleeves are unlined. The dress closes with a back zipper. The grosgrain tie belt is not original but will be sent with the dress. It appears to have never been worn or worn very little. It is even better in person.

Sleeves: 20" from the top edge to the end of the ruffle. Meant to sit off shoulder. The upper arm is 12.25" around
Bust: 17" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Inner hips: to 23" flat across from side seam to side seam
Bodice: 10" from top of the center of the neckline to waist seam
Skirt: 43.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD4052

Reference Photo: Robert Ricci, with two models in Nina Ricci evening wear, UK, October 1972.

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