A few years ago I had this dress in the opposite colourway of a red on gold and I was so happy to have found this opposite version with its gold on red. Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have a way of flattering the wearer. Even when the dress was as bold as this one is. He knew how to walk that line perfectly. This is an fantastic piece of his work and with its glamorous metallic fabric it is even better. The first one flew and I suspect this one will as well. This is one of my all time favourite pieces by him and it is exceptionally beautiful. 

This is an exceptional dress. It is a stunning example of his work during this time period and these metallic pieces are among my favorites by him. The base fabric is a red organza and it is lined in a red silk organza. Fused onto and through the silk are gold lurex appliques that give the fabric a two dimensional pop and makes it gleam and glitter in the light. That gold appliques cover the dress from head to toe with the red organza showing between. I love how each each applique has a red thread detailing running through the design which adds yet another dimension to the overall look of the dress. The neckline is a cut into a low V that plunges to just above to the high set waistline. The bodice skims over you and then is balanced beautifully by those spectacular sleeves. Each sleeve is cut so that it widens as it reaches its edge and then it is finished in a wide border of silk ribbon and split up one side. That same ribbon edging goes around the neckline and circles the waist in a double row. At the front center of the waist is a fabulous embellishment of coiled red and gold fabric. This all tops the skirt that is set into the waist with a series of soft folds. It flows to the floor from there, widening as it nears the floor with yards and yards of fabric. It is a beautiful and dramatic piece of vintage couture. Excellent condition.

Lined through the bodice in a red silk organza and a red silky rayon through the skirt. The sleeves are unlined. It closes with a back painted metal & nylon zipper and hook & eye at the neck. Hand finishes.

Sleeves: 22.5"
Shoulders: 14.5"
Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Inner hips: to 24.5" flat across from side seam to side seam
Bodice: 14" from shoulder to bottom seam of the 3" band
Skirt: 40.5" from bottom seam at waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3957

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

Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have a way of flattering the wearer. He knew how to walk that line perfectly. This is a gorgeous example of his work and I love that I can date it based on the very similar one that was used the a Vogue shoot that year. It gives you a better idea of how it will look like once on a body.

The dusty pink mauve coloured sequins that cover that entirely this dress are so densely applied that they actually overlap one another. There are hundreds of thousand of sequins used and it is incredible. Mixed in with those is a band of gold beads that wrap around the hips. This is set around the on one side and widens out over the hip and then narrows to a point where it meets the low set waist seam. Another triangle feeling band sits at the hem of the skirt on the opposite side. This time done in silver sequins. It is cut in that fabulous eighties big volume on top over a fitted skirt. The shoulders are strong and padded for shape. The neckline is scooped and the sleeves are long. The bodice is cut long and it is meant to blouse out over the skirt. Inside there is a silk lining in that same purple and then the sequin fabric is also lined in silk. It buttons down the back and you get a tiny glimpse of skin between the buttons. The sequins catch the light at your slightest move and its fabulous in person. Excellent condition.

Fully lined in silk with a low set inner zipper at the waist and a series of buttons down the back. Padding in the shoulders, It is meant to be oversized at the top so the hips are the most important measurement to consider.

Sleeves: 22"
Shoulders: 14.5"
Bust: to 19" flat across from side seam to side seam
Natural waist: open
Seam at top of skirt: 15.5" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Bodice: 19.5" from top of shoulder to seam at top of skirt
Skirt: 22" from waist to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3953

Reference Photo: Models in Bill Blass, Vogue, October 1982.

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

Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have a way of flattering the wearer. He knew how to walk that line perfectly. This is a gorgeous example of his work from this time period and it feels even more luxurious in person. 

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 flat pile velvet that has a added texture over it so that parts of the velvet catch the light differently. It was then printed with a swirling design done on a deep copper, a dusty blue and golden feeling taupes. Then on top of that parts of the pattern have been hand painted with a gold paint that you can feel as you run your hands over its surface. I love it. In very bight light the entire colour of the coat seems to shift and change from what you see her to be more of an overall blue. It is just incredible. The velvet is then mixed with a quilted  silk stain in an olive colour. He used this fabric for the wide full cuffs and for the soft rounded collar. The same quilted silk is used to highlight the flap pockets that are placed on each hip and it is lined in an un-quilted version of this same silk. The quilted detailing that piece has gives it a play on gender as it feels like a men's smoking jacket. The coat wraps over to the side and closes with three huge and elaborate frog knots made of a thick gold cording. A thinner metallic gold cord highlights the front edges and the cuffs. The shoulders are shaped but soft and the sleeves are long. It is cut to be more fitted through the body and then falls in a long expanse of the velvet to widen out as it nears the hem much like a classic great coat in feel. An interesting thing about this one, because it wraps over itself and closes at the side you could wear it on its own as a dress. It is always wonderful to find piece that can play double duty. It looks to have never been worn or worn very little. Excellent condition

Fully lined in a the same green silk satin that  detailed the coat but the lining is not quilted. It closes at the side with the frog knots. The pockets are functional and have a hidden snap along their inside edges to help support their weight. Hand finished throughout. Light padding in each shoulder. It appears to have been worn very little if at all

Sleeves: 22.5"
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 56" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3905

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

Bill Blass worked for the Maurice Retner label for 10 years as the chief designer. In 1968 the Bill Blass Inc label became a subsidiary of the Retner label . Then in 1970 he fully bought out his partners at the Maurice Retner label and re-launched it under his own name as Bill Blass Ltd. 1970 was the same year that he won his third Coty American Fashion Critics' Award and with it, his lifetime membership in the Coty Hall of Fame. By 1980 the company was doing 20 million dollars in revenue. He was arguably one of the most famous of all the American designers. By the eighties his work was even more ornate and luxurious than what he had done in the past. Prices for dresses could be as high as $5000 (which would be about $15,000 today). He was once asked why his clothes were so expensive and he replied, 'I'm an avid believer that we have to have clothes made in this country. Therefore we pay more money. ... The cost of labor and fabrication is what makes the clothing expensive.'

I have had versions of this dress in the shop in the past and I love it every time one comes in. It is bold and dramatic and it still feels perfectly on point with so many designers focusing on the eighties right now. Few designers would be able to make this mix of fabrics work. The neck is high and the sleeves are long. There is an inner silk chiffon bodice and then over that is an attached netted lace top. This is then covered in glossy black sequins. The winning through the lace and sequins are little rosettes that are made from a white ribbon that has been woven through the netting and stitched into place in little twirls. Blass used dots in his work quite often and the ribbon work that has been done is a bit of a play on his signature dot pattern. The shoulders are padded and strong and the edge of the bodice is shaped into a curving scalloped pattern. I love how it sits away from the body because it emphasizes the waist more. Quite a clever trick. The waist is accented by a wide black silk satin ribbon that is attached to the inner dress. Under that the skirt falls with a nice bit of fullness to it. Inside it has an inner organza lining that helps to hold the shape but most of the volume comes form the pleating at the waist and the horizontal banding that helps to give the skirt structure. It curves out full over the hips and has a bit of a bell shape. Alternating stripes of black and white silk organza run all the way to the hem and each black stripe has a little band of lace edging it on both the top and bottom of the stripe. Excellent condition with a small note to review below.

The outer bodice is lined in a black silk and that sits over a black silk chiffon inner bodice. The skirt is lined with a white white silk organza. The dress closes at the back with a hand set zipper and the top buttons to close over that. Padded shoulders. I see the the slightest of darkening to some of the ribbon on the top. Too faint to capture in a photo but mentioned for accuracy. There is a minor mark on the skirt and a tiny area of fading near the hem. Please see the photos after the shot of the label

Sleeves: 22"
Shoulders: 15.5"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of shoulder to bottom seam of band at the waist
Skirt: 36" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3387

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

A few years ago I had this dress in the opposite colourway of a red on gold and I was so happy to have found this opposite version with its gold on red. Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have a way of flattering the wearer. Even when the dress was as bold as this one is. He knew how to walk that line perfectly. This is an fantastic piece of his work and with its glamorous metallic fabric it is even better. The first one flew and I suspect this one will as well. This is one of my all time favourite pieces by him and it is exceptionally beautiful. 

This is an exceptional dress. It is a stunning example of his work during this time period and these metallic pieces are among my favorites by him. The base fabric is a red organza and it is lined in a red silk organza. Fused onto and through the silk are gold lurex appliques that give the fabric a two dimensional pop and makes it gleam and glitter in the light. That gold appliques cover the dress from head to toe with the red organza showing between. I love how each each applique has a red thread detailing running through the design which adds yet another dimension to the overall look of the dress. The neckline is a cut into a low V that plunges to just above to the high set waistline. The bodice skims over you and then is balanced beautifully by those spectacular sleeves. Each sleeve is cut so that it widens as it reaches its edge and then it is finished in a wide border of silk ribbon and split up one side. That same ribbon edging goes around the neckline and circles the waist in a double row. At the front center of the waist is a fabulous embellishment of coiled red and gold fabric. This all tops the skirt that is set into the waist with a series of soft folds. It flows to the floor from there, widening as it nears the floor with yards and yards of fabric. It is a beautiful and dramatic piece of vintage couture. Excellent condition.

Lined through the bodice in a red silk organza and a red silky rayon through the skirt. The sleeves are unlined. It closes with a back painted metal & nylon zipper and hook & eye at the neck. Hand finishes.

Sleeves: 22.5"
Shoulders: 14.5"
Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Inner hips: to 24.5" flat across from side seam to side seam
Bodice: 14" from shoulder to bottom seam of the 3" band
Skirt: 40.5" from bottom seam at waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3957

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

Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have a way of flattering the wearer. He knew how to walk that line perfectly. This is a gorgeous example of his work and I love that I can date it based on the very similar one that was used the a Vogue shoot that year. It gives you a better idea of how it will look like once on a body.

The dusty pink mauve coloured sequins that cover that entirely this dress are so densely applied that they actually overlap one another. There are hundreds of thousand of sequins used and it is incredible. Mixed in with those is a band of gold beads that wrap around the hips. This is set around the on one side and widens out over the hip and then narrows to a point where it meets the low set waist seam. Another triangle feeling band sits at the hem of the skirt on the opposite side. This time done in silver sequins. It is cut in that fabulous eighties big volume on top over a fitted skirt. The shoulders are strong and padded for shape. The neckline is scooped and the sleeves are long. The bodice is cut long and it is meant to blouse out over the skirt. Inside there is a silk lining in that same purple and then the sequin fabric is also lined in silk. It buttons down the back and you get a tiny glimpse of skin between the buttons. The sequins catch the light at your slightest move and its fabulous in person. Excellent condition.

Fully lined in silk with a low set inner zipper at the waist and a series of buttons down the back. Padding in the shoulders, It is meant to be oversized at the top so the hips are the most important measurement to consider.

Sleeves: 22"
Shoulders: 14.5"
Bust: to 19" flat across from side seam to side seam
Natural waist: open
Seam at top of skirt: 15.5" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Bodice: 19.5" from top of shoulder to seam at top of skirt
Skirt: 22" from waist to hem

Modern Sizing Equivalent: XXS-XS

Item# DD3953

Reference Photo: Models in Bill Blass, Vogue, October 1982.

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

Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have a way of flattering the wearer. He knew how to walk that line perfectly. This is a gorgeous example of his work from this time period and it feels even more luxurious in person. 

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 flat pile velvet that has a added texture over it so that parts of the velvet catch the light differently. It was then printed with a swirling design done on a deep copper, a dusty blue and golden feeling taupes. Then on top of that parts of the pattern have been hand painted with a gold paint that you can feel as you run your hands over its surface. I love it. In very bight light the entire colour of the coat seems to shift and change from what you see her to be more of an overall blue. It is just incredible. The velvet is then mixed with a quilted  silk stain in an olive colour. He used this fabric for the wide full cuffs and for the soft rounded collar. The same quilted silk is used to highlight the flap pockets that are placed on each hip and it is lined in an un-quilted version of this same silk. The quilted detailing that piece has gives it a play on gender as it feels like a men's smoking jacket. The coat wraps over to the side and closes with three huge and elaborate frog knots made of a thick gold cording. A thinner metallic gold cord highlights the front edges and the cuffs. The shoulders are shaped but soft and the sleeves are long. It is cut to be more fitted through the body and then falls in a long expanse of the velvet to widen out as it nears the hem much like a classic great coat in feel. An interesting thing about this one, because it wraps over itself and closes at the side you could wear it on its own as a dress. It is always wonderful to find piece that can play double duty. It looks to have never been worn or worn very little. Excellent condition

Fully lined in a the same green silk satin that  detailed the coat but the lining is not quilted. It closes at the side with the frog knots. The pockets are functional and have a hidden snap along their inside edges to help support their weight. Hand finished throughout. Light padding in each shoulder. It appears to have been worn very little if at all

Sleeves: 22.5"
Shoulders: 15"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: to 22" flat across from side seam to side seam
Length: 56" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3905

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

Bill Blass worked for the Maurice Retner label for 10 years as the chief designer. In 1968 the Bill Blass Inc label became a subsidiary of the Retner label . Then in 1970 he fully bought out his partners at the Maurice Retner label and re-launched it under his own name as Bill Blass Ltd. 1970 was the same year that he won his third Coty American Fashion Critics' Award and with it, his lifetime membership in the Coty Hall of Fame. By 1980 the company was doing 20 million dollars in revenue. He was arguably one of the most famous of all the American designers. By the eighties his work was even more ornate and luxurious than what he had done in the past. Prices for dresses could be as high as $5000 (which would be about $15,000 today). He was once asked why his clothes were so expensive and he replied, 'I'm an avid believer that we have to have clothes made in this country. Therefore we pay more money. ... The cost of labor and fabrication is what makes the clothing expensive.'

I have had versions of this dress in the shop in the past and I love it every time one comes in. It is bold and dramatic and it still feels perfectly on point with so many designers focusing on the eighties right now. Few designers would be able to make this mix of fabrics work. The neck is high and the sleeves are long. There is an inner silk chiffon bodice and then over that is an attached netted lace top. This is then covered in glossy black sequins. The winning through the lace and sequins are little rosettes that are made from a white ribbon that has been woven through the netting and stitched into place in little twirls. Blass used dots in his work quite often and the ribbon work that has been done is a bit of a play on his signature dot pattern. The shoulders are padded and strong and the edge of the bodice is shaped into a curving scalloped pattern. I love how it sits away from the body because it emphasizes the waist more. Quite a clever trick. The waist is accented by a wide black silk satin ribbon that is attached to the inner dress. Under that the skirt falls with a nice bit of fullness to it. Inside it has an inner organza lining that helps to hold the shape but most of the volume comes form the pleating at the waist and the horizontal banding that helps to give the skirt structure. It curves out full over the hips and has a bit of a bell shape. Alternating stripes of black and white silk organza run all the way to the hem and each black stripe has a little band of lace edging it on both the top and bottom of the stripe. Excellent condition with a small note to review below.

The outer bodice is lined in a black silk and that sits over a black silk chiffon inner bodice. The skirt is lined with a white white silk organza. The dress closes at the back with a hand set zipper and the top buttons to close over that. Padded shoulders. I see the the slightest of darkening to some of the ribbon on the top. Too faint to capture in a photo but mentioned for accuracy. There is a minor mark on the skirt and a tiny area of fading near the hem. Please see the photos after the shot of the label

Sleeves: 22"
Shoulders: 15.5"
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 16" from top of shoulder to bottom seam of band at the waist
Skirt: 36" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3387

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