Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. The twin of this dress was photoed a year later for the September issue of Vogue on Donna Mitchell and I think that this photo has become one of the most famous shots of her and one of the best shots done for Vogue period. To have this in the shop is a bit of a holy grail for me personally as it is such a beautiful dress that I  have always loved. 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 extravagant as this one is. He knew how to walk that line perfectly. This very early piece of his work and with its glamorous fabric, history and that dramatic feather collar, it is some of his very best work ever. 

The dress is stunning and besides the actual beauty of it as a dress, the fabric is one of the best textiles I have ever seen. It is a printed silk voile in a riotous colour palette of yellow, coral and black with dots of an extra soft plush chenille fused onto the surface. The chenille appliqué covers the entire dress from shoulder to hem and gives it the most amazing tactile feel. The dots also give the dress texture and a three dimensional quality. To offset the texture and extravagance of the print on that fabric, the actual lines of the dress are fairy simple The bodice skims over the bust to the seamed waist and the sleeves are long and straight with zippers at each cuff. The neckline is high and scooped. The skirt falls from the waist to the floor in a gentle widening line. At the neck it becomes all drama again. Here we see that famous feathered collar in all its glory. the collar is actually a separate piece on its own that hooks into place and I have provided photos of the dress with and without the collar. The feathers on the collar have been hand dyed to match the colours of the dress and there are hand dyed smaller feathers hand placed and attached onto the larger feathers to create the pattern that you see. The effect is amazing and it is even better on person and on an actual body as all the elements really come to life. It is really one of the most significant and dramatic pieces ever done by him. A true collectors piece. Excellent condition 

The entire dress including the sleeves is fully lined in a nude coloured silk. It closed with a back painted metal zipper and each cuff has a zipper to close. The collar is backed with a silk organza and hooks to close. There are a few tiny areas of thinning to the silk behind the feathers of the collar but these are extremely minor. Overall it appears to have been worn very little if at all. 

Sleeves: 23.5"
Shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 42" from waist to hem with 3.5" turned under the hem

Modern Sizing Equivalent: XS-SML

Item# DD3562

Reference Photo: Donna Mitchell in Bill Blass, Shot by Richard Avedon, Vogue US, September 1971.

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

Glossy black sequins have been densely applied to a feather light silk chiffon to make top this amazing Bill Blass dress. These cover the entire surface of the fabric and each individual sequin has been meticulously placed and sewn by hand. This is a wonderful example of the high glamour looks that Bill Blass was doing during this time period. The neckline is cut into a low V above a nipped in waist. The sleeves have been left unlined so you get a touch more transparency between the spaces between the sequins. The waist is nipped in and the skirt falls to the floor and is quite full. The skirt is attached to the waist in a series of soft gathers which help to give the skirt the fullness and volume that you see. These soft pleats are meticulously set around the waist and the construction is beautiful. Inside, the skirt has additional layers of of netting that are set under the lining. This also helps to create fullness and shape so that the waist is emphasized and the skirt hangs exactly how Mr. Blass wished. The hem of the skirt is finished with a thick band of glossy black feathers that are mixed with thin, metallic cellophane strips. This mix of weightless metallic strips and feathers is signature of Blass' that he often utilized in pieces that he used feathers on. It is really a remarkable example of his work. Excellent condition.

The dress is fully lined with a semi sheer black crepe through the main part of the bodice and the skirt. The sleeves and shoulders are unlined. The skirt has an additional lining of a starched netting in two layers to support the shape and give it inner structure. It closes with a back painted metal zipper and each cuff has a zipper at the wrist. The back does close from waist to neck properly but it was too small to close on my dress form. The dress appears to have been worn very little if at all.

Sleeves: 24"
Shoulders: 14"
Bust: 16.5" flat across the back from side seam to side seam
Waist: 12" flat across the back from side seam to side seam
Hips: open
Bodice: 14.5 from shoulder to waist seam
Skirt: approx 40" from waist to bottom of feathered hem

Modern Sizing equivalent: XS-SML

Item# DD3128

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 lines of this suit are beautiful. It really shows what a master tailor he was and how intricate his work could be. Both pieces are made from an ivory moire silk that has just a touch of the very pale set yellow to it in certain lights. The jacket is heavily embellished with embroidery and a raffia in the same shade of ivory. This monotone approach gives it a rich, luxe feel.  The detailing is down around the pockets above the slit cuffs ends of the sleeves and then there is a full medallion of it on the back. I love that even the silk covered buttons that close the jacket have embroidery work on them as well. The jacket is sleekly cut with lightly padded shoulders and long sleeves. The waist curves and nips in and the hips are cut on a structured rounded curve that is quite beautiful. The skirt falls to about the knee in a simple and chic pencil shape with a banded waist. Everything about the cut and line of the suit is done to allow that wonderful jacket to take center stage. This would even make a lovely wedding suit. Excellent condition with a small note to review below

Both pieces are fully lined in an ivory silk. The skirt closes with a hidden set zipper and hooks at the waist. The jacket buttons to close and has padding in the shoulders. I see one pinhead dot on the back of the skirt and some of the raffia at the very front has a slightly crushed feel to it. It feels immaculate when you look at it.

Jacket
Sleeves: 24.5”
Slightly inset shoulders: 14.5”
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 28" from neck to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 23.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3492

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 came with an old hang tag that was dated as being from the 1974 season and that makes sense given his heavy use of sequins for that years collections. It is a stunning piece and a wonderful example of his work during this time period.

This beautiful sequin covered dress is absolutely stunning. It is also insanely sexy once on the body and beautifully made. It is entirely covered with glossy black sequins that give the dress an almost liquid feel once it is on the body. Not a single inch of it is left uncovered. Thousands of hand applied, glossy black sequins have been tightly placed side by side to completely cover the surface of the fabric. This gives the fabric the suggestion of liquid and when you move the light catches the sequins and creates the most sensual and magical effect. It curves up and over one shoulder and leaves the other completely bare. It is cut to curve over the body with no seam at the waist to break the line. The bottom follows the same angle as the neckline so that one side is longer then the other. He then finished the entire hem with fringe so that when you move this creates beautiful movement around you. It is extraordinary and really wonderful once on the body. A superb and early Bill Blass that packs a tremendous impact once on. Excellent condition

Fully lined in a black silky rayon and closes with an offset back zipper. Hand set sequins and hand finishes. Maybe the occasional sequin missing. It appears to have been worn very little if at all.

Bust: to 16.6" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 56" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3444

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

For the April issue of Vogue in 1973, Lauren Hutton was photographed in a similar jersey dress by Bill Blass. The one that she wore was done in a black rather then the red that this one is. By 1973, Blass was only three years into running his own company after buying Maurice Rentner Ltd in 1970 and re-labelling it under his own name, making this a wonderful example of his earlier work

The choice of a silk jersey gives the dress a wonderful drape. It also keeps it remarkably light in weight so it is very comfortable to wear once it is on the body. There is a definitive Grecian feel to it created by the addition of that long piped tie. The ties are made from the same fabric as the dress and are meant to be wrapped around the upper body and waist. They are long enough that you could extend that down and over the hips if you wished. The neckline is high and the bodice is seamed horizontally so that you don't get any bunching of the fabric when you tie the ties over it. The waist is defined by a seam and the skirt flows to the floor in a cascade of jersey. I love the sleeves in particular. Each is cut extra long and with a tremendous fullness at the cuff. This gives them a bit of an Old Hollywood feel. It will fully zip up at the back - it is just a little small on my dress form. Excellent condition overall with one small note to review below.

Unlined and closes with a back set zipper. The waist stay inside the waist closes with hook & eye. Elastic at the end of each cuff. The ties can be tied as you wish. There is a faint watermark at the hem and it has photoed darker then it is in real life. Once on this does not detract at all. Hand finished, rolled edges. The red has a slightly more blue undertone in person. The fabric has stretch but the waist measurement is firm

Sleeves: 28"
Shoulders: 15"
Bust: 16-18" flat across from side seam to side seam
Waist:  to 12.5" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 41" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2991

Reference Photo: Lauren Hutton in Bill Blass. Photo by Richard Avedon. Vogue US, April 1973.

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. The twin of this dress was photoed a year later for the September issue of Vogue on Donna Mitchell and I think that this photo has become one of the most famous shots of her and one of the best shots done for Vogue period. To have this in the shop is a bit of a holy grail for me personally as it is such a beautiful dress that I  have always loved. 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 extravagant as this one is. He knew how to walk that line perfectly. This very early piece of his work and with its glamorous fabric, history and that dramatic feather collar, it is some of his very best work ever. 

The dress is stunning and besides the actual beauty of it as a dress, the fabric is one of the best textiles I have ever seen. It is a printed silk voile in a riotous colour palette of yellow, coral and black with dots of an extra soft plush chenille fused onto the surface. The chenille appliqué covers the entire dress from shoulder to hem and gives it the most amazing tactile feel. The dots also give the dress texture and a three dimensional quality. To offset the texture and extravagance of the print on that fabric, the actual lines of the dress are fairy simple The bodice skims over the bust to the seamed waist and the sleeves are long and straight with zippers at each cuff. The neckline is high and scooped. The skirt falls from the waist to the floor in a gentle widening line. At the neck it becomes all drama again. Here we see that famous feathered collar in all its glory. the collar is actually a separate piece on its own that hooks into place and I have provided photos of the dress with and without the collar. The feathers on the collar have been hand dyed to match the colours of the dress and there are hand dyed smaller feathers hand placed and attached onto the larger feathers to create the pattern that you see. The effect is amazing and it is even better on person and on an actual body as all the elements really come to life. It is really one of the most significant and dramatic pieces ever done by him. A true collectors piece. Excellent condition 

The entire dress including the sleeves is fully lined in a nude coloured silk. It closed with a back painted metal zipper and each cuff has a zipper to close. The collar is backed with a silk organza and hooks to close. There are a few tiny areas of thinning to the silk behind the feathers of the collar but these are extremely minor. Overall it appears to have been worn very little if at all. 

Sleeves: 23.5"
Shoulders: 14"
Bust: 17" flat across from side seam to side seam
Waist: 12.5" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of bodice to waist
Skirt: 42" from waist to hem with 3.5" turned under the hem

Modern Sizing Equivalent: XS-SML

Item# DD3562

Reference Photo: Donna Mitchell in Bill Blass, Shot by Richard Avedon, Vogue US, September 1971.

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

Glossy black sequins have been densely applied to a feather light silk chiffon to make top this amazing Bill Blass dress. These cover the entire surface of the fabric and each individual sequin has been meticulously placed and sewn by hand. This is a wonderful example of the high glamour looks that Bill Blass was doing during this time period. The neckline is cut into a low V above a nipped in waist. The sleeves have been left unlined so you get a touch more transparency between the spaces between the sequins. The waist is nipped in and the skirt falls to the floor and is quite full. The skirt is attached to the waist in a series of soft gathers which help to give the skirt the fullness and volume that you see. These soft pleats are meticulously set around the waist and the construction is beautiful. Inside, the skirt has additional layers of of netting that are set under the lining. This also helps to create fullness and shape so that the waist is emphasized and the skirt hangs exactly how Mr. Blass wished. The hem of the skirt is finished with a thick band of glossy black feathers that are mixed with thin, metallic cellophane strips. This mix of weightless metallic strips and feathers is signature of Blass' that he often utilized in pieces that he used feathers on. It is really a remarkable example of his work. Excellent condition.

The dress is fully lined with a semi sheer black crepe through the main part of the bodice and the skirt. The sleeves and shoulders are unlined. The skirt has an additional lining of a starched netting in two layers to support the shape and give it inner structure. It closes with a back painted metal zipper and each cuff has a zipper at the wrist. The back does close from waist to neck properly but it was too small to close on my dress form. The dress appears to have been worn very little if at all.

Sleeves: 24"
Shoulders: 14"
Bust: 16.5" flat across the back from side seam to side seam
Waist: 12" flat across the back from side seam to side seam
Hips: open
Bodice: 14.5 from shoulder to waist seam
Skirt: approx 40" from waist to bottom of feathered hem

Modern Sizing equivalent: XS-SML

Item# DD3128

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 lines of this suit are beautiful. It really shows what a master tailor he was and how intricate his work could be. Both pieces are made from an ivory moire silk that has just a touch of the very pale set yellow to it in certain lights. The jacket is heavily embellished with embroidery and a raffia in the same shade of ivory. This monotone approach gives it a rich, luxe feel.  The detailing is down around the pockets above the slit cuffs ends of the sleeves and then there is a full medallion of it on the back. I love that even the silk covered buttons that close the jacket have embroidery work on them as well. The jacket is sleekly cut with lightly padded shoulders and long sleeves. The waist curves and nips in and the hips are cut on a structured rounded curve that is quite beautiful. The skirt falls to about the knee in a simple and chic pencil shape with a banded waist. Everything about the cut and line of the suit is done to allow that wonderful jacket to take center stage. This would even make a lovely wedding suit. Excellent condition with a small note to review below

Both pieces are fully lined in an ivory silk. The skirt closes with a hidden set zipper and hooks at the waist. The jacket buttons to close and has padding in the shoulders. I see one pinhead dot on the back of the skirt and some of the raffia at the very front has a slightly crushed feel to it. It feels immaculate when you look at it.

Jacket
Sleeves: 24.5”
Slightly inset shoulders: 14.5”
Bust: 18" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 28" from neck to hem

Skirt
Waist: 13" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 23.5" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD3492

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 came with an old hang tag that was dated as being from the 1974 season and that makes sense given his heavy use of sequins for that years collections. It is a stunning piece and a wonderful example of his work during this time period.

This beautiful sequin covered dress is absolutely stunning. It is also insanely sexy once on the body and beautifully made. It is entirely covered with glossy black sequins that give the dress an almost liquid feel once it is on the body. Not a single inch of it is left uncovered. Thousands of hand applied, glossy black sequins have been tightly placed side by side to completely cover the surface of the fabric. This gives the fabric the suggestion of liquid and when you move the light catches the sequins and creates the most sensual and magical effect. It curves up and over one shoulder and leaves the other completely bare. It is cut to curve over the body with no seam at the waist to break the line. The bottom follows the same angle as the neckline so that one side is longer then the other. He then finished the entire hem with fringe so that when you move this creates beautiful movement around you. It is extraordinary and really wonderful once on the body. A superb and early Bill Blass that packs a tremendous impact once on. Excellent condition

Fully lined in a black silky rayon and closes with an offset back zipper. Hand set sequins and hand finishes. Maybe the occasional sequin missing. It appears to have been worn very little if at all.

Bust: to 16.6" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: to 18.5" flat across from side seam to side seam
Length: 56" from shoulder to hem

Modern Sizing Equivalent: XS-SML

Item# DD3444

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

For the April issue of Vogue in 1973, Lauren Hutton was photographed in a similar jersey dress by Bill Blass. The one that she wore was done in a black rather then the red that this one is. By 1973, Blass was only three years into running his own company after buying Maurice Rentner Ltd in 1970 and re-labelling it under his own name, making this a wonderful example of his earlier work

The choice of a silk jersey gives the dress a wonderful drape. It also keeps it remarkably light in weight so it is very comfortable to wear once it is on the body. There is a definitive Grecian feel to it created by the addition of that long piped tie. The ties are made from the same fabric as the dress and are meant to be wrapped around the upper body and waist. They are long enough that you could extend that down and over the hips if you wished. The neckline is high and the bodice is seamed horizontally so that you don't get any bunching of the fabric when you tie the ties over it. The waist is defined by a seam and the skirt flows to the floor in a cascade of jersey. I love the sleeves in particular. Each is cut extra long and with a tremendous fullness at the cuff. This gives them a bit of an Old Hollywood feel. It will fully zip up at the back - it is just a little small on my dress form. Excellent condition overall with one small note to review below.

Unlined and closes with a back set zipper. The waist stay inside the waist closes with hook & eye. Elastic at the end of each cuff. The ties can be tied as you wish. There is a faint watermark at the hem and it has photoed darker then it is in real life. Once on this does not detract at all. Hand finished, rolled edges. The red has a slightly more blue undertone in person. The fabric has stretch but the waist measurement is firm

Sleeves: 28"
Shoulders: 15"
Bust: 16-18" flat across from side seam to side seam
Waist:  to 12.5" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: 16" from top of bodice to waist
Skirt: 41" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2991

Reference Photo: Lauren Hutton in Bill Blass. Photo by Richard Avedon. Vogue US, April 1973.

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