This very rare runway documented Givenchy Haute Couture suit is from the Fall 2000 collection and is the twin of the one that walked the runway. This is from the small period of time that Alexander McQueen was the Creative Director for the house. He succeeded John Galliano as head designer in 1996 at the age of 27. McQueen subsequently left the label in 2001 when his contract ended citing his creativity was constrained. His appointment there had been tumultuous from the start. Hubert de Givenchy had describe his appointment it as a "total disaster” and McQueen had shot back that the founder was “irrelevant”. Of course now in hindsight we see these collections for the genius that they were. They still had that rebellious spark running through them that McQueen is known for and these are now a cherished part of his history. They also showcased his ability to navigate the world of Haute Couture. He has said in interviews that he did walk away from the label with far greater knowledge about the techniques of couture and the process of couture, which of course benefited how own label greatly. 

On the runway this suit was shown with a silk top underneath with a flounced collar. This one came comes with its matching vest making it a proper three piece suit for a strong plays on menswear. There is much talk about the rebellion of McQueen and I feel like with the dramatic sculpted hairstyle that he styled the suit with and sending a model down the runway with a lit cigarette shows that spirit. When was known for his remarkable tailoring and this suit is no exception. It's made from a classic pinstriped men's wool suiting in a black. The pinstripes are created by running a gold toned thread vertically through the fabric. The fabric has a slight texture to it which adds to the beauty of the suit. The jacket is an incredible feat of construction. This is where McQueen's genius shines and having the couture atelier at his disposal just makes it stronger. Sleeves are cut long with four functional buttons at each cuff. The buttons are black enamel with gold edging. The shoulders are shaped with internal padding. The front lapel is done in a muted gold silk satin. It comes down the front in a tuxedo reminiscent shape and I love that the inner edge of the jacket is lined in that same gold silk. So if you open the jacket you get that flash of colour all the way to the bottom. The jacket is shaped with an incredibly masterful hand. The shape is a result of multiple tiny precise seams that run from just under the bust to the hem all the way around the jacket. They are done so precisely that at first glance you might mistake them for the pinstriping, but upon closer inspection you see that each is a tiny little perfect vertical seam. Each is tailored to perfection to bring the waist in and give the jacket shape. There is light inner padding and shaping underneath around the hip. A flap pocket sit on each hip and it closes with two matching gold and black buttons at the front. The vest underneath is made from the same gold as the lapel of the jacket and it is an almost straight replica of a classic men's vest. It buttons at the front with silk covered buttons in a matching gold. The pants are fabulous and are very unusual. They have a flat front with no band around the waist and are cut to sit slightly low on the hip. A classic McQueen signature. There is a sharp fold running down the front and back of the pants. The lower half of the pant leg is split to the knee up the back and then that split is edged with panels of the same gold silk of the collar and vest. This gives a slight flare and is an incredible detail. The upper part of the jacket has a slightly oversized fit and you can see on the runway shots that this is intentional. This is a remarkable example of his skills as a tailor and his time at Givenchy. Excellent condition with one small note below

All three pieces are hand lined. The jacket and pants in a fine black silk and the vest in a matching gold coloured silk. The jacket and vest button at the front to close and the pants zip to close. All the work is entirely done by hand to haute couture standards. I see some small faint marks on the lapel and front of the vest. This may come out with additional cleaning. It has been cleaned but not aggressively. It otherwise looks to have been worn very little if at all. Please see the two photos after the label shot. The pockets in the jacket are still tax shot. It is remarkable. The proper Haute Couture labels and handwritten tape are present.

Jacket
Sleeves: 23.5"
Shoulders: 16"
Bust: to 22.5" flat across from side seam to side seam
Waist: to 15.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 26.5" from neck to head 

Pant
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 43" waist to hem
Inseam: 33.5" from inner seam to hem
Rise: 13.5" from back waist to inner seam

Vest
Bust: 19" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Length: 22" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4261

Reference Photos/Video: Fall 2000 Givenchy Couture.

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 1952, Givenchy founded his namesake house on Rue Alfred de Vigny in Paris and quickly rose to fame as one of the grand couturiers. 16 years later for the 1968-69 season, he added a ready-to-wear line of clothing and accessories called 'Givenchy Nouvelle Boutique'. The line was initially sold in the United States exclusively through Bergdorf Goodman stores and was eventually available at other retailers as well. The line was high end and extremely well made. He launched this line to expand his customer base and it made to appeal specifically to his non-couture clients. This label continued until 1992. This set is very reminiscent of the pieces that Audrey Hepburn was wearing in the 1972 to 1976 time period. It's labels are extra interesting. Besides the Givenchy Nouvelle label in the top, it also has the black boutique label on the skirt and that label has a numbered tape behind it, which was usually reserved for special orders made in the atelier. I wonder if the original client perhaps bought the ready-to-wear top and then had a skirt custom-made… or perhaps both pieces were a special order and they just used a label on the top that was on hand in order to put the fabric content tag on. It just makes the set a little extra interesting. It could not be more gorgeous.

The set is made up of two separate pieces, a skirt and matching top. They are both made out of a cotton fabric that has a slight ribbed texture running through it. Over that is a charming little design that depicts hundreds of little round pine cones that completely cover both pieces. The backdrop is black and the print is a deep coral orange. The top is stunning. It has an elastic neckline that is squared off at the front. The sleeves are shaped into a high cap and have a little bit of stiffened black tulle underneath their edges to help hold the shape that you see. The elastic that runs through the entire neckline would allow you to wear this off-shoulder if you wished. The top skims over the bust and then widens out over the waist to its hem. It is very easy to wear and it's only when tucked into the skirt that you get shape. Each sleeve is full and poufed above its elastic cuff. You can then wear that tucked into the skirt. The skirt has a band at the waist and then is very full under that. When you stand still it falls in a pretty column but when you move you see that there are actually yards and yards of fabric in the skirt. The skirt is made of two tiers of fabric. One that is gathered into the band at the waist and then the other one is set on top of that with a ruffled finish to create a deep 20" lower hem all the around the bottom. It's spectacular. The cotton keeps it light and easy to wear while the cut and design are phenomenal. This is beautiful and classic Givenchy for this time period. I've included some reference photos of Audrey so you can see how beautifully pieces similar to this sit on the body. It appears to have been worn very little if at all. Excellent condition

Both pieces are unlined. The top slips over the head with elastic at the neckline and cuffs. Stiffened tulle at the top of each shoulder for shape. The skirt closes with hook and eye at the waist and snaps below that. Both pieces look to have been worn very little if at all.

Top
Sleeves: approx 19" and will come up when on
Bust: 16-21" flat across from side seam to side seam
Waist: 17-19" flat across from side seam to side seam
Bottom hem: 19-22" flat across from side seam to side seam
Length: 25" from top of shoulder to hem

Skirt
Waist: 12" flat across from side seam to side seam and you could easily move the hooks at the waist to get 1.5" more
Hips: open
Length: 42" from waist to hem with 2" turned under the hem

Modern Sizing Equivalent: XS-SML

Item# DD4220

Reference Photos: (1) Audrey Hepburn, in Givenchy, photographed by Henry Clarke for Italian Vogue, Feb 1972.  /   (2) Audrey Hepburn, in Givenchy, photographed by Elisabetta Catalano at her apartment in Rome, March 1976.

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

This is an incredible Haute Couture dress that came to me unlabeled. After some research and feedback from my client I think this may be a Givenchy or a Givenchy copy. I have a Givenchy in my own archives from his demi-couture boutique label from this same time period and the construction of the sleeves and the overall lines of the dress are remarkably similar other then the fact that this dress was entirely made by hand. Given the client's overall wardrobe and love of couture combined with the level of workmanship in the dress it is not a stretch. It could also be another of her Ady Couture piece as well. Ady Couture was based out of Lausanne Switzerland. She would buy couture fabrics from the couture houses along with the patterns and with permission make copies of the piece presented in the Haute Couture collections. When she was younger, and lived in Amsterdam, Ady would attend the private viewing and purchase directly from the couture houses. My client believes that her arrangement with the ateliers was a way to work around customs that prompted Ady to negotiate this arrangement with the ateliers. In my hunt for more information I have been able to verify that they made this permissible copies of the work of Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but this are the four houses I am confident on. It is priced as an Ady piece and the context that it would have with that label. The dress is completely made by hand to Haute Couture standards and it is incredible.

The dress is made from a black silk taffeta and this fabric choice allows it to hold the almost sculptural lines that you see. It is absolutely beautiful and a testament to the level of design that you only see in couture pieces. At the front the neckline dips into a V and the dress is vertically seamed to follow and curve over the body. The sleeves are a work of art. Each is made on a curve to follow the shape of the arm They are set into the shoulders with a beautiful series of soft pleats so that you get a bit of volume there. They then taper down to the cuffs where they zip to close around the wrist. At the back the dress is cut into a second V that is lower then the one at the front so that you get a bare expanse of skin. The waist is set to curve in at the front for a suggestion of shape but at the back is is cut so that the low waist and the top of the skirt lifts off and away from the body for more of a sense of volume. The skirt at the front is cut on a bell and curves gracefully away from the hips. At the back it is fuller and cut to fall longer then the front. Underneath is an interior skirt that is edged in a ruffle of black silk netting so that when you move you see just a peek of that from under the top skirt. At the top of the inner underskirt are layers of silk that help to hold the shape at the hips. Otherwise all of the volume is created but the cut and the fabric alone. The perfect final detail is the series of dots that you see scattered over the sleeves and bodice of the dress. These run past the waist and circle the upper portion of the skirt. They are various sizes and some are made from circles of tiny silver sequins while others are a iridescent pale blue sequin. The blue ones catch the light and range from silver to an ice blue. It's incredible. There are also some that are made from the finest little crystal beads. Inside the dress is completely finished to couture standards with every seam hand finished. I have taken some detail shots for you to see the fine workmanship inside. It is an incredible piece and just beautifully made. It appears to have been worn very little if at all. Excellent condition 

The bodice is unlined and the skirt is fully lined with a built in underskirt in a black silk taffeta. Built in paniers around the hip area that I have photoed for you. It closes with a back fine zipper and the skirt snaps into place with silk covered snaps over it. Hidden set zippers at each wrist. Hand finished throughout. It appears to have been worn very little if at all. There may be the occasional sequin or crystal missing on the dots but no bare spots.  Made to Haute Couture standards with a tremendous amount of detail put into its construction.

Sleeves: 24"
Slightly inset shoulders: 14"
Bust: to 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: open
Length: 58" from top of shoulder to front hem, 60" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3677

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 very rare runway documented Givenchy Haute Couture suit is from the Fall 2000 collection and is the twin of the one that walked the runway. This is from the small period of time that Alexander McQueen was the Creative Director for the house. He succeeded John Galliano as head designer in 1996 at the age of 27. McQueen subsequently left the label in 2001 when his contract ended citing his creativity was constrained. His appointment there had been tumultuous from the start. Hubert de Givenchy had describe his appointment it as a "total disaster” and McQueen had shot back that the founder was “irrelevant”. Of course now in hindsight we see these collections for the genius that they were. They still had that rebellious spark running through them that McQueen is known for and these are now a cherished part of his history. They also showcased his ability to navigate the world of Haute Couture. He has said in interviews that he did walk away from the label with far greater knowledge about the techniques of couture and the process of couture, which of course benefited how own label greatly. 

On the runway this suit was shown with a silk top underneath with a flounced collar. This one came comes with its matching vest making it a proper three piece suit for a strong plays on menswear. There is much talk about the rebellion of McQueen and I feel like with the dramatic sculpted hairstyle that he styled the suit with and sending a model down the runway with a lit cigarette shows that spirit. When was known for his remarkable tailoring and this suit is no exception. It's made from a classic pinstriped men's wool suiting in a black. The pinstripes are created by running a gold toned thread vertically through the fabric. The fabric has a slight texture to it which adds to the beauty of the suit. The jacket is an incredible feat of construction. This is where McQueen's genius shines and having the couture atelier at his disposal just makes it stronger. Sleeves are cut long with four functional buttons at each cuff. The buttons are black enamel with gold edging. The shoulders are shaped with internal padding. The front lapel is done in a muted gold silk satin. It comes down the front in a tuxedo reminiscent shape and I love that the inner edge of the jacket is lined in that same gold silk. So if you open the jacket you get that flash of colour all the way to the bottom. The jacket is shaped with an incredibly masterful hand. The shape is a result of multiple tiny precise seams that run from just under the bust to the hem all the way around the jacket. They are done so precisely that at first glance you might mistake them for the pinstriping, but upon closer inspection you see that each is a tiny little perfect vertical seam. Each is tailored to perfection to bring the waist in and give the jacket shape. There is light inner padding and shaping underneath around the hip. A flap pocket sit on each hip and it closes with two matching gold and black buttons at the front. The vest underneath is made from the same gold as the lapel of the jacket and it is an almost straight replica of a classic men's vest. It buttons at the front with silk covered buttons in a matching gold. The pants are fabulous and are very unusual. They have a flat front with no band around the waist and are cut to sit slightly low on the hip. A classic McQueen signature. There is a sharp fold running down the front and back of the pants. The lower half of the pant leg is split to the knee up the back and then that split is edged with panels of the same gold silk of the collar and vest. This gives a slight flare and is an incredible detail. The upper part of the jacket has a slightly oversized fit and you can see on the runway shots that this is intentional. This is a remarkable example of his skills as a tailor and his time at Givenchy. Excellent condition with one small note below

All three pieces are hand lined. The jacket and pants in a fine black silk and the vest in a matching gold coloured silk. The jacket and vest button at the front to close and the pants zip to close. All the work is entirely done by hand to haute couture standards. I see some small faint marks on the lapel and front of the vest. This may come out with additional cleaning. It has been cleaned but not aggressively. It otherwise looks to have been worn very little if at all. Please see the two photos after the label shot. The pockets in the jacket are still tax shot. It is remarkable. The proper Haute Couture labels and handwritten tape are present.

Jacket
Sleeves: 23.5"
Shoulders: 16"
Bust: to 22.5" flat across from side seam to side seam
Waist: to 15.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 26.5" from neck to head 

Pant
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 43" waist to hem
Inseam: 33.5" from inner seam to hem
Rise: 13.5" from back waist to inner seam

Vest
Bust: 19" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Length: 22" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4261

Reference Photos/Video: Fall 2000 Givenchy Couture.

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 1952, Givenchy founded his namesake house on Rue Alfred de Vigny in Paris and quickly rose to fame as one of the grand couturiers. 16 years later for the 1968-69 season, he added a ready-to-wear line of clothing and accessories called 'Givenchy Nouvelle Boutique'. The line was initially sold in the United States exclusively through Bergdorf Goodman stores and was eventually available at other retailers as well. The line was high end and extremely well made. He launched this line to expand his customer base and it made to appeal specifically to his non-couture clients. This label continued until 1992. This set is very reminiscent of the pieces that Audrey Hepburn was wearing in the 1972 to 1976 time period. It's labels are extra interesting. Besides the Givenchy Nouvelle label in the top, it also has the black boutique label on the skirt and that label has a numbered tape behind it, which was usually reserved for special orders made in the atelier. I wonder if the original client perhaps bought the ready-to-wear top and then had a skirt custom-made… or perhaps both pieces were a special order and they just used a label on the top that was on hand in order to put the fabric content tag on. It just makes the set a little extra interesting. It could not be more gorgeous.

The set is made up of two separate pieces, a skirt and matching top. They are both made out of a cotton fabric that has a slight ribbed texture running through it. Over that is a charming little design that depicts hundreds of little round pine cones that completely cover both pieces. The backdrop is black and the print is a deep coral orange. The top is stunning. It has an elastic neckline that is squared off at the front. The sleeves are shaped into a high cap and have a little bit of stiffened black tulle underneath their edges to help hold the shape that you see. The elastic that runs through the entire neckline would allow you to wear this off-shoulder if you wished. The top skims over the bust and then widens out over the waist to its hem. It is very easy to wear and it's only when tucked into the skirt that you get shape. Each sleeve is full and poufed above its elastic cuff. You can then wear that tucked into the skirt. The skirt has a band at the waist and then is very full under that. When you stand still it falls in a pretty column but when you move you see that there are actually yards and yards of fabric in the skirt. The skirt is made of two tiers of fabric. One that is gathered into the band at the waist and then the other one is set on top of that with a ruffled finish to create a deep 20" lower hem all the around the bottom. It's spectacular. The cotton keeps it light and easy to wear while the cut and design are phenomenal. This is beautiful and classic Givenchy for this time period. I've included some reference photos of Audrey so you can see how beautifully pieces similar to this sit on the body. It appears to have been worn very little if at all. Excellent condition

Both pieces are unlined. The top slips over the head with elastic at the neckline and cuffs. Stiffened tulle at the top of each shoulder for shape. The skirt closes with hook and eye at the waist and snaps below that. Both pieces look to have been worn very little if at all.

Top
Sleeves: approx 19" and will come up when on
Bust: 16-21" flat across from side seam to side seam
Waist: 17-19" flat across from side seam to side seam
Bottom hem: 19-22" flat across from side seam to side seam
Length: 25" from top of shoulder to hem

Skirt
Waist: 12" flat across from side seam to side seam and you could easily move the hooks at the waist to get 1.5" more
Hips: open
Length: 42" from waist to hem with 2" turned under the hem

Modern Sizing Equivalent: XS-SML

Item# DD4220

Reference Photos: (1) Audrey Hepburn, in Givenchy, photographed by Henry Clarke for Italian Vogue, Feb 1972.  /   (2) Audrey Hepburn, in Givenchy, photographed by Elisabetta Catalano at her apartment in Rome, March 1976.

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

This is an incredible Haute Couture dress that came to me unlabeled. After some research and feedback from my client I think this may be a Givenchy or a Givenchy copy. I have a Givenchy in my own archives from his demi-couture boutique label from this same time period and the construction of the sleeves and the overall lines of the dress are remarkably similar other then the fact that this dress was entirely made by hand. Given the client's overall wardrobe and love of couture combined with the level of workmanship in the dress it is not a stretch. It could also be another of her Ady Couture piece as well. Ady Couture was based out of Lausanne Switzerland. She would buy couture fabrics from the couture houses along with the patterns and with permission make copies of the piece presented in the Haute Couture collections. When she was younger, and lived in Amsterdam, Ady would attend the private viewing and purchase directly from the couture houses. My client believes that her arrangement with the ateliers was a way to work around customs that prompted Ady to negotiate this arrangement with the ateliers. In my hunt for more information I have been able to verify that they made this permissible copies of the work of Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but this are the four houses I am confident on. It is priced as an Ady piece and the context that it would have with that label. The dress is completely made by hand to Haute Couture standards and it is incredible.

The dress is made from a black silk taffeta and this fabric choice allows it to hold the almost sculptural lines that you see. It is absolutely beautiful and a testament to the level of design that you only see in couture pieces. At the front the neckline dips into a V and the dress is vertically seamed to follow and curve over the body. The sleeves are a work of art. Each is made on a curve to follow the shape of the arm They are set into the shoulders with a beautiful series of soft pleats so that you get a bit of volume there. They then taper down to the cuffs where they zip to close around the wrist. At the back the dress is cut into a second V that is lower then the one at the front so that you get a bare expanse of skin. The waist is set to curve in at the front for a suggestion of shape but at the back is is cut so that the low waist and the top of the skirt lifts off and away from the body for more of a sense of volume. The skirt at the front is cut on a bell and curves gracefully away from the hips. At the back it is fuller and cut to fall longer then the front. Underneath is an interior skirt that is edged in a ruffle of black silk netting so that when you move you see just a peek of that from under the top skirt. At the top of the inner underskirt are layers of silk that help to hold the shape at the hips. Otherwise all of the volume is created but the cut and the fabric alone. The perfect final detail is the series of dots that you see scattered over the sleeves and bodice of the dress. These run past the waist and circle the upper portion of the skirt. They are various sizes and some are made from circles of tiny silver sequins while others are a iridescent pale blue sequin. The blue ones catch the light and range from silver to an ice blue. It's incredible. There are also some that are made from the finest little crystal beads. Inside the dress is completely finished to couture standards with every seam hand finished. I have taken some detail shots for you to see the fine workmanship inside. It is an incredible piece and just beautifully made. It appears to have been worn very little if at all. Excellent condition 

The bodice is unlined and the skirt is fully lined with a built in underskirt in a black silk taffeta. Built in paniers around the hip area that I have photoed for you. It closes with a back fine zipper and the skirt snaps into place with silk covered snaps over it. Hidden set zippers at each wrist. Hand finished throughout. It appears to have been worn very little if at all. There may be the occasional sequin or crystal missing on the dots but no bare spots.  Made to Haute Couture standards with a tremendous amount of detail put into its construction.

Sleeves: 24"
Slightly inset shoulders: 14"
Bust: to 18" flat across from side seam to side seam
Waist: 16" flat across from side seam to side seam
Hips: open
Length: 58" from top of shoulder to front hem, 60" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3677

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