I have had one of these dresses in the shop before and it is one of my favorites. It's twin walked the runway that season and then the dress was photoed by David Seidner before it was released to the public to purchase. It is a beautiful example of Yves work during this time period and one of my favorite dresses by him. I myself own one and I love it. It is extraordinarily beautiful.

The first thing you will notice about the dress is that it is as light as air. It is made from a feather light silk voile that has enough crispness to it to hold the shape but that adds as little weight as possible. The dress is strapless and the bodice is gathered into soft draping pleats that are gathered in and held in place down the seam on both sides. There is no shaping or boning inside. It simple drapes over your body and your coverage is provided by two layers of the fabric and the opaqueness caused by that double layer of silk combined with the draping. The gathers run from the top of the bodice to just below the hip. The seam that ends at the hip is cut on a slight downward angle so that the visual line it creates adds length. The skirt falls under that to the floor and it is also made from a double layer of the same fabric. The two layers of the skirt float over each other and will move with your slightest movement. Attached all the way around that seam at the hip is a wide sash of fabric. It extends out into extra long ties at one side. This is how you create that fabulous big soft bow at the side. This adds so much detail and volume and I love it. The print that runs over the entire dress is the perfect final finish. It combines a pretty purple with a muted green and an off-white. The fabric has a touch of transparency to it and with the double layer of the silk the pattern floats over itself and there is a depth created by the effect of the two patterns layered over each other that is fantastic. One of my favorite pieces ever. It is even better in person. Excellent condition

The second inner layer of the same fabric acts as the lining. It closes with a side set zipper. It appears to have been worn very little if at all.

Bust: to 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 52" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3960

Reference Photo: (1) S/S 1984 Yves Saint Laurent Runway Collection. Model: Anna Bayle.  /  (2) Yves Saint Laurent 1983, David Seidner Archives.

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 is one of the several versions that were produced for the Fall 1987 season. Versions  and variations of the dress were done for both the Haute Couture runway and Rive Gauche. A somewhat similar version in pink and black, worn by Naomi, was featured in the fall ad campaign for the Rive Gauche label. As much as I love the pink version, I think that the all black is even more wearable for a larger variety of occasions. This dress is also one of the most dramatic of all the similar examples I have shared here and I love that about it.

The dress is strapless with a wonderful curved bodice and short fitted cut. The fabric is so unusual. It has a slight bubbled textured feel to it which makes it a much more interesting choice than a plain black fabric would have. I love the ruffle detailing that finishes the edges. This is a classic YSL touch that adds to the impact the dress has. The ruffles follow the upward curving edge of the bodice and then go all the way down and around the back. A double layer of wider ruffles edge the bottom hem to give it extra volume and flare. The front of the skirt has an extra apron-like overlay that has allowed him to curve one of the ruffled finishes along its edge and up to the hip. At that side of the hip is a large black bow set slightly to the back if the side. The bow is made of the same silk taffeta that the ruffles are made from. This adds incredible volume and I love it. Everything about the cut of the dress is done to highlight the curves of the body from the way the hem is set to that final ruffle that curves across the back. It is gorgeous. Excellent condition

Fully lined in a black cotton and the interior bodice is lightly boned for shape and support. Inner waist stay that hooks to close  and the back closes with a fine metal zipper. Tagged a vintage YSL 38

Bust: 15.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 31" from top seam of the bodice to hem and the top ruffle adds 2.5" inches above the top seam of the bodice

Modern Sizing Equivalent: XS-SML

Item# DD3090

Reference Photos: (1) Naomi Campbell for Saint Laurent Rive Gauche, F/W 1987.  /  (2-3) Yves Saint Laurent Haute Couture S/S 1987 Runway.

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 a rare and hard to find dress. The shorter black and white version was used in the ad campaign that year photoed on Supermodel Christy Turlington. This was one of the iconic pieces of that season and I am very pleased to have found this example. And do I dare say that I love the pink version better then the one used for the ad campaign?

The spring 1990 collection was fully of whimsy and ruffles. It highlighted just how well Yves could do a feminine piece with a bit of wit and romance. The dress is made from a light weight silk organza that holds the shape and volume that you see beautifully. It has been dyed to a soft pink and then has black dots worked over it from top to bottom. The front of the bodice is scooped and edged with his signature black braiding. The bodice is cut to skim over you and then comes in a touch at the waist. It skims past the waist to end at the top of the hips. If you wanted to add more shape you could easily add a belt to really define and cinch it in. At the back the dress has a series of glossy black buttons that pick up in the dots in the print. The seam that runs around the top of the hips is set on a curve and at the back it dips down just a touch for a pretty feel. The skirt is set into that seam and it is gorgeous. It is set in a series of soft pleats that give it the volume that you see. There is a tremendous amount of fabric in the skirt. At the front it falls to just above or at the knees depending on your height and then it curves down and around to fall to mid-calf or the ankle, again height dependent. The bottom edge of the skirt is finished with a wide ruffle and this just increases the volume and movement that the skirt already has. The fabric is light enough that the skirt will move with the slightest bit of air. When you move it moves. The last perfect touch are the sleeves. They are cut to the elbows and each is finished with the same ruffle and the skirt. It wraps all the way around the edge and then runs up the side for a bit of a jaunty flare. I love it. This dress is beyond in person and far better then how it even photoed. Excellent condition with a note below.

The top is lined in a matching fine silk and the skirt and sleeves are unlined. It closes with a back zipper under the decorative row of buttons. The buttons on the cuffs are decorative. here is a small inner hip panel under the skirt. There are some areas of yellowing on the ruffles of the skirt on one side and a tiny colour run mark. With the volume that the skirt has this is very minor. Please see the two photos after the label shot. Tagged a 40

Sleeves: 13"
Shoulders: 15-16"
Bust: 18.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Seam at top of hips: 18.5" flat across from side seam to side seam
Inner hip panel: to 21" flat across from side seam to side seam and if you added to that the hips would be completely open
Bodice: 21" from top of shoulder to seam at top of the hip
Skirt: 15" from seam at top of the hip to front hem, 34" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3940

Reference Photos: (1) Spring 1990 Yves Saint Laurent Runway.  /  (2-3) Christy Turlington in a Saint Laurent Rive Gauche dress of polka dot Abraham fabric, for the Spring 1990 Ad Campaign, photographed by Arthur Elgort.

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 gorgeous little dress is the ready-to-wear version of the Haute Couture dress that Yves created. I have included the runway photos of the couture version that walked the runway and that was featured in an editorial that year so that you can see how the dress looks on. The ready-to-wear version is a slightly simplified version of it but otherwise looks remarkably the same. He often did this with a few select pieces from his collections so that his non-couture clients had access to his work as well. The 1987 collection is one of my all time favourites and I am very pleased to have this wonderful example from it in the shop for you.

If you are a Yves Saint Laurent fan the second that you saw this dress you would have known that it was his work. This was a definitive look of the Couture collection and I love that he made a ready-to-wear version. I am also glad I have reference photos for you because if there was ever a dress that needed be seen on a body this is it. It really is not being done full justice on my dress form but it is gorgeous on the body. The dress sits off the shoulders to leave a bare expanse of skin. The sleeves are cut to follow the arm to just past the elbow. A pretty chiffon ruffle edges the entire neckline and then another ruffle curves around each wrist. The bodice skims over the bust and comes in at the waist. Under that the skirt flares out dramatically and is quite full. The front of the skirt is cut to the knee, or just above depending on your height, and then the edges of the skirt curve down and around to a full length at the back. The fullness and the length change give it a ton of movement when you move. The fabric is a segment in itself. It is made from a black silk net backed by a black silk tulle. Then onto the top net layer is a design made of black raffia. This gives the dress an incredible texture and the raffia catches the light fantastically. It also means that the parts of the dress that are not lined have a touch of transparency which is very sexy. This is an incredible piece of Yve's history and an absolutely gorgeous dress. Excellent condition with a minor note to review below 

Lined in a layer of tulle as described above and then there is a inner lining though the bodice and to just past the hips that is made out of a gold nude toned silk chiffon covered in a layer of black silk chiffon. It closes with a side set zipper. The raffia has small breaks in it here and there. I have never seen a vintage piece with raffia detailing that does not do this as it ages. It is inherent to the material and normal wear. 

Sleeves: 18"
Bust: 18" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam before it flares out
Length: approx 35" from natural shoulder to front hem, 52" to lowest pint of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3888

Reference Photos: (1-2) S/S 1987 Yves Saint Laurent Haute Couture Runway Show.  /  (3) Brynja Sverrisdottir in S/S 1987 Yves Saint Laurent Couture. Photo by David Bailey.

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 cape is wonderful. It is by Yves Saint Laurent and is a beautiful and easy to wear piece that will fit virtually any size. It dates to the late 1970s, maybe to mid-1980s and is very representative of the work he was doing during this time period starting with his famous Russian collection of 1976-77. The cut is very simple. The back is one large panel and then there are two panels that fall across the shoulder and down the front. It has no closures and just drapes over your shoulders and simply falls perfectly into place. The fabric is a loose knit red mohair and this fabric choice gives it a a beautiful warm and cozy texture. It is edged in a deep brown black fox fur set in little in long strops that go back and forth between the natural fur and a shave strap to give it that textured and tufted feel that you see. Running down each shoulder and over the tops of where your arms would sit are a series of flat black buttons that are set to run along a wide strip of flat cording. Each of the buttons is completely functional and this allows you to wear the cape in a variety of ways. Once you open you can wrap one or both pf the front panels around and over a shoulder for multiple ways to wear it. It looks to have been worn very little if at all. It is the type of item that you can throw over almost anything. Excellent condition

Unlined and drapes over the shoulders to wear. All the buttons are functional. A tiny bit of scuffing on a couple fo the buttons. The loose and open cut means it should be able to be worn by any size

Width: 60" side to side
Length: 42" neck to hem

Modern Sizing Equivalent: OSFA

Item# DD3826

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

I have a small collection of historically important, key designer labelled vintage furs and fur trimmed pieces stored away in my archives that I will be slowly posting on the site over the next couple of years until I have none left. I will no longer be buying furs for the shop moving forward and have not purchased anything for several years now. I feel like times have changed and while there still is a place for vintage furs for some, including collectors and historians, many modern girls are choosing other options. Many of the pieces in my collection are representative of the designer during a set time period in history that was different then our modern outlook. I have decided that the best course to handle this controversial issue is to let the pieces I have go rather then sit in a cold storage unit. Fur coats are final sale.

I have had one of these dresses in the shop before and it is one of my favorites. It's twin walked the runway that season and then the dress was photoed by David Seidner before it was released to the public to purchase. It is a beautiful example of Yves work during this time period and one of my favorite dresses by him. I myself own one and I love it. It is extraordinarily beautiful.

The first thing you will notice about the dress is that it is as light as air. It is made from a feather light silk voile that has enough crispness to it to hold the shape but that adds as little weight as possible. The dress is strapless and the bodice is gathered into soft draping pleats that are gathered in and held in place down the seam on both sides. There is no shaping or boning inside. It simple drapes over your body and your coverage is provided by two layers of the fabric and the opaqueness caused by that double layer of silk combined with the draping. The gathers run from the top of the bodice to just below the hip. The seam that ends at the hip is cut on a slight downward angle so that the visual line it creates adds length. The skirt falls under that to the floor and it is also made from a double layer of the same fabric. The two layers of the skirt float over each other and will move with your slightest movement. Attached all the way around that seam at the hip is a wide sash of fabric. It extends out into extra long ties at one side. This is how you create that fabulous big soft bow at the side. This adds so much detail and volume and I love it. The print that runs over the entire dress is the perfect final finish. It combines a pretty purple with a muted green and an off-white. The fabric has a touch of transparency to it and with the double layer of the silk the pattern floats over itself and there is a depth created by the effect of the two patterns layered over each other that is fantastic. One of my favorite pieces ever. It is even better in person. Excellent condition

The second inner layer of the same fabric acts as the lining. It closes with a side set zipper. It appears to have been worn very little if at all.

Bust: to 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 52" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD3960

Reference Photo: (1) S/S 1984 Yves Saint Laurent Runway Collection. Model: Anna Bayle.  /  (2) Yves Saint Laurent 1983, David Seidner Archives.

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 is one of the several versions that were produced for the Fall 1987 season. Versions  and variations of the dress were done for both the Haute Couture runway and Rive Gauche. A somewhat similar version in pink and black, worn by Naomi, was featured in the fall ad campaign for the Rive Gauche label. As much as I love the pink version, I think that the all black is even more wearable for a larger variety of occasions. This dress is also one of the most dramatic of all the similar examples I have shared here and I love that about it.

The dress is strapless with a wonderful curved bodice and short fitted cut. The fabric is so unusual. It has a slight bubbled textured feel to it which makes it a much more interesting choice than a plain black fabric would have. I love the ruffle detailing that finishes the edges. This is a classic YSL touch that adds to the impact the dress has. The ruffles follow the upward curving edge of the bodice and then go all the way down and around the back. A double layer of wider ruffles edge the bottom hem to give it extra volume and flare. The front of the skirt has an extra apron-like overlay that has allowed him to curve one of the ruffled finishes along its edge and up to the hip. At that side of the hip is a large black bow set slightly to the back if the side. The bow is made of the same silk taffeta that the ruffles are made from. This adds incredible volume and I love it. Everything about the cut of the dress is done to highlight the curves of the body from the way the hem is set to that final ruffle that curves across the back. It is gorgeous. Excellent condition

Fully lined in a black cotton and the interior bodice is lightly boned for shape and support. Inner waist stay that hooks to close  and the back closes with a fine metal zipper. Tagged a vintage YSL 38

Bust: 15.5" flat across from side seam to side seam
Waist: 13.5" flat across from side seam to side seam
Hips: to 18" flat across from side seam to side seam
Length: 31" from top seam of the bodice to hem and the top ruffle adds 2.5" inches above the top seam of the bodice

Modern Sizing Equivalent: XS-SML

Item# DD3090

Reference Photos: (1) Naomi Campbell for Saint Laurent Rive Gauche, F/W 1987.  /  (2-3) Yves Saint Laurent Haute Couture S/S 1987 Runway.

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 a rare and hard to find dress. The shorter black and white version was used in the ad campaign that year photoed on Supermodel Christy Turlington. This was one of the iconic pieces of that season and I am very pleased to have found this example. And do I dare say that I love the pink version better then the one used for the ad campaign?

The spring 1990 collection was fully of whimsy and ruffles. It highlighted just how well Yves could do a feminine piece with a bit of wit and romance. The dress is made from a light weight silk organza that holds the shape and volume that you see beautifully. It has been dyed to a soft pink and then has black dots worked over it from top to bottom. The front of the bodice is scooped and edged with his signature black braiding. The bodice is cut to skim over you and then comes in a touch at the waist. It skims past the waist to end at the top of the hips. If you wanted to add more shape you could easily add a belt to really define and cinch it in. At the back the dress has a series of glossy black buttons that pick up in the dots in the print. The seam that runs around the top of the hips is set on a curve and at the back it dips down just a touch for a pretty feel. The skirt is set into that seam and it is gorgeous. It is set in a series of soft pleats that give it the volume that you see. There is a tremendous amount of fabric in the skirt. At the front it falls to just above or at the knees depending on your height and then it curves down and around to fall to mid-calf or the ankle, again height dependent. The bottom edge of the skirt is finished with a wide ruffle and this just increases the volume and movement that the skirt already has. The fabric is light enough that the skirt will move with the slightest bit of air. When you move it moves. The last perfect touch are the sleeves. They are cut to the elbows and each is finished with the same ruffle and the skirt. It wraps all the way around the edge and then runs up the side for a bit of a jaunty flare. I love it. This dress is beyond in person and far better then how it even photoed. Excellent condition with a note below.

The top is lined in a matching fine silk and the skirt and sleeves are unlined. It closes with a back zipper under the decorative row of buttons. The buttons on the cuffs are decorative. here is a small inner hip panel under the skirt. There are some areas of yellowing on the ruffles of the skirt on one side and a tiny colour run mark. With the volume that the skirt has this is very minor. Please see the two photos after the label shot. Tagged a 40

Sleeves: 13"
Shoulders: 15-16"
Bust: 18.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Seam at top of hips: 18.5" flat across from side seam to side seam
Inner hip panel: to 21" flat across from side seam to side seam and if you added to that the hips would be completely open
Bodice: 21" from top of shoulder to seam at top of the hip
Skirt: 15" from seam at top of the hip to front hem, 34" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3940

Reference Photos: (1) Spring 1990 Yves Saint Laurent Runway.  /  (2-3) Christy Turlington in a Saint Laurent Rive Gauche dress of polka dot Abraham fabric, for the Spring 1990 Ad Campaign, photographed by Arthur Elgort.

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 gorgeous little dress is the ready-to-wear version of the Haute Couture dress that Yves created. I have included the runway photos of the couture version that walked the runway and that was featured in an editorial that year so that you can see how the dress looks on. The ready-to-wear version is a slightly simplified version of it but otherwise looks remarkably the same. He often did this with a few select pieces from his collections so that his non-couture clients had access to his work as well. The 1987 collection is one of my all time favourites and I am very pleased to have this wonderful example from it in the shop for you.

If you are a Yves Saint Laurent fan the second that you saw this dress you would have known that it was his work. This was a definitive look of the Couture collection and I love that he made a ready-to-wear version. I am also glad I have reference photos for you because if there was ever a dress that needed be seen on a body this is it. It really is not being done full justice on my dress form but it is gorgeous on the body. The dress sits off the shoulders to leave a bare expanse of skin. The sleeves are cut to follow the arm to just past the elbow. A pretty chiffon ruffle edges the entire neckline and then another ruffle curves around each wrist. The bodice skims over the bust and comes in at the waist. Under that the skirt flares out dramatically and is quite full. The front of the skirt is cut to the knee, or just above depending on your height, and then the edges of the skirt curve down and around to a full length at the back. The fullness and the length change give it a ton of movement when you move. The fabric is a segment in itself. It is made from a black silk net backed by a black silk tulle. Then onto the top net layer is a design made of black raffia. This gives the dress an incredible texture and the raffia catches the light fantastically. It also means that the parts of the dress that are not lined have a touch of transparency which is very sexy. This is an incredible piece of Yve's history and an absolutely gorgeous dress. Excellent condition with a minor note to review below 

Lined in a layer of tulle as described above and then there is a inner lining though the bodice and to just past the hips that is made out of a gold nude toned silk chiffon covered in a layer of black silk chiffon. It closes with a side set zipper. The raffia has small breaks in it here and there. I have never seen a vintage piece with raffia detailing that does not do this as it ages. It is inherent to the material and normal wear. 

Sleeves: 18"
Bust: 18" flat across from side seam to side seam
Waist: 12-13" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam before it flares out
Length: approx 35" from natural shoulder to front hem, 52" to lowest pint of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD3888

Reference Photos: (1-2) S/S 1987 Yves Saint Laurent Haute Couture Runway Show.  /  (3) Brynja Sverrisdottir in S/S 1987 Yves Saint Laurent Couture. Photo by David Bailey.

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 cape is wonderful. It is by Yves Saint Laurent and is a beautiful and easy to wear piece that will fit virtually any size. It dates to the late 1970s, maybe to mid-1980s and is very representative of the work he was doing during this time period starting with his famous Russian collection of 1976-77. The cut is very simple. The back is one large panel and then there are two panels that fall across the shoulder and down the front. It has no closures and just drapes over your shoulders and simply falls perfectly into place. The fabric is a loose knit red mohair and this fabric choice gives it a a beautiful warm and cozy texture. It is edged in a deep brown black fox fur set in little in long strops that go back and forth between the natural fur and a shave strap to give it that textured and tufted feel that you see. Running down each shoulder and over the tops of where your arms would sit are a series of flat black buttons that are set to run along a wide strip of flat cording. Each of the buttons is completely functional and this allows you to wear the cape in a variety of ways. Once you open you can wrap one or both pf the front panels around and over a shoulder for multiple ways to wear it. It looks to have been worn very little if at all. It is the type of item that you can throw over almost anything. Excellent condition

Unlined and drapes over the shoulders to wear. All the buttons are functional. A tiny bit of scuffing on a couple fo the buttons. The loose and open cut means it should be able to be worn by any size

Width: 60" side to side
Length: 42" neck to hem

Modern Sizing Equivalent: OSFA

Item# DD3826

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

I have a small collection of historically important, key designer labelled vintage furs and fur trimmed pieces stored away in my archives that I will be slowly posting on the site over the next couple of years until I have none left. I will no longer be buying furs for the shop moving forward and have not purchased anything for several years now. I feel like times have changed and while there still is a place for vintage furs for some, including collectors and historians, many modern girls are choosing other options. Many of the pieces in my collection are representative of the designer during a set time period in history that was different then our modern outlook. I have decided that the best course to handle this controversial issue is to let the pieces I have go rather then sit in a cold storage unit. Fur coats are final sale.