The Nina Ricci brand was founded in 1932, at 20 Rue de Capucines in Paris and quickly became one of the top couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant as head of the brand. Over the following three decades, Pipart's couture vision 'celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day.' This dress is from the Fall 1994 collection and I have included the runway reference photo here. In an interview with WWD in 1995, Pipart was asked about the state of couture upon his arrival to Nina Ricci and I love his reply; 'When I arrived everyone was predicting the death of couture, so I was keen to get in for what were meant to be the final few years. And despite what people like Pierre Bergé and many others predicted, couture has lasted a lot longer than anyone ever thought.' Pipart's designs for the Couture collections often combined high fantasy elements and this dress with its ultra long back is an amazing example of his work during this time period. 

The twin of this dress walked the runway of the Fall 1994 collection and prior to coming from me it was worn by a bride who shared some of her photos with me that you can see on my Instagram by clicking here.

The dress is absolutely beautiful and every detail has been done by hand. It has been cut so that every seam is finished with a beautiful curved line. The construction lends itself to a very structured shape and this gives the dress an almost sculpted feel that is softened by the pale pink silk color of it. It is made out of a fine silk faille that is then covered with a layer of lace The lace is handmade and follows the exact cut of the dress. Within the lace is a floral design and each cluster of flowers have been outlined with a fine silver metallic cording. Then to detail the inside of each flower he used a pale pink metallic cord. The workmanship is extremely fine and the details are exquisite. The hours to do this would have been staggering. Every stitch is done by hand and the work is meticulous. The dress under this exceptional detailing is as exquisite. The neckline is scooped and the bodice is cut to skim over you. It gently curves in at the waist and then there is a seam that sits at the top of the hips where the skirt meets the bodice. At the front the skirt is set into two curving panels that have a very structured shape so that they curve out and away from the body. They cross over each other at the top near the seam and then curve away from each other as they near the hem, leaving an opening so that when you walk you see a glimpse of leg. Soft pleats sit just below either hip towards the side and these add volume and lift to the skirt. At the back the skirt curves around you and you see a repeat of the two pleats at the outer side for volume. The two sides of the skirt open where they meet at the seam  and there sits a panel of pale pink silk that is pleated so that it expands and opens into an extensive train. A decorative row of hand made silk buttons run up each sleeve and then a series of them run down the back. This would be an amazing choice for a bride who does not want a traditional wedding dress or as part of a wedding event. Excellent overall condition with a note to review below.

The dress is fully lined in hand set pink silk and closes with a back hand set zipper that is hidden set behind the row of buttons that run down the back. There is a hooked inner waist stay. Hand set snaps close the train over the inner zipper.  Each cuff zips to close behind the row of buttons that runs down the cuffs. The dress is finished to Haute Couture standards and entirely made by hand. The proper Haute Couture label is present. The pleats have softened a little on the train and the dress shows some grubbiness under and along the back hem and train. There is some interior discoloration around the arms of the inner lining and one teeny spot where this shows through along the edge of the seam on the exterior. Please see the photos after the label shot. My client had the side seams let out slightly by Madame Paulette's in NYC and the train re-pleated before she wore it. All other small flaws were present already when she purchased it

Sleeves: 24"
Shoulders: 15.25"
Bust: to 18.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: open
Bodice: 19.5" from top of bodice to dropped waist
Skirt: approx 26" from waist to shortest part where the front curves meet. It curves to 42" at the sides and drops to 49" at the longest part of the lace covered skirt at the back. The silk pleated train extends to 61" from the dropped waist

Modern Sizing Equivalent: SML-MED

Item# DD3080

Reference Photo: F/W 1994 Nina Ricci Haute 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.

This dress is from the Nina Ricci Haute Boutique demi-couture label from the 1980s and it has that amazing eighties aesthetic to it. On the inner tag it has a space for the model style and this dress was called the 'Garda'. The Nina Ricci brand was founded in 1932, at 20 Rue de Capucines in Paris and quickly became one of the top couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant, as head of the brand. Over the following three decades, Pipart's couture vision 'celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day.' This dress fits perfectly into that aesthetic and I think it is amazing. 

I love the bold cut of the dress combined with the richness of the black velvet. Using velvet allows the black to be as deep and dark as it possibly could be so that the body of the dress becomes a backdrop to those wonderful shoulders. I am actually seeing a lot of similar pieces on the runways this past season or so and they are all based on work like this. The body of the dress falls in a perfect column of velvet and is cut to skim over the body and your curves. The sleeves are long and each narrows to a zipper cuff. The bodice is finished in a high end black silk and is shaped and cut to hug and lift the breasts. It curves over the breasts and then gathers in the centre where it is caught up with a strip of silk. This creates a curved sweetheart neckline that is beautiful. At the top of each arm is an explosion of pleated silk taffeta that is done in multiple layers of fabric. These swirl and curve around each other. The effect this creates and the volume it gives is remarkable. This also leaves the shoulders bare for some skin to show. To off-set the volume at the top of the dress, the skirt is more fitted as it falls to the floor in a graceful column of velvet. A slit runs up the back so that you can walk. The dress is very well made and the black silk interior gives it a rich and sensual feel once on. Excellent condition

Fully lined in a black silk and closes with a back zipper. There is a built in bodice that closes with its own separate zipper. Inner waist stay that hooks to close. Each cuff has zippers to close. Hand finishes. It appears to have been worn very little if at all. 

Sleeves: 22"
Bust: to 17" flat across from side seam to side seam
Inner waist stay under the bust: 14.5" flat across from side seam to side seam
Natural waist: 16" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: Approx 57" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3681

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

The Nina Ricci Haute Couture house was founded in 1932, at 20 Rue de Capucines in Paris and became one of the pre-eminent couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant who took over the atelier in 1954. Over the following three decades, his Haute Couture vision "celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day." This late seventies gown is a wonderful example of Pipart's vision for the house and is a stunning example of the work that the atelier was producing during this time period.

This dress is spectacular. It is one of the best Nina Ricci pieces I have seen. This is true Haute Couture label from the atelier and every stitch has been done by hand. The hours that would have been put into making this dress and ensuring that drape and line are perfect are mind-boggling. The dress is made out of a fine silk that has been dyed to the perfect clear red. In person it is perhaps a touch brighter and better then how it photoed. The silk that has been chosen for the fabric gives it that fantastic drape you see. The fabric is so light that the dress seems to  float around you when you move. The neckline is slightly scooped and the silk is gathered up on one shoulder. It skims over the waist and is gather into a low drape over the skirt. On the side opposite to the draped shoulder there is another gathering of the silk. The creates a lovely long line through the body. The skirt flows to the floor from under that. It is cut on an angle at the hem and one corner of the back skirt is left longer so that it trails down and past the lower hem to create a slight trained feel. There is a slit up the leg and above that, a tightly spaced row of buttons that run up the side and disappear under the drape of the bodice. The sleeves are amazing. They are each cut to drop to the floor and flow around you every time you move. Here Pipart has again played on the asymmetrical feel he has created for the dress and he has cut one sleeve to be longer then the other, with the longer one set on the same side that the skirt is longer. The final touch is that fabulous pleated double flower at the neckline that gives it the perfect finish. This little extra detail creates that last bit of high drama to the design. Excellent condition with some small notes to review below.

The body of the dress is fully lined in red silk crepe and the skirt and sleeve are unlined. It closes with a side, hand set, zipper and a second one at the top of the shoulder where the flowers are. Light padding in the shoulders. Finished to Haute Couture standards and entirely made by hand. Note that there is some grubbiness on the trailing parts of the silk panels and some very tiny areas of thinning/picking of the fabric on the lower trailing panel of the skirt especially. Some small areas of darkening on the sleeves. Once on these do not detract at all and the fabric and dress is strong and stable. This is more from not being stored properly prior to my acquiring of it. I have included photos after the label shot to review. It is cut on the boas so there is a little play on the measurements. Haute Couture label present and made to couture standards.

Sleeves: the left is approx 62", the right is 52"
Shoulders: 15.5"
Bust: to 16-17.5" flat across from side seam to side seam
Waist: 12-14.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: approx 60" from neck to front hem and the trailing panel extends another 15" longer

Modern Sizing Equivalent: SML-MED

Item# DD3386

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

The Nina Ricci Haute Couture house was founded in 1932, at 20 Rue de Capucines in Paris and became one of the most famous couture ateliers in the world. In 1954, Jules-François Crahay, Madame Ricci’s design assistant, succeeded her as Artistic Director. The house’s style became more structured. The signature curves of its silhouette elongated. Designer Gérard Pipart then succeeded Jules-François Crahay in 1964. Throughout the following three decades, his Haute Couture vision celebrated a more flamboyant, bold woman and his ready-to-wear found a loyal following among the most stylish women of the day. This coat is an early example of Pipart's work foe the house and is beautiful.

This coat came out of an estate of an extremely wealthy woman who was a regular couture client during the 1960s. For the 1965 collection Gérard Pipart debuted the side button closure that featured large button closures off to one side, a cloth version of which was photoed on Jean Shrimpton for Harper's Bazaar that year. I also found a reference photo for a similar all fur version. The coat I have here is a wonderful combination of the two. The exterior is a quilted silk that is dyed to a stunning ivory. The fabric is especially beautiful.  It has a 3D puff effect that is not just created by the stitching around the pattern in the silk that you normally see. Rather, different weights and thicknesses of thread have been woven into the fabric to create the design. The interior of the coat is lined a creamy colored sheepskin that makes it warm and cozy. The design of the coat has been centered around simple but structured lines. The front wraps over itself and buttons with one large silk covered button near the arm. The edges of the coat are detailed with a thick padded piping that runs along the front, around the hem and circles around the end of each sleeve. Pockets lie along the seam on each side. It is immaculate in its construction and an absolutely stunning coat. A beautiful example of how refined true Haute Couture can be. Excellent condition with one note to review below.

The coat closes with the button at the front and there is a button and loop to hold it perfectly in pace on the interior as well. The entire coat is lined in sheepskin. Finished to Haute Couture standards and entirely done by hand. It appears to have been worn very little. Pockets along the seam. I see a very small amount of fraying to the fabric around the back collar. Please review the photo after the shpt of the label. The easy cut should allow it to fit a range of sizes.

Sleeves: 20"
Shoulders: 15"
Bust: to 24" flat across from side seam to side seam
Waist-hips: 24" flat across from side seam to side seam and gently widens out
Length: 38" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# C454

Reference photos: Jean Shrimpton in Nina Ricci for Harper's Bazaar 1965, Avedon; Brigitte Bauer in Nina Ricci for Vogue 1965, William Klien. Historical info on the house verbatim from the Nina Ricci website.

I have a small collection of historically important, key designer labelled vintage furs, fur trimmed & feather 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. All fur coats, fur trimmed & feather pieces are final sale

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 pieces with the Haute Coutue boutique label were ready to wear but would have been made in-house. They were wonderfully finished and could be considered to be demi-couture. They often used proprietary fabrics and the dresses were made to order for their clients. This partially dress is extra special because it was the dress chosen for the ad campaign that year. Which also gives you a great idea of what it looks like on. 

This one is a stunning strapless dress made from a silk taffeta. This fabric choice really allows the ruffles and tiers to have some volume and retain their shape to give the effect that you see in the photos. The inner dress is very These fitted and meant to hug your curves. The waist is nipped in with a wide band of the same fabric gathered in soft pleats. This curves down into an interior fitted skirt that has two spectacular tiers of silk taffeta set facing downwards so that they come off the inner skirt and create shape and volume. The bodice is strapless and inside there is a built in corset. Over this is yet another shaped and formed panel of silk that opens upwards and towards the face. I love the way it is entirely constructed to emphasize the hourglass silhouette and show miles of leg. The print on the silk is beautiful. It is an abstract floral feeling design done in a combination of purple, pink, blue and teal. Its gorgeous and very flattering on. Excellent condition.

The dress is fully lined in a blue tissue silk. It has an internal built in, boned corset. It closes with two separate zippers an internal one that zips up the inner corset and then the exterior dress zipper over that. Interior waist stay made of grosgrain ribbon that closes with hook & eye. Hand finished.

Bust: 16" from side seam to side seam with A-small B cup room built in
Waist: 12.5" from side seam to side seam
Hips: 20" flat across the back from side seam to side seam
Bodice: 12.5" from top of bodice to dropped waist line
Skirt: 17" from dropped waist line to bottom tier

Modern Sizing equivalent: XS-SML

Item# 2-DD344

Reference Photos: Nina Ricci Ad, Vogue, February 1987.

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

The Nina Ricci brand was founded in 1932, at 20 Rue de Capucines in Paris and quickly became one of the top couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant as head of the brand. Over the following three decades, Pipart's couture vision 'celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day.' This dress is from the Fall 1994 collection and I have included the runway reference photo here. In an interview with WWD in 1995, Pipart was asked about the state of couture upon his arrival to Nina Ricci and I love his reply; 'When I arrived everyone was predicting the death of couture, so I was keen to get in for what were meant to be the final few years. And despite what people like Pierre Bergé and many others predicted, couture has lasted a lot longer than anyone ever thought.' Pipart's designs for the Couture collections often combined high fantasy elements and this dress with its ultra long back is an amazing example of his work during this time period. 

The twin of this dress walked the runway of the Fall 1994 collection and prior to coming from me it was worn by a bride who shared some of her photos with me that you can see on my Instagram by clicking here.

The dress is absolutely beautiful and every detail has been done by hand. It has been cut so that every seam is finished with a beautiful curved line. The construction lends itself to a very structured shape and this gives the dress an almost sculpted feel that is softened by the pale pink silk color of it. It is made out of a fine silk faille that is then covered with a layer of lace The lace is handmade and follows the exact cut of the dress. Within the lace is a floral design and each cluster of flowers have been outlined with a fine silver metallic cording. Then to detail the inside of each flower he used a pale pink metallic cord. The workmanship is extremely fine and the details are exquisite. The hours to do this would have been staggering. Every stitch is done by hand and the work is meticulous. The dress under this exceptional detailing is as exquisite. The neckline is scooped and the bodice is cut to skim over you. It gently curves in at the waist and then there is a seam that sits at the top of the hips where the skirt meets the bodice. At the front the skirt is set into two curving panels that have a very structured shape so that they curve out and away from the body. They cross over each other at the top near the seam and then curve away from each other as they near the hem, leaving an opening so that when you walk you see a glimpse of leg. Soft pleats sit just below either hip towards the side and these add volume and lift to the skirt. At the back the skirt curves around you and you see a repeat of the two pleats at the outer side for volume. The two sides of the skirt open where they meet at the seam  and there sits a panel of pale pink silk that is pleated so that it expands and opens into an extensive train. A decorative row of hand made silk buttons run up each sleeve and then a series of them run down the back. This would be an amazing choice for a bride who does not want a traditional wedding dress or as part of a wedding event. Excellent overall condition with a note to review below.

The dress is fully lined in hand set pink silk and closes with a back hand set zipper that is hidden set behind the row of buttons that run down the back. There is a hooked inner waist stay. Hand set snaps close the train over the inner zipper.  Each cuff zips to close behind the row of buttons that runs down the cuffs. The dress is finished to Haute Couture standards and entirely made by hand. The proper Haute Couture label is present. The pleats have softened a little on the train and the dress shows some grubbiness under and along the back hem and train. There is some interior discoloration around the arms of the inner lining and one teeny spot where this shows through along the edge of the seam on the exterior. Please see the photos after the label shot. My client had the side seams let out slightly by Madame Paulette's in NYC and the train re-pleated before she wore it. All other small flaws were present already when she purchased it

Sleeves: 24"
Shoulders: 15.25"
Bust: to 18.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: open
Bodice: 19.5" from top of bodice to dropped waist
Skirt: approx 26" from waist to shortest part where the front curves meet. It curves to 42" at the sides and drops to 49" at the longest part of the lace covered skirt at the back. The silk pleated train extends to 61" from the dropped waist

Modern Sizing Equivalent: SML-MED

Item# DD3080

Reference Photo: F/W 1994 Nina Ricci Haute 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.

This dress is from the Nina Ricci Haute Boutique demi-couture label from the 1980s and it has that amazing eighties aesthetic to it. On the inner tag it has a space for the model style and this dress was called the 'Garda'. The Nina Ricci brand was founded in 1932, at 20 Rue de Capucines in Paris and quickly became one of the top couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant, as head of the brand. Over the following three decades, Pipart's couture vision 'celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day.' This dress fits perfectly into that aesthetic and I think it is amazing. 

I love the bold cut of the dress combined with the richness of the black velvet. Using velvet allows the black to be as deep and dark as it possibly could be so that the body of the dress becomes a backdrop to those wonderful shoulders. I am actually seeing a lot of similar pieces on the runways this past season or so and they are all based on work like this. The body of the dress falls in a perfect column of velvet and is cut to skim over the body and your curves. The sleeves are long and each narrows to a zipper cuff. The bodice is finished in a high end black silk and is shaped and cut to hug and lift the breasts. It curves over the breasts and then gathers in the centre where it is caught up with a strip of silk. This creates a curved sweetheart neckline that is beautiful. At the top of each arm is an explosion of pleated silk taffeta that is done in multiple layers of fabric. These swirl and curve around each other. The effect this creates and the volume it gives is remarkable. This also leaves the shoulders bare for some skin to show. To off-set the volume at the top of the dress, the skirt is more fitted as it falls to the floor in a graceful column of velvet. A slit runs up the back so that you can walk. The dress is very well made and the black silk interior gives it a rich and sensual feel once on. Excellent condition

Fully lined in a black silk and closes with a back zipper. There is a built in bodice that closes with its own separate zipper. Inner waist stay that hooks to close. Each cuff has zippers to close. Hand finishes. It appears to have been worn very little if at all. 

Sleeves: 22"
Bust: to 17" flat across from side seam to side seam
Inner waist stay under the bust: 14.5" flat across from side seam to side seam
Natural waist: 16" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: Approx 57" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD3681

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

The Nina Ricci Haute Couture house was founded in 1932, at 20 Rue de Capucines in Paris and became one of the pre-eminent couture ateliers in the world. In 1964, Gérard Pipart succeeded Jules-François Crahay, Nina Ricci's former designer assistant who took over the atelier in 1954. Over the following three decades, his Haute Couture vision "celebrated a flamboyant woman and his ready-to-wear found a loyal following among the most stylish women of the day." This late seventies gown is a wonderful example of Pipart's vision for the house and is a stunning example of the work that the atelier was producing during this time period.

This dress is spectacular. It is one of the best Nina Ricci pieces I have seen. This is true Haute Couture label from the atelier and every stitch has been done by hand. The hours that would have been put into making this dress and ensuring that drape and line are perfect are mind-boggling. The dress is made out of a fine silk that has been dyed to the perfect clear red. In person it is perhaps a touch brighter and better then how it photoed. The silk that has been chosen for the fabric gives it that fantastic drape you see. The fabric is so light that the dress seems to  float around you when you move. The neckline is slightly scooped and the silk is gathered up on one shoulder. It skims over the waist and is gather into a low drape over the skirt. On the side opposite to the draped shoulder there is another gathering of the silk. The creates a lovely long line through the body. The skirt flows to the floor from under that. It is cut on an angle at the hem and one corner of the back skirt is left longer so that it trails down and past the lower hem to create a slight trained feel. There is a slit up the leg and above that, a tightly spaced row of buttons that run up the side and disappear under the drape of the bodice. The sleeves are amazing. They are each cut to drop to the floor and flow around you every time you move. Here Pipart has again played on the asymmetrical feel he has created for the dress and he has cut one sleeve to be longer then the other, with the longer one set on the same side that the skirt is longer. The final touch is that fabulous pleated double flower at the neckline that gives it the perfect finish. This little extra detail creates that last bit of high drama to the design. Excellent condition with some small notes to review below.

The body of the dress is fully lined in red silk crepe and the skirt and sleeve are unlined. It closes with a side, hand set, zipper and a second one at the top of the shoulder where the flowers are. Light padding in the shoulders. Finished to Haute Couture standards and entirely made by hand. Note that there is some grubbiness on the trailing parts of the silk panels and some very tiny areas of thinning/picking of the fabric on the lower trailing panel of the skirt especially. Some small areas of darkening on the sleeves. Once on these do not detract at all and the fabric and dress is strong and stable. This is more from not being stored properly prior to my acquiring of it. I have included photos after the label shot to review. It is cut on the boas so there is a little play on the measurements. Haute Couture label present and made to couture standards.

Sleeves: the left is approx 62", the right is 52"
Shoulders: 15.5"
Bust: to 16-17.5" flat across from side seam to side seam
Waist: 12-14.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: approx 60" from neck to front hem and the trailing panel extends another 15" longer

Modern Sizing Equivalent: SML-MED

Item# DD3386

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

The Nina Ricci Haute Couture house was founded in 1932, at 20 Rue de Capucines in Paris and became one of the most famous couture ateliers in the world. In 1954, Jules-François Crahay, Madame Ricci’s design assistant, succeeded her as Artistic Director. The house’s style became more structured. The signature curves of its silhouette elongated. Designer Gérard Pipart then succeeded Jules-François Crahay in 1964. Throughout the following three decades, his Haute Couture vision celebrated a more flamboyant, bold woman and his ready-to-wear found a loyal following among the most stylish women of the day. This coat is an early example of Pipart's work foe the house and is beautiful.

This coat came out of an estate of an extremely wealthy woman who was a regular couture client during the 1960s. For the 1965 collection Gérard Pipart debuted the side button closure that featured large button closures off to one side, a cloth version of which was photoed on Jean Shrimpton for Harper's Bazaar that year. I also found a reference photo for a similar all fur version. The coat I have here is a wonderful combination of the two. The exterior is a quilted silk that is dyed to a stunning ivory. The fabric is especially beautiful.  It has a 3D puff effect that is not just created by the stitching around the pattern in the silk that you normally see. Rather, different weights and thicknesses of thread have been woven into the fabric to create the design. The interior of the coat is lined a creamy colored sheepskin that makes it warm and cozy. The design of the coat has been centered around simple but structured lines. The front wraps over itself and buttons with one large silk covered button near the arm. The edges of the coat are detailed with a thick padded piping that runs along the front, around the hem and circles around the end of each sleeve. Pockets lie along the seam on each side. It is immaculate in its construction and an absolutely stunning coat. A beautiful example of how refined true Haute Couture can be. Excellent condition with one note to review below.

The coat closes with the button at the front and there is a button and loop to hold it perfectly in pace on the interior as well. The entire coat is lined in sheepskin. Finished to Haute Couture standards and entirely done by hand. It appears to have been worn very little. Pockets along the seam. I see a very small amount of fraying to the fabric around the back collar. Please review the photo after the shpt of the label. The easy cut should allow it to fit a range of sizes.

Sleeves: 20"
Shoulders: 15"
Bust: to 24" flat across from side seam to side seam
Waist-hips: 24" flat across from side seam to side seam and gently widens out
Length: 38" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# C454

Reference photos: Jean Shrimpton in Nina Ricci for Harper's Bazaar 1965, Avedon; Brigitte Bauer in Nina Ricci for Vogue 1965, William Klien. Historical info on the house verbatim from the Nina Ricci website.

I have a small collection of historically important, key designer labelled vintage furs, fur trimmed & feather 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. All fur coats, fur trimmed & feather pieces are final sale

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 pieces with the Haute Coutue boutique label were ready to wear but would have been made in-house. They were wonderfully finished and could be considered to be demi-couture. They often used proprietary fabrics and the dresses were made to order for their clients. This partially dress is extra special because it was the dress chosen for the ad campaign that year. Which also gives you a great idea of what it looks like on. 

This one is a stunning strapless dress made from a silk taffeta. This fabric choice really allows the ruffles and tiers to have some volume and retain their shape to give the effect that you see in the photos. The inner dress is very These fitted and meant to hug your curves. The waist is nipped in with a wide band of the same fabric gathered in soft pleats. This curves down into an interior fitted skirt that has two spectacular tiers of silk taffeta set facing downwards so that they come off the inner skirt and create shape and volume. The bodice is strapless and inside there is a built in corset. Over this is yet another shaped and formed panel of silk that opens upwards and towards the face. I love the way it is entirely constructed to emphasize the hourglass silhouette and show miles of leg. The print on the silk is beautiful. It is an abstract floral feeling design done in a combination of purple, pink, blue and teal. Its gorgeous and very flattering on. Excellent condition.

The dress is fully lined in a blue tissue silk. It has an internal built in, boned corset. It closes with two separate zippers an internal one that zips up the inner corset and then the exterior dress zipper over that. Interior waist stay made of grosgrain ribbon that closes with hook & eye. Hand finished.

Bust: 16" from side seam to side seam with A-small B cup room built in
Waist: 12.5" from side seam to side seam
Hips: 20" flat across the back from side seam to side seam
Bodice: 12.5" from top of bodice to dropped waist line
Skirt: 17" from dropped waist line to bottom tier

Modern Sizing equivalent: XS-SML

Item# 2-DD344

Reference Photos: Nina Ricci Ad, Vogue, February 1987.

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