Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have a way of flattering the wearer. He knew how to walk that line perfectly. This is a gorgeous example of his work from this time period. It is beyond gorgeous and it is one of my favorites from him. I have had this dress in the shop before and at last we have been able to date it. It is from the Spring 1984 collection

I have had the twin of this dress in the shop in the past and I love it more every time I find it. The main body of the dress is made from a deep royal purple silk that has a vivid pink ruffle that runs all the way down one whole side. The way that the pink is attached to the dress gives the dress the feel that that it has been wrapped around the bust and then tied into a dramatic bow at the shoulder with the ties trailing down your side. It actually is all attached and a part of the dress but I love how it makes the dress feel. The pink is gathered and warps all the around the bust and then is caught up at side to create that gorgeous bow that you see. The other shoulder is left completely bare for a little skin to show. Under the bow the pink silk runs down the side of the dress in an extravagant ruffle finish all the way to the hem. The inner bust has boning to support you and there is a little hidden strap under the bow to keep it in place. The body of this is cut loose and easy and it widens out it falls to the floor. It is extraordinary. Even more beautiful in person. It appears to have been worn a very little if at all. Excellent condition

Fully lined in a deep purple silk. The inner bodice closes with its own zipper and then the dress zips to close over that with a hidden set zipper. Lightly boned through the inner bodice.

Bust: 16.5" flat across from side seam to side seam
Inner waist: 13" flat across from side seam to side seam and the outer waist goes to 16" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 56" from top of shoulder strap to hem

Modern Sizing Equivalent: SML-MED

Item# DD4109

Reference Photos: (1-2) Fall 1984 Bill Blass Runway, Model Dalma Callado.  /  (3-4) Cherie, Owner of Shrimpton Couture, by Erin Leydon.

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

This is an exceptional dress. It is a stunning example of his work during this time period and these metallic pieces are among my favorites by him. This one even more so with its pretty pink colour and extraordinary fabric. The fabric is the perfect shade of soft pink used to create a floral design and that is mixed with a soft green for the leaves. Some of the pattern is raised and has been embroidered into the fabric. The thread used is incredibly soft and this adds yet another dimenesion to the dress. Woven over and through the silk is a muted gold lurex thread that give the fabric its metallic glitz and makes it gleam and glitter in the light. This same thread is also used to create the horizontal rows that you see. The gold covers the dress from head to toe. The neckline is a cut into a high V and the bodice crosses over itself and skims over you. This is then is balanced beautifully by those spectacular sleeves. Each sleeve is cut extra long so when it is on an actual body it will bunch up a bit on the arm for added texture. Set just under the bust is a wide band of the same fabric that wraps all the way around you and snaps and hooks into place. The crossed over bodice above and this wise high set belt is what gives the dress its nod to a kimono and obi. This tops the skirt that is set to widen out as it nears the floor. On one side and extending down from where it crosses on the bust it has a soft pleat that falls all the way to the floor. This adds a little extra detail and volume and it also hides a small pocket set along the inner seam. The hem has been let down at some point and it is supermodel long as a result. Blass did a soft version of a kimono inspired dress for this collection as well and that one was photoed on Candice Bergen. I have included it here as they do share some similarities. This dress is an absolutely beautiful. Excellent condition with a note below.

The fabric is self backed in a muslin throughout. You step into it and then it closes with a series of hidden snaps. The belt is attached and it snaps and hooks into place. Hand finishes. The hem was let down at some point and it is ribbon finished. It poufs a bit at the edge as there are spots where it was stitch in to sit proper when it is hemmed. If you needed the full length you could just take those out. It could be worn as is but I've left it so you could redo the hem to your perfect length. You can see a slight grubbiness here and there were the hem was. The hem was very deep and the length turned up under the sleeves is also very deep.

Sleeves: approx 25" w 3" turned under. It is 16" around the widest part of the upper arm
Shoulders: no defined seam
Bust: to 17" flat across from side seam to side seam
Seam under the bust: 16" flat across from side seam to side seam
Natural waist: 17" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Bodice: 10" from top of shoulder to seam under the bust
Skirt: 52" from seam under the bust to hem

Modern Sizing Equivalent: XS-MED

Item# DD4293

Referece photo: Candice Bergen Wearing A Bill Blass Dress, Vogue 1970

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

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

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

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

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

Modern Sizing Equivalent: XXS-XS

Item# DD3953

Reference Photo: (1) Models in Bill Blass, Vogue, October 1982.  /  (2-3) Fall 1982 Bill Blass Collection. Model Alva Chinn.

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 a version of the dress I just recently sold in the shop with just a slight change in the design. Yves sent a series of these dresses down the runway that year including a shorter version to this one where the smaller bands on the dress were done in multi-colors and an all black long one that was used in the 1987 ad campaign. I have included these reference photos for you so that you can see just how great this dress is on the body. In person and even on the dress form it just does not present as well as it will once on a girl who properly fits it and brings it to life. The 1987 collection is one of my all time favorites and I am very pleased to have this wonderful example from it in the shop for you so soon after the last one.

The dress is made from a black silk faille base with a layer of dotted black netting applied over the bodice in horizontal bands. This choice in fabric gives the dress its structure and shape so that it holds the shape around you once on. The bodice is strapless and cut on a soft curve across the neckline. It is lightly boned on the inside for a built in shape that molds your form to it. It curves in just slightly to skim over the waist and then curves back out for the hips. From there it falls past the hips and the lower skirts flare outwards to the hem. The lower skirt is quite full and makes an incredible statement. The bands between the lace of the bodice are made from wide black silk grosgrain ribbon and they are beautiful and rich feeling. I love the contrast between the texture of the grosgrain and the dotted silk netting. At the back, each ribbon warps around and ends in a large flat bow for five of them in total running down the center of your back. Bows were a prominent part of the theme for this show and this dress displays that wonderfully. That combination of the grosgrain ribbon, the dotted lace, the bows, and that stunning full lower skirt is just gorgeous to see and it is even better on the body. Excellent condition

Fully lined in a crisp black cotton and closes with a side set zipper. The inner bodice is lightly boned and shaped. Inner waist stay that hooks to close with a flat hook & eye. Tagged a 42. It appears to have been worn very little if at all.

Bust: 16" flat across from side seam to side seam with an A-small C cup built into the front
Waist: 13.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 52" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD4431

Reference Photos: (1) Spring 1987 Yves Saint Laurent Ad Campaign (2-4) Spring 1987 Yves Saint Laurent Runway /  (5) Spring 1987 editorial photo source unknown

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 stunning dress and shows the softer, more romantic side of Lanvin from this time period. This would have been designed by Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. In the book Lanvin by Rizzoli, that has a lovely forward from Alber Elbaz, it is noted that the Spring 1984 was Crahay's last RTW collection for the label before his retirement. Crahay's time at the Lanvin label is one of my personal favourite periods for the house and I think it is so special to have a documented piece from his last RTW collection. Having the runway photos makes it that much more special since you can really see how great this one is on the body.

The dress is made from a beautiful hand loomed red linen. The linen gives it a stunning texture and the depths of colour that is achieved by using linen is fantastic. It has been lined in a black silk and from the back this gives it that wonderful contrast that you see. From the front the dress is this beautifully simple and romantic feeling dress. The sleeve are softly gathered into the shoulders and they are cut wide and straight to just above the elbow. The bodice is squared off at the front and it is cut to skim over you to the waist. The cut through the waist area is loose and easy and depending on how tight you tie the back it can sit more loose and easy or with a bit more shape. The skirt is set into the waist in a series of tiny soft gathers. This picks up beautifully on the shoulders and adds a little volume around the hips and through the skirt. I love the pockets hidden along each hip. They really add to the easy feeling that the dress has. The skirt has tons of fabric in it. When you stand straight you don't really realize how much fabric has been used but when you move or sit it really flows around you beautifully. The back is almost shocking with the surprise of it when you turn around. He has scooped the waist down to expose the very lower back and then it is open above that and held in place by three ties. The linen extends out on each side of that scooped back in wide ties and then each tie is a combination of the red linen on the top and the black silk underneath. When you ties these into bows you get this fantastic combination of red, black and your bare skin peeking out between it all. It is a fantastically surprising dress that is sexy and easy at the same time. I love it. Excellent condition

Fully lined in a black silk satin through the top and black silk through the skirt. It close with a the hidden zipper on the inner lining at the low back. The back ties into place above that. There is a slightly darkened spot on the front skirt that is very minor. The dress is numbered under one folded edge of the tag. I did not take a photo of it because it's really hard to get to but if you twist the edge up you can see it.

Sleeves: 12.5" and 14" around at the widest point
Shoulders: 15"
Bust: to 18.5" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of bodice to waist
Skirt: 43" from waist to front hem, 47" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4429

Reference Photos/Video: (1) Spring 1984 Lanvin 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.

Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have of always being flattering on the body. This is a gorgeous example of his work into the 1980s. The teak silk is even better in person and it is just beautiful.

The fabric of this dress is stunning. It almost has a sueded feel to it and it is all cut on the bias. It falls from the shoulders in a stunning sheath down the body and widens out as it nears the hem. The front is cut in a way that feels more simple and straight and then at the back is where you have a lot of drama. It is sleeveless and the neck is cut straight across at the front. Each shoulder has a intricate detailed art deco feeling spray of beads across the top of the shoulder. The beads are an iridescent copper gold and they pick the light up wonderfully. The back is exceptional and when you walk away or turn in this dress no one is going to forget you. The silk is gathered in around the top of the shoulders and then drapes down past the waist. He did not add a waist seam to the front of the dress but at the back he did put on in to both bring it in and give the silk a place to be gathered into to. This also gives you more shape as well. The fabric drapes down from the shoulders and around the sides a bit and then is gathered back into that low center point of the back. This leaves the entire back bare and exposed. This unexpected flash of skin is seriously sexy and the drama of that draping is fantastic. The fabric is also gathered more at the back of the skirt so that you have a bit of gorgeous movement happening when you move. It is really a stunning piece. Excellent condition

The dress is lined through the bodice in the same fabric and the skirt is unlined. It closes at the back with an overlapping flap of silk that hooks into place. Hand finishes throughout. The easy cut should allow it to fit a range of sizes

Bust: 17-19" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Length: 56" from top of shoulder to front hem, 59" to the back hem

Modern Sizing Equivalent: SML-LRG

Item# DD4423

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 from the niece of the original couture client, In our hunt for more information on it we found the runway photos from the 1982 Givenchy Haute Couture presentations and you instantly see that it is its twin in all ways. I love having the runway photos so that you can see just how amazing it is in the body. This dress was made by hand in the atelier of Ady Couture who was based in Lausanne Switzerland. Ady herself was a couture trained seamstress and headed a team who had full permission of the Haute Couture houses she worked with to make the designs they showed in Paris for clients based in Switzerland and the surrounding areas. She would purchase the couture fabrics from the couture houses along with the patterns and then make the actual dresses in her atelier. This arrangement with the couture houses was a way to work around customs during this time period and do fittings for clients unable to travel to Paris. So far we have verified that she had this arrangement with Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but those are the four labels we have documentation on from the runway.

The dress is made from a deep copper gold silk taffeta and this fabric choice allows it to hold those stunning lines and volume that you see. It is absolutely beautiful and a testament to the level of design that you only see in couture pieces. The colour of the silk is even better in person. I have managed to almost capture it in these photos but in person it is even richer feeling then what you see here. At the front the neckline is set in a simple high scoop. The bodice is cut to skim over your curves and is simple in cut. The sleeves are incredible. Each one is set on a curve to follow the shape of the arm in the traditional manner of dressmaking. They are set into the shoulders with a beautiful series of soft pleats so that you get a bit of volume at the shoulder. They puff out slightly around the upper arm and then narrow down at their ends. The waist is seamed and the skirt is gathered all the way around the waist in a series of soft pleats. These puff out from the waist slightly and this little couture trick gives the illusion that the waist is smaller then it is. On the runway it was shown with a black velvet bow and I have added one to emulate that same look. The skirt is one of the best skirts I have seen both from a design point of view and by its level of construction. It is made into two attached sections. The top comes out from the pleats all around the waist and it poufs out around you. A seam brings the skirt in and then the lower part of the skirt falls to the floor from there. That second tier has many yards of silk in it so that it flares out as it reached the hem. Between the two sections is a wide velvet ribbon that wraps around the seam and ties into a bow at the side. Which beautifully picks up on the bow around the waist. All of the volume and shape that you see is created through the way it is cut and the fabric choice. The skirt does not have extensive underskirts to shape it. The silk of the skirts are lined in a silk organza to help give support but it is really the genius of the cut itself that creates the shape. An elaborate and intricate floral design runs across the front and back of the bodice and down each sleeve. Hand done embroidery work is combined with tiny black sequins and hand applied beads. It is some of the finest hand work I have seen. Inside the dress is completely finished to couture standards with every seam finished by hand. I have taken some detail shots for you to see the fine workmanship inside. It is an incredible piece and absolutely beautifully made. It appears to have been worn very little if at all. Excellent condition 

The bodice is fully lined in a matching gold toned silk and the skirt is fully lined with a slightly gold tinged silk organza. It closes with a hand placed back zipper and the skirt snaps into place with silk covered snaps over that. Hidden set zippers at each wrist. Hand finished throughout. The velvet ribbon out is not original to the piece but will be included. It appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction. It is a slightly softer gold copper in person then how it photoed.

Sleeves: 26"
Slightly inset shoulders: 13.5"
Bust: to 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from shoulder to waist
Length: 42" from waist to front hem, 45" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3685

Reference Photos: Fall 1982 Givenchy Couture 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 dress is instantly recognizable as having been designed by Bob Mackie. He was best known for dressing Cher and for his signature glamorous looks. The best of his work are the pieces like this that are dripping with bead work. Modern girls are obsessed with his vintage pieces. He worked for both Edith Head and Jean Louis prior to working as a costume designer and co-designing with Ray Aghayan. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years. In many ways his creations defined their careers and that era of glamour. His work always has that touch of the best of the bygone glamor of Hollywood.

This is an amazing dress that is extremely flattering even though you are covered completely. The base of the dress is made of a soft peach silk and then onto that is the vertical bands of detailing that completely cover the dress. That design that you see is made up of a combination of muted gold and clear glass tube beads that have been set in vertical rows over the entire dress. There is a more intricate pattern over that on one shoulder, around the collar and down the sleeves that is made up of tinier tube beads, muted gold sequins and rhinestones. And then scattered within all of that are little highlights done in a silver sequin with a tiny clear bead at their centers. This ultra glamorous combination gives the dress an extra layer of texture and glamour as every inch of it catches the light and sparkles. The dress has a decent weight to it when it is off of the body because of that extensive bead-work, and yet once on the body it drapes in a way that it is balanced and not at all unwieldy. The necklace is high and the collar is extremely detailed. I love the detailing on the outside of each sleeve. The waist is brought in just a touch to create shape and that curved down and angled seam there that is detailed with more rhinestones and beads helps to really lengthen the feel of the dress around you. The skirt call store from there and slightly widens out as it nearest the ham. It's a long slim shape combined with all those vertical rows of bead work make you look tall and lean once you are in the dress. Excellent condition.

Lined through the body matching peach chiffon and the sleeves are unlined. It closes with a back zipper and each sleeve has a zipper at its end. Padding in each shoulder. A touch more pastel feeling in person. Tagged a vintage Bob Mackie 6

Sleeves: 22"
Shoulders: 15"
Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 57" from neck to longest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD4426

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