"It was woman as dandy." declared Tom Ford. That was his comment to Vogue's Sarah Mower. Her review talked about 'the sinuous twenties and thirties feel he (Ford) melded into satins and chiffons for YSL's Spring collection....Together with the major frizzed hairdos and sexy high-heeled spectator shoes in leather and canvas, it added up to a new silhouette for the tall, sexually-in-control woman Ford envisions as the spirit of modern YSL.' This dress was not one that walked the runway but was a sell out when it was released. This was helped in part by the appearance of Renee Zellweger who wore its twin on the cover of Elle Magazine that season. It has a gorgeous decadent feel and sense of sensuality once on the body.

The dress is made from a feather light silk chiffon that has the iconic YSL lip print scattered over it surface. This was a print originally conceived of by Yves and Tom Ford went back into the archives and resurrected it for part of this collection. I have photoed the dress with the V placed at both the front and the back for these shots. On the Elle cover photo Renee is wearing the opening at the front I believe and it looks like she is just holding it closed. I’ve seen the twin of this dress photoed on mannequins elsewhere in the past with the front tacked into place to be able to wear it. And you could definitely do that. That said it would only make sense to tack it into place while it’s on you so that you find that perfect spot that works on you. I do think it was originally meant for the back to be open and bare like how I have photoed it for most of the shots here and it is very pretty worn that way. A ruffle starts at the shoulders and goes around the edges of the dip at the back. The skirt wraps around you and the sleeves go to just passed the elbow. The ruffle at the end of each sleeve is attached with stitches that are set apart from each other to leave a gap between. To wear the dress you just slip your arms into it and then the dress wraps and ties into place, one tie at the inner waist and one on the other side on the exterior. This lets you adjust how loosely it sits on the body. Tom meant for it to feel like the dress will just fall off you at any moment. He was known for this overt sexuality in his pieces. You could easily layer this over something else underneath to make it feel less risque and then it makes wearing it either way around even more a possibility. It appears to have been worn very little if at all. Excellent condition

The bodice of the dress is two layers of the silk chiffon and the sleeves are unlined. The skirt is lined in an ivory silk chiffon. It ties into please at the waist so you can adjust how it sits. Brand tag is missing but the labeled contents tag is present. YSL logo imprinted as part of the pattern on the silk. Tagged a F36. The easy wrap style should allow it to work on a range of sizing.

Sleeves: 22"
Shoulders: no true defined seams
Bust: 16-18" flat across from side seam to side seam
Waist: approx 15-16" flat across from side seam to side seam and you can adjust up or down by a few inches either way
Hips: approx 20" flat across from side seam to side seam
Bodice: 15" from top of shoulder to waist
Skirt: 22" from waist to hem

Modern Sizing Equivalent: XS-MED

Item# DD4245

Reference Photo: Renee Zellweger in Yves Saint Laurent for Elle Magazine, November 2004.

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

John Galliano went from Givenchy to Dior in October of 1996 and stayed there until he was dismissed in February of 2011. During John Galliano's years at the house of Christian Dior he arguably produced some of the most amazing bias cut dresses in the house's history. His work, especially the bias cut pieces that he did, have a feeling of the decadence and abandonment of the twenties and they are beautifully cut. They marry Old Hollywood with the minimalist spirit of the nineties and early 2000s and the results are stunning. This is an amazing example of his work from the Boutique line and it is gorgeous

This is actually a three piece set which makes it very versatile. It has a huge impact when you wear all three pieces together but you can also mix and match them so that you can spread a little Dior over your existing wardrobe. The strapless top is actually a corset that is lightly boned inside and finished with lingerie netting on the interior. The exterior of it is covered in a light fine silk jersey in a bubble gum pink. It zips to close with a sweetheart neckline at the front and is gathered in between the breasts. This tops a long skirt that flows to the floor in dramatic layers. The inside layer is a solid deep dusty pink and then over that is the beautifully printed silk chiffon. The silk is all beautifully cut on the bias. It skims over the hip and separates into panels of silk cut different lengths and on different angles. The lightness of the fabric and this car wash feeling hem give the skirt incredible movement when you move. The set also comes with its original matching shawl that is made from a single layer of the silk chiffon and is very wide. At each end of the scarf it is finished with very long hand tied pink fringing. This can be wrapped around the hips, worn over your shoulders, around the neck or worn as a headpiece. It is absolutely beautiful. Excellent condition

The top is fully lined in pink cotton netting and is fully boned with interior built in cups. It closes with a zipper at the side The skirt closes with a row of tightly spaced fabric covered buttons at the side and is lined in a pink silk that follows the shape of the pieces of the skirt bottom. The corset is tagged a US6, FR40, GB12

Top
Bust: to 17" flat across from side seam to side seam
Waist: to 14.5" flat across from side seam to side seam
Bottom edge: to 18" flat across from side seam to side seam
Length: 12.5" from top of bodice to hem

Skirt
Waist: 14" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 44" from waist to longest point of hem

Scarf
Width: 106"
Height: 26"

Modern Sizing Equivalent: XS-MED

Item# DD4238

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

Vogue praised the intricate and meticulous details put into the pieces of this collection. The collection was inspired by a mix of Marie Antoinette, Tim Burton films, Sleepy Hollow in particular, and he even had Burton design the lighting for the show. There was a bit of schoolgirl fetish in the mix and the Supercalifragilistic-Expialidocious title of the show was of course taken from Mary Poppins. I have included a snapshot from one of the Mcqueen books that talks more of the various inspirations that were behind this spectacular collection. On the clothes themselves Vogue noted the 'Milkmaid necklines—far from innocent-were pushed up by leather bodices that curved down into the tightest pencil skirts, and finished off with thigh-high leather boots. McQueen moved from that Helmut Newton-esque fantasy to another—bad schoolgirls, who mixed lingerie and silver lamé ties and skirts in with their proper blazers and duffels. For a splendid finale, he brought out romantic flouncy skirts....' Lee did multiple variations of this look throughout the collection and this neckline in particular was a prominent detail. This dress was a piece made for production for the shops and seems to be a combination of the final look of the show and an earlier ivory version of the dress. I have included both those reference looks here. It is extremely beautiful in person.

'I wanted it to be romantic, beautiful,' McQueen said of this collection and the pieces, the dresses especially, were just that. The dress has a beautifully romantic and slightly subversive scooped neckline. There is an inset of black silk chiffon that is gathered into a raw edged ruffle all the way around the neck line. It dips low in the front and also at the back. A silk satin band acts like a halter corset and is set under the breasts for support. Little capped silk chiffon sleeves are set on each side and their edges have also been left raw and unfinished. Under the bust there are panels of the same silk as the halter detail that wrap around from the back zipper. These curve down and past the waist at the front to add shape through the waist. The dress is made from long vertical seams that run from under the breast to the hem. The dress skims over the hips and then flares out dramatically at the hem. Long triangle shaped panels have been set all around the skirt between the vertical panels to create that wonderful flared fullness. Under that is a second inner layer that's also completely vertically seamed. The inner layer is made from a soft black silk but when it reaches the hem it also has insets of the black lace. These act as support to the top layer and help keep the shape and fullness of the skirt. Under all of that is another layer of silk chiffon with a raw edge hem. The lace has been treated so that it is slightly stiffened and this helps to retain the volume of the dress. Inside the bodice there is a banded corset shaped almost like a bandeau for support and some extra shape. At the back zipper on either side are more of the laced panels to give the illusion that you are completely laced and corseted into the dress. The dress is spectacular and it is immaculate. This is a wonderful example of his work during this time. period. And it's even better on the body. It appears to have been worn very little if at all. Excellent condition

Fully lined in layers of silk as described above. The inner corset closes with lingerie hook and eye and then dress zips to close over that. Tagged a McQueen 42. The dress appears to have been worn very little if at all. I have included the measurements for the outer dress as well as the inner corset. You could extend/add to the inner corset to get more room if needed

Inner corset: 16.5" flat across from side seam to side seam, outer bust to 18" flat across from side seam to side seam
Inner waist: 14" flat across from side seam to side seam, outer bust to 18" flat across from side seam to side seam 
Hips: to 18.5" flat across from side seam to side seam
Bodice: 15" from top of shoulder to inner waist
Total length: 40" from top of the shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD4234

Reference Photos/Video: (1-6) Fall 2002 Alexander McQueen Runway.  /  (7) From the book "Alexander McQueen" Edited by Claire Wilcox.  /  (8) Alexander McQueen dress on display at the "Lee Alexander McQueen & Ann Ray: Rendez-vouz" exhibit at the Crocker Museum in Sacramento, 2023. (photo courtesy @pmb1976)

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 the dress that was just worn by AnnaSophia Robb and this amazing dress is from the Spring 2001 Dior Boutique Collection and is a fantastic example of the work John Galliano was doing during this time period. There were two versions of this dress made. One that had a simple straight hem and the other that had the buckled garter strap that this one has. I personally prefer the one with the strap. It just elevates the entire dress to a different level and it has a bit of a subversive sexiness that you see in Galliano's work. I have included some shots from the 2001 show that show the use of the buckle in several pieces. This dress was a production piece and not shown in the show but I think it should have been. It is a fantastic dress and I'm very pleased to have it in the shop.

The dress is strapless and cut to follow and skim over the body. Shaped cups sit low on each breast and have underwire built in underneath them for a lift. It skims from there over the waist and hips. The shape is created by long panels that are sewn vertically together. Where the panels attach they are top stitched with a zigzag stitch for added detailing. Down the front two seams there are silver metal loops and pins. These are meant to be detailing but you could actually use them to lace the dress in at the waist if you wished by adding some cording or laces. The top of the dress is trimmed with a strip of blue stamped leather to appear like a snake skin. On one side just above the cup it buckles into place. A layer of deep blue tulle peaks out from above the edge. There is a second buckled leather piece that sits at the base of a high slit down one side of the leg. This is meant to strap around your upper thigh like an exposed garter beneath the slit above. This is what gives this particular dress is extreme sexiness. It is a fantastic dress and is fantastic on. Excellent condition with one small note below.

There is an inner cupped and shaped bodice made of lingerie netting that is lightly boned. There is rubber around the inner edges at the top and bottom of the corset to help hold it into place. The rest of the dress is lined in a blue silk. The corset closes with its own zipper inside and then the dress closes over that with hidden side side zipper. The garter buckles around the leg. Each side of the garter extends out from each side of the hem so you don't have to worry about the size of it around your leg as it is not a closed circle. I see a little bit of scuffing to the fabric. Please see the two photos after the label shot.

Bust: to 16" flat across from side seam to side seam with an A-B cup
Inner waist: 14-15.5" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Bodice: 9" from top of bodice to inner waist
Length: 35.5" from top of bodice to hem

Modern Sizing Equivalent: XS-MED

Item# DD4235

Reference Photos: (1-2) Spring 2001 Christian Dior Runway, Looks 28 & 29.  /  (3-5) AnnaSophia Robb, in this dress, for the Women in Film Event, 2023.

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 dress. I have had both this and its twin that was just worn by Elle Fanning to the Critics Choice after party for some time and I love them. The dress is identical in every way to the ivory except that this on is black with an ivory detailing and the one Elle wore was its mirrored opposite. This was a dress produced for the shops and to my knowledge was only made in these two colors, the ivory and black. This black one is a bit of a time capsule as it still has its original hang tags in place and was never worn. It is an incredible dress and being able to see just how beautifully it works on an actual body is just wonderful. I am obsessed with it.

The dress is gorgeous. It definitely takes inspiration from the bias cut couture pieces of the 20s and 30s. McQueen was a master tailor and the seam work and simplicity of this dress do not hide that fact. It is made from a beautifully weighted black silk satin that has that same liquid feel that the best of the 1930s pieces did that were made from this similar fabrics. Like those dresses of the thirties this is also cut on the bias but with a more shaped silhouette. I love that the fabric is heavy enough and that the dress is lined so that it will not highlight 'flaws' underneath like some bias cut pieces can. It is cut to flow over the body and skim its way over bust waist and hips to the floor. The neckline is set wide across the shoulders and has a soft and feminine drape. On the one shoulder there is an inset of ivory silk. There is actually an opening where that is inset so if you move a certain way you get a tiny flash of bare skin. Inside of the draped part of the neck line is more of the same ivory silk and again it is only when you move a certain way that you get an unexpected flash of that color. It skims over the bust and is brought in at the waist through seaming. The skirt flows over and hugs the hips and then flares out as it reaches the hem. At the back there is extra fabric worked around the center seam to give you a bit of a trailing feel behind you. This flaring out at the bottom and the extra bit at the back give you fabulous movement when you walk or move. It also adds to the hourglass shape the dress has. The sleeves are cut in the proper way of tailoring and are set on a slight curve to follow the shape of your arm. Running up each cuff are 10 tightly spaced silk covered button and loops. Each one is functional. The dress comes with its original tie belt made of a matching black silk. The belt has been cut extra extra long and widens out slightly as it nears each end. This lets you loop it around once and have the ends trail down, or you can wrap it and tie it anyway you wish for a wider more cinched in feel at the waist. The dress is spectacular. It is easy to wear and it's classic design means you can style it numerous ways. Excellent condition.

Fully lined in a black silk chiffon and closes with a hidden set side zipper. Ten functional buttons on each sleeve. Tagged a McQueen 40. The bias cut fabric does have some stretch. The measurements below give you the comfortable range the fabric has when lying flat. It has its original tags attached and was never worn. It is in its original supermodel length. The bias cut should allow it to fit a range of sizes

Sleeves: 26"
Shoulders: approx 15"
Bust: 16-21" flat across from side seam to side seam
Waist: 13-17" flat across from side seam to side seam and can be cinched in by the belt
Hips: 16-21" flat across from side seam to side seam
Length: 64" from neck to front hem, 68" to the back hem

Modern Sizing Equivalent: XS-MED

Item# DD4229

Reference Photos: Elle Fanning in Alexander McQueen from the Shrimpton Couture Archives at the Critics Choice After Party, 2023.

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