The twin of this dress walked the runway for the Fall 1987 show and I love having a runway shot of it for you so that you can see how fabulous it is on the body. We even found one where you can see the model walking back down the runway so you can see how gorgeous it is from the back as well. This has always been one of my favourite dresses ever since I first saw the catwalk photo and I am so pleased to have one in the shop.

This is a fantastic dress. It is made from a stunning metallic lace that has a blue-purple colour running through it. Over that are thousands of glossy black sequins that are placed onto the lace to follow the pattern underneath. I love how these sequins catch the light from every angle and add a bit of glitz to the dress. The lace is open cut work all through and to make it not completely see-through Yves lined it with a deep blue silk chiffon. That said when this is on it definitely has a touch of transparency to it. Personally I love that about the dress. The dress is cut to sit off the shoulder for a bare expanse of skin. The neckline is finished with a black silk organza ruffle and this choice of fabric gives a just a touch of stiffness so the ruffle holds its shape around you instead of just flopping. The sleeves fall to just passed the elbow and each is finished with a ruffled cuff. The dress it is cut skim over you. It runs over the bust and past the waist with no seaming there to break the line. At the top of the hip there is a seam that has another flounce of ruffles. The skirt falls under that and widens out quite a bit. The bottom hem is also finished with a ruffle edge and I love that the back of the skirt is set to hang longer than the front. This gives you a beautiful curve from the side and also allows the skirt to have attach more volume than it would otherwise. It is just a fabulously gorgeous dress and really showcases Yves' innovative eye and design genius. It appears to have been worn very little if at all. Excellent condition

Fully lined in a dark blue silk chiffon. It closes at the side with a zipper. Tagged a YSL 42. It looks to have been worn very little if at all.

Sleeves: approx 18" from the drop. 12" around the upper arm
Bust: to 18" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Seam across the top of the hips: 19.5" flat across from side seam to side seam and open under that
Length: 30" from top of center neckline to front hem and 36" to back hem including top and bottom ruffle

Modern Sizing Equivalent: SML-MED

Item# DD4271

Reference Photo: Fall 1987 Yves Saint Laurent 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.

Yves showed the twin of this dress during his Haute Couture presentation for the Fall 1992 collection. On the runway this dress was styled with a gold belt but otherwise looks identical to this Rive Gauche version. I believe he produced this RTW one in limited quantities for his shops for the 1993 season. Yves was a designer who mixed and matched ideas from couture to ready-to-wear with ease. More so than many other designers. Sometimes the details were exact copies like this one is, with the difference being that one would have been made to measure and completely by hand and this one produced with only some hand finishes and to his standard sizing. This dress has added interest to it because Catherine Deneuve actually owned one of the couture versions produced and it was part of her 2019 sale of YSL with Christie's auction house. This was alread special due to its rarity and that little added linked provenance with its history makes it even more special. The dress is absolutely gorgeous and I'm happy to have photo references so that you can see just how beautiful this is on an actual body. Yves Saint Laurent was known for his leopard pieces and this one is exceptional.

In her review of the couture show that season, fashion journalist, Suzy Menkes, said; ‘Laurent took a three minute standing ovation Wednesday for a show that could be summed up in three words poetry, simplicity, authority.' It was also noted that by the time the final evening pieces came down the runway the crowd erupted into 'enthusiastic cries'. Even though this version is not from the couture runway I feel it is relevant to share that bit of her review because the dress is visually identical to the couture one as noted above.

The neckline is cut wide across and the distance from the edge of the neck line to the shoulder seam is just over an inch. Built-in underneath is a bit of a specialized padding that runs the width of that and then extends out just past the seam into the arms about a quarter of an inch. Then what gives you that high feel of the shoulder and holds the neckline in place so that it has that beautiful drop at the front. It is padding with the very minimal use of padding and it is genius. It is also important to note that this neckline and shoulder treatment are used in many of his pieces from this point forward and became a bit of a signature for him. From there the sleeves fall from the shoulder narrowing down to the cuff. From just above the elbow to the bottom of the sleeve he has gathered the fabric along the inside edge and then added a zipper at the wrist. The top is loose cut and is meant to billow out over the waist a bit. The silk panne velvet catches the light beautifully and emphasizes the curving lines the draping creates. At the back it falls in a smoother line to the waist and there is a keyhole and button above that for a tiny flash of bare skin. The waist is banded with a one inch band of the same fabric. On the couture runway he added a gold belt but the dress can easily be worn without one. From there the skirt falls to floor widening out a bit as it nears the hem. The fabric is a silk mix panne velvet and it has an exceptionally smooth pile finish that makes it soft to the touch. I love the way the leopard print falls over the dress with the darker part of the print running down the middle of the dress at both the front, back and running along the bottom of each sleeve. This would have been carefully and deliberately planned and placed in this fashion to help add height and draw the eye in when it is on. It is genius and it is beautiful. Poetry. Excellent condition

Fully lined in a brown silk and closes with a side set zipper that extends up and under the arm slightly. Each cuff has a zipper to close. There is a button and loop above a key hole at the back. Light padding on the very edges of the shoulder and little straps and snaps to hold your undergarments in place inside of each shoulder. It appears to have been worn very little if at all. Tagged a vintage YSL 40

Sleeves: 25"
Shoulders: no set seam because of the width of the neck
Bust: to 20" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Hips: to 20" flat across from side seam to side seam
Bodice: 16" from top of shoulder to top seam at waist and meant to blouse over a bit.
Skirt: 41" from top seam of 1" band at the waist to hem with 2" turned under

Modern Sizing Equivalent: SML-MED

Item# DD4268

Reference Photos: (1-7) Fall 1992 Yves Saint Laurent Haute Couture Runway.  /  (8)  Fall 1992 Yves Saint Laurent Haute Couture long leopard silk velvet dress with gilt-metal belt from Catherine Deneuve's Auction with Christie's.

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 slightly more dramatic version of Yves classic tuxedo suit. For the runway it was presented with a longer skirt and that one was shown for Look 38 of the Fall 2001 Haute Couture collection. My client ordered it with the pencil skirt you see so that she could have more options to wear it. The Fall 2001 collection was one of his final collections and to have a piece from this season is very special. Vogue noted that "Cocktail hour incorporated every possible variation on the tuxedo: There was a button-front dress, a smoking jacket that morphed into a full tulle skirt, and, naturally, an updated version of the masculine tux immortalized by Helmut Newton in the '70s." Yves play on the tuxedo and 'Le Smoking' suit is one of is most famous hallmarks that he first presented in 1966. His play on traditional menswear is lauded by many as 'having empowered women by giving them the option to wear clothes that were normally worn by men with influence and power'. I have included runway photos, video and a photo of the original sketch. The sketch shot includes the fabric swatches above as per his atelier records and you can see it is the same fabric as this one. It is extraordinary set and I love it.

The extra wide collar is what sets this one apart from the many versions he did over the years. It is so bold and yet still elegant and refined in feel. There is nothing quite like the experience of slipping on a tailored to perfection piece of true Haute Couture. It somehow feels different and the feeling is something you can only really experience for yourself. The construction on both pieces is meticulous and it has been sourced from the original couture client. These tuxedo suits were all done a play on a men's tuxedo in mind and then were shaped and tweaked by Yves to be immensely flattering on the female body. It's looks simple but has master level tailoring behind it. The jacket has this sleek cut to it that follows the curves of the body. It is slightly cropped to sit just at the top of the hip. The lower part of the collar is finished in a black matte satin. It's size has been exaggerated to make it the focal point. under that is a single faceted button. Pockets are top set on each side and the shoulders are shaped. The fabric has a fine ribbing to it and it holds the lines perfectly. The skirt is cut into a simple pencil shape. I love that you separate pieces which gives you the versatility of being able to mix and match each piece with other things you already own. It is also a suit that depending on how do you style it, it can easily work for either day or as an evening suit. Yves tuxedo suits changed the way the world approached woman's wear and any example of the Le Smoking version is particularly collectible. This is a wonderful example of his couture tailoring. Itis an important piece of fashion history from one of his final collections. It appears to have been worn very little if at all. Excellent condition

Both pieces are hand lined in a black silk. The jacket closes with a button at the front and the skirt closes with a zipper and hook & eye at the waist. There are two pockets on the jacket. Both pieces are completely made by hand to couture standards. All proper Haute Couture tags present

Jacket
Sleeves: 23"
Shoulders: 15"
Bust: to 19" flat across from side seam to side seam
Waist: to 17" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 23" from neck to hem at the front, 22 at the back

Skirt
Waist: 15" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 23.5" from waist to hem

Modern Sizing Equivalent: MED-LRG

Item# DD3559

Reference Photos/Video: (1-7) Diana Gärtner for Yves Saint Laurent Fall 2001 Haute Couture Runway Collection. Look 38.  /  (8-9) Sketches for the Fall 2001 Yves Saint Laurent Couture Collection as shown in the "Yves Saint Laurent Haute Couture: The Complete Works" Book Set.

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 twin of this dress walked the runway for the Fall 1982 show and I love that we found photos of it for you so you can see just how spectacular it is one and how the sleeves sit once on a body. This silhouette with its dramatic sleeves and full skirts was an important element for that season. It is just a stunning example of one of his most recognized looks.

The dress is made from a combination of two of his favorite fabrics, silk taffeta and silk velvet. These became signatures of his and ran through his collections from the start of his career to the finish. It is a stunning piece. The top is cut to skim over the bust with a scooped neckline at the front. It is seamed at the waist and then extends down over the top of the hips. There is an attached silk taffeta sash that wraps around the waist and cinches you in for added shape and detail at the waist. The sleeves are full with a beautiful sweeping cut that starts at the shoulders and remains full to just past the elbow. At that point the fabric changes to to a velvet. Four glossy dome buttons  detail the lower part of the sleeve. These are meant to be pushed up slightly to exaggerate that pouf of the upper sleeve even more. The skirt falls from under the velvet and it is beautifully full. The photos do not really do the amount of fabric in the skirt full justice. I love that under the top purple layer of silk there is a lining finished in a coral red silk taffeta. You don't see that inner layer when you are standing, but when you sit or move just right, you get that extra flash of color. It's a small detail that I am obsessed with. The fabric choices helps keep the intended shape and volume. Pieces by Yves from this time period have become an important piece of fashion history and having documentation like this one has makes it that much better. Excellent condition.

Fully lined through the bodice in a black silk satin. The skirt is lined in a deep red silk taffeta and the sleeves are unlined. It closes at the side with a metal and nylon zipper and each cuff buttons to close. The sash is attached at the back. Slight flattening to the velvet here and there along the waist seam that is covered by the belt once on. Tagged a vintage YSL 40.

Sleeves: 29"
Shoulders: 15"
Bust: 17.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 17" from shoulder to waist
Skirt: 43.5" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD2856

Reference Photos: (1-2) Fall 1982 Yves Saint Laurent Runway.  /  (3) Alice Englert wearing this dress for Harper's Bazaar, 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.

Yves Saint Laurent opened his first ready-to-wear boutique on September 26, 1966 in Paris. For the opening he showcased his Fall 1966 Rive Gauche collection but what a lot of people don’t know is that he already had a rtw line. He created his first ready-to-wear collection for the Fall of 1964 with an in-house boutique collection of 35 designs including accessories. This dress is from one of those extremely rare collections that pre-dates the opening of the shop. It is from the Spring 1966 collection and represents one of the earliest ready-to-wear pieces he would have made. Because it pre-dates the actual boutique opening it would have only been made available to you if you were an existing couture client. Only a few of these would have been made. The numbers are probably along the same lines as the couture pieces as far as quantity. This one is extra special because it’s documented which is even more rare. We found a copy of the original sketch and fabric samples in one of the the Saint Laurent books and even they did not have the actual dress to show with that sketch. He did two pieces for the collection in this fabric. The first photo after the label shot here is the twin to this dress and the second is the other similar one that was a part of this collection. Finding a piece that was a forerunner to the boutique launch when that boutique concept went on to revolutionize the world of fashion is truly something truly special. This is a dress made valuable by its place in history.

The dress is beautiful in its simplicity. It is made out of a loose woven cotton feeling fabric that has a stunning and vivid floral print screen onto it. The print is the same that you see in the sketch fabric samples in the attached reference photo. It is a bright combination of blue, green, pinks, corals and yellows all done in an intricate floral pattern that covers the entire dress.The sleeves are cut to go to just past the elbow and are cuffed. On the cuff they have two sets of little snaps spaced close to each other so you can bring the cuff in a little bit to hold them in place in case you wear them pushed up higher on the arm. Above that they pouf out above the cuffs for a pretty fullness. The neckline is scooped at the front and at the back. At the back that scoop dips a little lower for a bit of skin to show. I love how it buttons to close above the zipper at the back with two matching fabric buttons. At the front there is a seam that is set just under the bust. You were meant to tie a ribbon under there as you can see in the sketch. I added a pretty blue grosgrain ribbon but you could add any colour ribbon that picks up on any of the colours of the dress or the accessories you choose to wear with the dress. The dress falls from there and widens out to be very loose and easy over the waist and hips before falling down to the floor. This beautiful A-line baby doll feel is a perfect representation of this era. It would have been the height of chic to wear this shape of dress at the time and its still a classic silhouette now. I photoed the dress without any ribbon so you could see how it looks that way and I also took a shot of it with the ribbon tied around the natural waist. The look of the dress changes completely depending on which of the three ways you wear it and I love the versatility that this adds. The simplicity of the cut lets that stunning floral design take center stage. This is a stunning museum worthy example of his earliest RTW work and it is fabulous. Excellent condition with one tiny note below

Fully lined in a black silk and closes at the back with a zipper and buttons above that. Each cuff has snaps as seen in the photo before the label shot. The hem is finished with a finished edged seam and may have been let down at some point. There is a tiny area on the bodice where a couple of the threads of the weave have broken. It is backed by the lining so only seen upon close inspection but I am pointing it out for accuracy. Please see the photo after the label shot

Sleeves: 23"
Shoulders: approx 15"
Bust: 17.5" flat across from side seam to side seam
Seam under bust: 17.5" flat across from side seam to side seam
Natural waist: to 20" flat across from side seam to side seam
Hips: to 22.5" flat across from side seam to side seam
Bodice: 9.5" from top of shoulder to seam under the bust
Skirt: 48" from seam under the bust to hem

Modern Sizing Equivalent: XS-MED

Item# DD4171

Reference Photos: Drawings of the Fall 1966 Yves Saint Laurent Collection. From the book "Saint Laurent Rive Gauche Fashion Revolution."

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 by Arnold Scassi and I love the choice of sequin and net that he used for this one. Scaasi worked under Charles James at the start of his career and many of his dressed reflect this early influence. His boutique line was launched in 1984 and was high end ready-to-wear and very expensive. Pieces from it often have a demi-couture level finish and really are an extension of his couture line. This one is especially fabulous and just is one of those pieces that feel joyful to look at.

Yards and yards of a brilliantly coloured floral silk gazar have been used in this Arnold Scassi dress and it is just exceptional. This particular piece is a little extra fascinating because it actually has Bergdorf Goodman tag inside with the exact date this dress this dress was delivered so we know that it was is from 1986. I love that. This dress varies from his usual boutique pieces as it was an obvious special order piece and it has mote the feel and construction of his main couture line. I would get that it was based on one of his ready made pieces, but then was a special order it would've been a one of as far as measurements and perhaps she even changed the design as well. So it was most likely made in his atelier for this specific woman so is half way between his RTW and couture line. The silk used for this dress is just incredible. It is feather light but the gazar has enough structure to it that it holds that beautiful shape perfectly. All the fullness that you see are because if the fabric choice and the seam work and yet it sill moves and floats around you effortlessly once on. It is strapless and on the bodice the silk has been gathered over to one side. This adds detail and also is how he has shaped the dress to create and highlight the curves of the body. The bodice glides over the waist and then extends past and below the hip.Again a trick to exaggerates your curves. The skirt is set into the seam there and it has a wonderfully full feel. When you walk the movement that this creates is exceptional. It is as good inside too. The innermost skirt is made from layers of a fine green silk with a broad band of horsehair taping inside the bottom hem of both the exterior skirt and the inner silk lining to help hold the volume. Between those layers is a third layer whose bottom is finished with layers of silk net tulle. It is just exquisite. Excellent condition.

Fully lined in a fine green silk organza and the skirt is lined as described above. Lightly boned through the bodice. It closes with a hidden set side zipper. Hand finishes

Bust: 16" flat across from side seam to side seam with room to a B or small C cup at the front
Waist: 13.5" flat across from side seam to side seam
Inner hips: to 20" flat across from side seam to side seam
Length: 52.5" from top of the bodice to hem

Modern Sizing Equivalent: XS-MED

Item# DD4314

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 by Arnold Scassi and I love the choice of sequin and net that he used for this one. Scaasi worked under Charles James at the start of his career and many of his dressed reflect this early influence. His boutique line was launched in 1984 and was high end ready-to-wear and very expensive. Pieces from it often have a demi-couture level finish and really are an extension of his couture line. This one is with its heart print is just so pretty

The color of this dress is just outstanding. It is a true brilliant emerald that is beautiful to see. The colour alone would have been enough but the fabric also has these little hearts on it that are part of the fabric itself. The technique used to create the hearts is very unusual and really adds to the dress. Each of the hearts is a single chiffon layer that is transparent so that they add depth and interest to the green. It is almost like the way a silk devore is created but in chiffon and silk. It is quite brilliant. The dress is strapless and the bodice is lighting boned inside for structure and support. There is a full inner green silk dress inside and then that solid and transparent top layer falls over that from the top of the bodice to the hem. This gives the dress one long line as it falls to the floor in a cascade of fabric. The back has extra panel of fabric built in so that it is fuller there. The is gathered into a soft pleated curve that sits just under the small of the back and give the back skirting that extra fullness and volume. Just above that there are a series of four large bows set edge to edge across. It is just beautiful. Excellent condition

Fully lined in green silk and closes with a back zipper. The inner waist stay hooks to close and the bodice is lightly boned. The skirt has an inner skirt made of two layers of silk and the outer layer is interlined in an organza. Both the inner and outer layer of the skirt have a wide banding of stiffened netting at the hem to help hold the shape.

Bust: to 17" flat across inside from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 52" from top of bodice hem

Modern Sizing Equivalent: SML-MED

Item# DD4313

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 by Arnold Scassi and I love the choice of sequin and net that he used for this one. Scaasi worked under Charles James at the start of his career and many of his dressed reflect this early influence. His boutique line was launched in 1984 and was high end ready-to-wear and very expensive. Pieces from it often have a demi-couture level finish and really are an extension of his couture line. This one is especially fabulous and just is one of those pieces that feel joyful to look at.

This is one of those dresses that just fills you with joy when you see it. The dress is made from this fabulous fabric that has a metallic finish to it and then that is absolutely covered with a gorgeous flower design that covers it's entire surface. In addition to the overall gold that is woven through the fabric there are also these big gold circles that are subtly woven over everything. It is gorgeous in the light. The fabric is very light and fluid and it weighs next to nothing once on. The strapless bodice is lightly boned inside for support. On the exterior the fabric is gathered over the bust in soft pleats in towards the center. The waist nips in and there is a large flat bow that sits at the center. All of the fabric is gathered in towards the center to this bow and this makes it feel like the dress is wrapped into place around you. The skirt adds to this wrapped around feel with an overlapped front that curves down and opens to the hem. This let's a little extra leg show when you walk and sit. It is an easy dress to wear and so very pretty. Excellent condition

Fully lined in a red silky rayon and closes at the back with a hidden set zipper. It is lightly boned through the bodice. The skirt is tacked into place to hold it at the front and this could be released or placed higher if you wanted it to open higher

Bust: 16" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 21" flat across from side seam to side seam
Bodice: 9" from top of dress to waist
Skirt: 39" from waist to hem

Modern Sizing Equivalent: XS-SML

Item# DD2632

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

Arnold Scaasi was born Arnold Isaacs in Montreal and the name Scassi is simply his own surname in reverse. He studied in Montreal and in Paris, apprenticed at the house of Paquin and then worked with the legendary Charles James. In 1964 he opened own couture salon. He dressed Hollywood stars like Lauren Bacall, Diahann Carroll and Elizabeth Taylor. He dressed several first ladies including Mamie Eisenhower, Hillary Clinton and both the Bush first ladies. He even once bragged that he refused to give Jackie clothes for free. He was the man behind the scandalous 1969 Barbra Streisand sheer trouser outfit that she collected her Oscar in, and he was presented with the Council of Fashion Designers of America Lifetime Achievement Award in 1996. The dress is from his main label and these were extremely well made pieces. It is so dramatic and in being so also so very Scaasi.  He himself once said 'I am not a minimalist designer! Clothes with some adornment are more interesting to look at and more fun to wear.'

You can easily see the influence of Arnold having worked for Charles James in this piece. The lines are dramatic and yet elegant. The silk is that incredibly rich feeling silk that drapes and sits beautifully. The dress is strapless and is gathered from there to just past the hip. The gathers are all held in place along the side and this brings in the cut so that it follows and highlights your curves. The skirt is set under that and the seam is done on a slight angle to add visual length to the dress. On the opposite side that seam extends down and into a deep point to give the body length there as well. The skirt is quite full and the shape and volume that you see is held by the inner construction which is quite amazing. The innermost layer closest to you is a fine black silk that is finished at the hem with a broad inset band of stiffened netting so that the shape is kept. Over this lay four full layers of tulle netting and then the outermost layers sits over all of that and even that top layer is self-lined in a black silk organza. The final perfect touch is that extraordinary ruffle that is set along the side and runs down the front all the way to the bottom of the gathered bodice. The ruffle is black on one side and then the other is finished in a shocking pink silk. This unexpected shock of color is fantastic. I have placed it to one side but the dress is so well made that you could wear it almost anyway around and just change where the zipper sits and the back or sides.Excellent condition.

Fully lined in a fine black tissue silk. The bodice is lightly boned on the ruffle side and it closes with a back metal zipper on the opposite side. The inner skirt construction is described above. Hand finished throughout.

Bust: 17" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: to 23" flat across from side seam to side seam
Bodice: approx 18" from top of bodice to dropped seam
Skirt: 39" from dropped seam to hem with 4" turned under the top layer

Modern Sizing Equivalent: SML-MED

Item# DD4305

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 by Arnold Scassi and I love the choice of sequin and net that he used for this one. Scaasi worked under Charles James at the start of his career and many of his dressed reflect this early influence. His boutique line was launched in 1984 and was high end ready-to-wear and very expensive. Pieces from it often have a demi-couture level finish and really are an extension of his couture line. This one is especially fabulous and just is one of those pieces that feel joyful to look at.

This gorgeous little dress is constructed from multiple layers of feather light black tulle net that has hundreds of sequins sewn onto the very top layer. The sequins absolutely bring the dress to life. They are a mix of red, green, blue and gold and cover every square inch. The light bounces beautifully off them as you move. The top netted layer sits over multiple inner layers which is what gives the dress the volume that you see. The dress is strapless and the bodice is kept simple so the sequins take center stage. It is gathers down one side and the seam at the bottom is set on a sharp angle that dips down very low on one side. The skirt explodes out from that seam and that angled cut of the bodice is followed by the angle of the hem as is cascades towards the floor lower on one side. There are yards and yards of fabric in the skirt. Under that very top sequin embellished layer is another layer of tulle, then two layers of a stiffened netting and an inner black silk layer beside your skin. A flower made of the same black netting and sequins, with a black bow on top, sits on the one hip for the final perfect touch. It is fabulous and just a joy to see and wear. Excellent condition with a note below. 

The skirt is fully lined in layers as described above. The bodice is lined in a black silk with interior boning. The dress closes with a side zipper. The occasional missing sequin here and there but no large bare spots. There is a touch of patina on the sequins here and there.

Bust: 17" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Inner hips: to 22" flat across from side seam to side seam
Bodice: 12" from top of bodice to waist
Skirt: 27" from waist to shortest part of the hem, approx 40" to the longest

Modern Sizing Equivalent: SML-MED

Item# DD4304

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