The Fall 2003 Chanel collection began with inspiration from the work of Russian constructivist painter Kasimir Malevich. In Vogue's review of the collection Sarah Mower stated in part that; 'Lagerfeld mixed things up with his usual polymath flair... The decorative vibe ran through the collection.... In other words, all the usual playfulness of Chanel ready-to-wear was there, done with a light-handed touch that underscored Coco's legacy of flexibility—and fun— in the reign of King Karl." This is a wonderful example of his work from this time period and it is so versatile with the two pieces as you can wear them together or mix and match with other pieces you already own. Endless stying options are always a good thing. 

The dress set is an absolute stunning example of the work that Lagerfeld was doing during this time period. It has an easy, sexy feel to it that I love. It is made up of two pieces. The inner dress is made from a fine high end black silk that feels like heaven. It is suspended from the shoulders by two little silk straps. The bodice is cut to fall over you in a loose and easy way and the back dips into a low V. There is a seam at the waist that is set on an inverted curve so that there are no harsh lines to break the eye. The skirt falls from thee, skimming over the hips and widening out as it nears the hem. The hem is cut on that same inverted curve at the front and then the back sweeps down into a longer slightly point hem that mirrors the dip on the back. Over this goes a chiffon overlay. The overlay is so well made that you can literally wear it to the back or to the front. I took photos of it both ways for you to see. The overlay slips on and buttons into place with a row of little diamanté feeling black buttons. It has that same high low hemline so depending on which way you wear it you get a totally different feel when it is layered over the skirt. I think technically that the buttons go to the back but it seems to fall beautifully either way. Both the dress and its matching overlay are trimmed in little poufs of a glossy black fur. This gives the set a bit of a boudoir feel. My photos do nit come close to doing it full justice and once on an actual body it really comes to life. It moves beautifully when on and as just an exceptional example of Karl's work for Chanel. It appears to have been worn very little if at all. Excellent condition.

Both piece are unlined. The inner dress closes with a hidden set back zipper and the over lay closes with buttons. Tagged a Chanel 40. It appears to have been worn very little if at all.

Inner Dress
Bust: 16.5" flat across from side seam to side seam
Waist: to 14.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 16" from top of shoulders to the waist
Skirt: 28" from waist to front hem, 41" to longest point on hem

Overlay
Bust: 17" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: 23" flat across from side seam to side seam
Bodice: 15" from top of shoulder to waist
Skirt: 35" from waist to longest point of the hem

Modern Sizing Equivalent: XS-SML

Item# DD3868

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

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

Fall 1983 marked the first fall ready-to-wear collection that Karl did for the label. So any piece from this first year is a find. It is also interesting to note that this first year that Karl was there he worked for the atelier only part time as he was still working for both Chloe and Fendi as well as doing free-lance. For the ready to wear he had Herve Leger assisting him so he could juggle everything. This first year was instrumental to what Chanel was to become as a modern brand. He pulled inspiration from the twenties and thirties and only touched on the  classic Chanel feel. He said at the time 'Even if she never did it this way, it’s very Chanel, no?'. When researching this dress we found the reference shot included here that has a variation of this dress made in a black lace. It is a very easy to wear dress with lots of impact, and of course, Chanel is never a bad idea. 

This Chanel dress is phenomenal. It is stunning and a rare and beautiful example from Karl's first year at Chanel  The cut has hints of earlier decades as mentioned above and yet seems timeless. It is made from a layers of bias cut chiffon that give it the play on transparency that you see. The bias cut makes it wonderfully easy to wear and comfortable once on the body and the ribbons that are worked into the design give it structure and shape. The fabric is light in weight but with enough substance to hold the cut and give it the wonderful curving shape that you see. The bodice of the dress is cut to skim over you and has a V neckline. The neckline is edged in a black satin ribbon and I love the little bow that sits at the base of the V. The back is also cut into a V but this one is wider and done to sit further up on the body. Extending out and attached to the ribbon edging is a chiffon caplet that cascades over the front, falls over each arm and drapes down the back to the waist. This gives it such a pretty effect and when you move even the slightest it moves with you. The waist is seamed and cinched in and then the  the skirt is cut to hug your curves over the hips. I love the little slant pockets edged in more of the black ribbon that sit on each hip. The skirt continues to hug the body until about the knee where it flares out in a dramatic expanse of chiffon for the lower skirt. The same V ribbon edging separates the lower skirts from the more fitted skirt above. The bottom part of the skirt flares out around you and has a more transparent feel. The movement that all these elements of the dress has once it is on is incredible. It buttons all the way down the back with little satin covered buttons and there is another little flat blow at the ribbon finish at the back. The construction is immaculate and it looks to have been worn very little if at all. It is gorgeous and an amazing and really example of Karl's work for Chanel. Excellent condition

Fully lined in a matching black silk chiffon and it buttons to close at the back. It is tagged a Chanel 42. The bias cut fabric does have some give between the ribbons.

Bust: to 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Bodice: 17" from top of shoulder to waist, and does come up a bit once on
Skirt: 41" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3867

Reference Photo: Fall 1983 Chanel.

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's review of this collection was done by Hamish Bowles who said in part; "With their ironed hair, pale lips, and exaggerated doe-eye makeup, the leggy girls on Karl Lagerfeld's Chanel runway were channeling Penelope Tree, the iconic and kooky sixties model. With a major Chanel retrospective opening in May at the Metropolitan Museum of Art's Costume Institute, Lagerfeld also delved into Coco Chanel's history—specifically a 1920's liaison with the Duke of Westminster that saw her borrowing knits and tweedy pieces from his chic country wardrobe. Lagerfeld feminized his layered cardigan and plus fours with scarves twinkling with diamond camellias and topped them with adorable newsboy caps, knit cloches, or floppy berets." I love the nod to the tweed that the pieces had and the kicky skirts like this one are perfect to pair with a great boot. 

The suit is constructed from an absolutely stunning metallic tweed version of the Chanel signature fabric. The fabric combines a silk thread with mohair and a gold metal thread that he has worked through the entire suit. This gives it an exceptional but subtle sheen and a very luxurious feel. It is absolutely beautiful. To heighten that sense of luxury Karl added a rabbit fur trim to the jacket. The fur has been set to run down the front edges, curve around the back and then also circle the hem. It also details each cuff and the pockets. The jacket is cut in that classic Chanel box shape. The sleeves are long and I love the pockets that sit on each side. It hooks to close down the front with hidden set hook & eye so there is nothing to break the line. The skirt is cut with a slight flare as it nears the hem. It is set all the way around with series of wide flat pleats, giving that nod to the schoolgirl and the sixties the show was based on. The upper part of the skirt is more fitted around the hips and then it opens up to create the beautiful lines that you see. The entire suit is lined in the highest quality camellia flower embossed black silk. This is classic Chanel right down to the chain stitched by hand into the hem of the jacket. It is exceptional. Excellent condition.

Both pieces are fully lined in a black silk embossed with the Chanel camellia flower print. The interior hem of the jacket is finished with one of their signature metal chains. The skirt closes with a hidden set zipper. The jacket hooks to close down the front. Pockets on the jacket and the skirt. The colour and texture are even better in person. Both pieces are tagged a Chanel 40. There is the slightest bit of pilling to the silk on the interior of the jacket from rubbing against the skirt when it was stored. 

And just a note on their fabrics.... The Chanel boucle and tweeds are created with their proprietary method of weaving that they themselves describe as "by weaving the warp and weft, using a variety of different kinds of threads which creates a unique and somewhat irregular appearance. The warp – vertically strung – is the background of the fabric, the base that will support the assembly of materials. There can be up to 12 different threads used for a single warp. The weft – woven horizontally – gives the fabric its unique character and can have an unlimited number of threads. Tight, perforated, textured, thick, with a relief, plaited, random, twill… the potential number of effects is endless". This technique gives you that classic Chanel look.

Jacket
Sleeve: 25"
Shoulders: 15"
Bust: 19.5" flat across from side seam to side seam
Waist: 18.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 20" from neck to hem

Skirt
Waist: 15" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 22" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3854

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

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

This Chanel hat is from the Fall of 1996 and it is gorgeous. I found a editorial shot of Stella Tenant wearing a version of it that was shot by Karl himself. The hat is so dramatic and easy to wear. It is meant to sit lightly on the top of the head and then you can play with which direction you want the feathers to face. It can be worn with the feathers towards the front, either side, or to the back and sit as high or low as you want. This gives it so much versatility in styling it and the feel of it completely changes depends on how you place it on your head. It has its original attached comb in place. The feathers are full and glossy. It is stunning. Excellent condition

Secures to the head with a comb. The base is a black felt wool. Because of the half hat / cap design is should fit any size head. Each side of the triangle shape measures about 8" long.

Item# A339

Reference Photo: Stella Tennant by Karl Lagerfeld for Chanel Fall 1996.

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

This dress is one of the piece that were all sourced from one of my clients whose mother purchased the majority of her Couture pieces between 1973 to the mid and late seventies. This one is from Spring 1976 and we were able to find a similar dress to it that was photoed for L'Officiel that year. This one has its top buttons hidden set instead of showing and I think that it makes it even more refined feeling this way. It is an incredibly beautiful example of the work that the Chanel ateliers were doing during this time period. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. 

While this one photoed well I think when the person that buys it sees it on person they will be blown away. It is even better in person and the richness and quality of the silk only really can be appreciated when you have it in hand. The dress has been made entirely by hand and the silk is of the highest possible grade. It feels stupendous on. The top is cut ot skim over you and the long sleeves are slightly voluminous above their stunning cuffs. A tie extends out form the neck and as mentioned above the buttons are all hidden set under the seam so the line is not broken down the front. The skirt falls from the waist where the pleats open up so that when you move it lightly moves and floats around you. The dress is a masterclass in pleat work and an example of how finely done a pleat can be. Each pleat is exactly the same size as its neighbor and each lies perfectly as it runs over the dress from shoulder to hem. Every pleat on the dress has been top stitched along its entire edge by hand. The shape of the waist is created by a series of tiny stitched that gently bring the waist in while still holding the vertical line of the pleats. Each cuff is created by doing small pleats at the end of the sleeve and then bringing them in and stitching them down. And the loop for the buttons is on one long strip of silk with opening for the buttons to slide through. Just amazing. It is truly brilliant. Excellent overall condition with minor notes below.

Fully lined through the body in an ivory silk with all interior seams hand finished. It closes with hand made buttons down the front and at each cuff. Finished to Haute Couture standards and entirely done by hand. Haute Couture number 54218. I see a small mark near the seam under the arm, a very faint mark near the hem and a faint mark on the upper back. Please see the photos after the label shot. Note that in person the colour is a rich feeling ivory and better then how it photoed.

Sleeves: 25"
Slightly inset shoulders: 14"
Bust: 17.5" flat across from side seam to side seam
Waist: 12.75" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 45" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD3732

Reference Photo: Model in Chanel, L'Officiel Magazine, 1976.

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 Fall 2003 Chanel collection began with inspiration from the work of Russian constructivist painter Kasimir Malevich. In Vogue's review of the collection Sarah Mower stated in part that; 'Lagerfeld mixed things up with his usual polymath flair... The decorative vibe ran through the collection.... In other words, all the usual playfulness of Chanel ready-to-wear was there, done with a light-handed touch that underscored Coco's legacy of flexibility—and fun— in the reign of King Karl." This is a wonderful example of his work from this time period and it is so versatile with the two pieces as you can wear them together or mix and match with other pieces you already own. Endless stying options are always a good thing. 

The dress set is an absolute stunning example of the work that Lagerfeld was doing during this time period. It has an easy, sexy feel to it that I love. It is made up of two pieces. The inner dress is made from a fine high end black silk that feels like heaven. It is suspended from the shoulders by two little silk straps. The bodice is cut to fall over you in a loose and easy way and the back dips into a low V. There is a seam at the waist that is set on an inverted curve so that there are no harsh lines to break the eye. The skirt falls from thee, skimming over the hips and widening out as it nears the hem. The hem is cut on that same inverted curve at the front and then the back sweeps down into a longer slightly point hem that mirrors the dip on the back. Over this goes a chiffon overlay. The overlay is so well made that you can literally wear it to the back or to the front. I took photos of it both ways for you to see. The overlay slips on and buttons into place with a row of little diamanté feeling black buttons. It has that same high low hemline so depending on which way you wear it you get a totally different feel when it is layered over the skirt. I think technically that the buttons go to the back but it seems to fall beautifully either way. Both the dress and its matching overlay are trimmed in little poufs of a glossy black fur. This gives the set a bit of a boudoir feel. My photos do nit come close to doing it full justice and once on an actual body it really comes to life. It moves beautifully when on and as just an exceptional example of Karl's work for Chanel. It appears to have been worn very little if at all. Excellent condition.

Both piece are unlined. The inner dress closes with a hidden set back zipper and the over lay closes with buttons. Tagged a Chanel 40. It appears to have been worn very little if at all.

Inner Dress
Bust: 16.5" flat across from side seam to side seam
Waist: to 14.5" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Bodice: 16" from top of shoulders to the waist
Skirt: 28" from waist to front hem, 41" to longest point on hem

Overlay
Bust: 17" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Hips: 23" flat across from side seam to side seam
Bodice: 15" from top of shoulder to waist
Skirt: 35" from waist to longest point of the hem

Modern Sizing Equivalent: XS-SML

Item# DD3868

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

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

Fall 1983 marked the first fall ready-to-wear collection that Karl did for the label. So any piece from this first year is a find. It is also interesting to note that this first year that Karl was there he worked for the atelier only part time as he was still working for both Chloe and Fendi as well as doing free-lance. For the ready to wear he had Herve Leger assisting him so he could juggle everything. This first year was instrumental to what Chanel was to become as a modern brand. He pulled inspiration from the twenties and thirties and only touched on the  classic Chanel feel. He said at the time 'Even if she never did it this way, it’s very Chanel, no?'. When researching this dress we found the reference shot included here that has a variation of this dress made in a black lace. It is a very easy to wear dress with lots of impact, and of course, Chanel is never a bad idea. 

This Chanel dress is phenomenal. It is stunning and a rare and beautiful example from Karl's first year at Chanel  The cut has hints of earlier decades as mentioned above and yet seems timeless. It is made from a layers of bias cut chiffon that give it the play on transparency that you see. The bias cut makes it wonderfully easy to wear and comfortable once on the body and the ribbons that are worked into the design give it structure and shape. The fabric is light in weight but with enough substance to hold the cut and give it the wonderful curving shape that you see. The bodice of the dress is cut to skim over you and has a V neckline. The neckline is edged in a black satin ribbon and I love the little bow that sits at the base of the V. The back is also cut into a V but this one is wider and done to sit further up on the body. Extending out and attached to the ribbon edging is a chiffon caplet that cascades over the front, falls over each arm and drapes down the back to the waist. This gives it such a pretty effect and when you move even the slightest it moves with you. The waist is seamed and cinched in and then the  the skirt is cut to hug your curves over the hips. I love the little slant pockets edged in more of the black ribbon that sit on each hip. The skirt continues to hug the body until about the knee where it flares out in a dramatic expanse of chiffon for the lower skirt. The same V ribbon edging separates the lower skirts from the more fitted skirt above. The bottom part of the skirt flares out around you and has a more transparent feel. The movement that all these elements of the dress has once it is on is incredible. It buttons all the way down the back with little satin covered buttons and there is another little flat blow at the ribbon finish at the back. The construction is immaculate and it looks to have been worn very little if at all. It is gorgeous and an amazing and really example of Karl's work for Chanel. Excellent condition

Fully lined in a matching black silk chiffon and it buttons to close at the back. It is tagged a Chanel 42. The bias cut fabric does have some give between the ribbons.

Bust: to 17.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Bodice: 17" from top of shoulder to waist, and does come up a bit once on
Skirt: 41" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3867

Reference Photo: Fall 1983 Chanel.

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's review of this collection was done by Hamish Bowles who said in part; "With their ironed hair, pale lips, and exaggerated doe-eye makeup, the leggy girls on Karl Lagerfeld's Chanel runway were channeling Penelope Tree, the iconic and kooky sixties model. With a major Chanel retrospective opening in May at the Metropolitan Museum of Art's Costume Institute, Lagerfeld also delved into Coco Chanel's history—specifically a 1920's liaison with the Duke of Westminster that saw her borrowing knits and tweedy pieces from his chic country wardrobe. Lagerfeld feminized his layered cardigan and plus fours with scarves twinkling with diamond camellias and topped them with adorable newsboy caps, knit cloches, or floppy berets." I love the nod to the tweed that the pieces had and the kicky skirts like this one are perfect to pair with a great boot. 

The suit is constructed from an absolutely stunning metallic tweed version of the Chanel signature fabric. The fabric combines a silk thread with mohair and a gold metal thread that he has worked through the entire suit. This gives it an exceptional but subtle sheen and a very luxurious feel. It is absolutely beautiful. To heighten that sense of luxury Karl added a rabbit fur trim to the jacket. The fur has been set to run down the front edges, curve around the back and then also circle the hem. It also details each cuff and the pockets. The jacket is cut in that classic Chanel box shape. The sleeves are long and I love the pockets that sit on each side. It hooks to close down the front with hidden set hook & eye so there is nothing to break the line. The skirt is cut with a slight flare as it nears the hem. It is set all the way around with series of wide flat pleats, giving that nod to the schoolgirl and the sixties the show was based on. The upper part of the skirt is more fitted around the hips and then it opens up to create the beautiful lines that you see. The entire suit is lined in the highest quality camellia flower embossed black silk. This is classic Chanel right down to the chain stitched by hand into the hem of the jacket. It is exceptional. Excellent condition.

Both pieces are fully lined in a black silk embossed with the Chanel camellia flower print. The interior hem of the jacket is finished with one of their signature metal chains. The skirt closes with a hidden set zipper. The jacket hooks to close down the front. Pockets on the jacket and the skirt. The colour and texture are even better in person. Both pieces are tagged a Chanel 40. There is the slightest bit of pilling to the silk on the interior of the jacket from rubbing against the skirt when it was stored. 

And just a note on their fabrics.... The Chanel boucle and tweeds are created with their proprietary method of weaving that they themselves describe as "by weaving the warp and weft, using a variety of different kinds of threads which creates a unique and somewhat irregular appearance. The warp – vertically strung – is the background of the fabric, the base that will support the assembly of materials. There can be up to 12 different threads used for a single warp. The weft – woven horizontally – gives the fabric its unique character and can have an unlimited number of threads. Tight, perforated, textured, thick, with a relief, plaited, random, twill… the potential number of effects is endless". This technique gives you that classic Chanel look.

Jacket
Sleeve: 25"
Shoulders: 15"
Bust: 19.5" flat across from side seam to side seam
Waist: 18.5" flat across from side seam to side seam
Hips: 20" flat across from side seam to side seam
Length: 20" from neck to hem

Skirt
Waist: 15" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 22" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3854

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

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

This Chanel hat is from the Fall of 1996 and it is gorgeous. I found a editorial shot of Stella Tenant wearing a version of it that was shot by Karl himself. The hat is so dramatic and easy to wear. It is meant to sit lightly on the top of the head and then you can play with which direction you want the feathers to face. It can be worn with the feathers towards the front, either side, or to the back and sit as high or low as you want. This gives it so much versatility in styling it and the feel of it completely changes depends on how you place it on your head. It has its original attached comb in place. The feathers are full and glossy. It is stunning. Excellent condition

Secures to the head with a comb. The base is a black felt wool. Because of the half hat / cap design is should fit any size head. Each side of the triangle shape measures about 8" long.

Item# A339

Reference Photo: Stella Tennant by Karl Lagerfeld for Chanel Fall 1996.

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

This dress is one of the piece that were all sourced from one of my clients whose mother purchased the majority of her Couture pieces between 1973 to the mid and late seventies. This one is from Spring 1976 and we were able to find a similar dress to it that was photoed for L'Officiel that year. This one has its top buttons hidden set instead of showing and I think that it makes it even more refined feeling this way. It is an incredibly beautiful example of the work that the Chanel ateliers were doing during this time period. True Haute Couture pieces by Chanel are an extraordinary find as they are so very rare and hard to come by. 

While this one photoed well I think when the person that buys it sees it on person they will be blown away. It is even better in person and the richness and quality of the silk only really can be appreciated when you have it in hand. The dress has been made entirely by hand and the silk is of the highest possible grade. It feels stupendous on. The top is cut ot skim over you and the long sleeves are slightly voluminous above their stunning cuffs. A tie extends out form the neck and as mentioned above the buttons are all hidden set under the seam so the line is not broken down the front. The skirt falls from the waist where the pleats open up so that when you move it lightly moves and floats around you. The dress is a masterclass in pleat work and an example of how finely done a pleat can be. Each pleat is exactly the same size as its neighbor and each lies perfectly as it runs over the dress from shoulder to hem. Every pleat on the dress has been top stitched along its entire edge by hand. The shape of the waist is created by a series of tiny stitched that gently bring the waist in while still holding the vertical line of the pleats. Each cuff is created by doing small pleats at the end of the sleeve and then bringing them in and stitching them down. And the loop for the buttons is on one long strip of silk with opening for the buttons to slide through. Just amazing. It is truly brilliant. Excellent overall condition with minor notes below.

Fully lined through the body in an ivory silk with all interior seams hand finished. It closes with hand made buttons down the front and at each cuff. Finished to Haute Couture standards and entirely done by hand. Haute Couture number 54218. I see a small mark near the seam under the arm, a very faint mark near the hem and a faint mark on the upper back. Please see the photos after the label shot. Note that in person the colour is a rich feeling ivory and better then how it photoed.

Sleeves: 25"
Slightly inset shoulders: 14"
Bust: 17.5" flat across from side seam to side seam
Waist: 12.75" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 45" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD3732

Reference Photo: Model in Chanel, L'Officiel Magazine, 1976.

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