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 a gorgeous dress from Alexander McQueen. It is from his Spring 2010 collection and it is a one of the original variations of a dress that they still make to this day. Julianne Hough recently wore a black version from my archives and I have included some shots of her so you can get an idea of how amazing it is on the body. The one that she wore was from a later collection released under the creative direction of Sarah Burton but it was based on the dresses released from this original 2010 collection. I have two versions of this dress in the shop from this season at the moment, you can find the other one here. This is basically the printed version of the one that Julianne wore. It is a fantastic example of his work. I love it

The dress is made from a printed silk chiffon that is covered with one of his signature intricate designs. Prince a trailing design of leaves and flowers that float over the dress and follow the amazing draping that the dress has. It is strapless with a built-in inner cupped bodice that gives you support and holds the dress in place. The cups are shaped and these cups are one of the things that you see that is different from the later versions of this dress. These earlier piece have distinctively shaped cups The seams in the inner cups are exaggerated and this gives them this beautiful curving angle shape at the sides and peak at the front. The silk that drapes over that is all cut on the bias. The dress glides over the inner structure and falls in column to the skirt. The silk is gathered in towards the center of the front and the back so that there is more draping there and then it fall in draping curves down the sides. The choice of silk chiffon for this one gives it a lighter than air feel and as you move the silk billows and floats around you. It also creates this incredible movement when you walk. The dress is original supermodel length and looks to have been worn very little if at all. It is spectacularly beautiful.Excellent condition

Fully lined in a black bias cut silk and has a built in cupped corset. The inner corset closes with its own zipper and the dress zips to close over that with a hidden set zipper. Tagged a McQueen 44. The inner corset has some stretch. You could have the inner corset adjusted if you needed more or less room. Buttons on the inner bodice to add straps if you wanted. 

Bust: to 18" flat across from side seam to side seam with a B-C cup
Inner corset waist: 13-16" flat across from side seam to side seam
Inner hips: to 24" flat across from side seam to side seam
Length: 64" from top of bodice to hem

Modern Sizing Equivalent: SML-MED

Item# DD4181

Reference Photos: Julianne Hough in Alexander McQueen from the Shrimpton Couture Archives for the Vanity Fair Oscars Party, 2022.

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

McQueen's Fall 2008 collection was called 'The Girl Who Lived in a Tree' and it was inspired by a combination of his trip to India and a 600 year old elm in his garden. I have included two photos from the runway that year and you can see how the elements from these pieces were combined to create this dress. Pieces from this collection are some of the most valued by collectors. The V&A Museum says of this collection: 'McQueen’s Autumn/Winter 2008 collection centered on a fairy tale narrative devised by McQueen about a girl who descends from a tree to marry a prince and then become a queen. It was inspired by a 600-year-old elm tree in the garden of the designer’s Sussex home. At the center of the set stood a giant tree swathed in fabric, inspired by Bulgarian artist Christo, who is renowned for wrapping buildings with material.' This dress feels a bit like the embodiment of that center piece they refer to, as you are wrapped an swathed in fabric once it is on. The impact of this dress is not truly conveyed on the photos and the way that the chiffon trails behind you is fantastic once on the body.

The dress is beautiful. Rarely does one see this level of workmanship in ready to wear. The fabric is a silk chiffon with a soft almost waffle finish texture. The silk is feather light and once the dress in on the body it feels like you are wearing air. The cut is classic McQueen with an almost scandalously low cut squared off neckline. Underneath he has suggested the presence of a seam with a line of hand placed stitches. This tiny little detail adds shape and gives that dress its empire feel. It is lightly gathered over the bust. Inside the bust is structured and supported. The support is genius and done mainly by couture level seam work and fabric rather then extensive boning. The skirt falls to the floor from beneath the bodice and there are many yards of silk used to create that magnificent skirt. On one side under the bust there is a extra panel of the silk that is caught up and drapes to attach to the top of the opposite shoulder. This creates this curved line that sits off of the dress. The skirts are long and extend even longer at the back. The skirt extends out there to trail out behind you in a long train. I love how the fanbric there extends out from the back upper seam ... as you walk this creates this billowing feel behind you that is extraordinary. It is a work of art from one of the greatest designers of our time. The dress has its original hang tags in place and is in its original uncut length. Excellent condition.

Fully lined in black silk satin through the bust and black silk chiffon through the skirt. It closes with a hidden set zipper at the back. The interior bust is shaped and lightly boned at the sides. Original tags attached. Tagged a McQueen 38.

Bust: to 17" flat across from side seam to side seam
Seam under bust: 13" flat across from side seam to side seam
Natural waist-hips: open
Bodice: 10.5" from shoulder to seam under bust
Length: approx 60" from shoulder to shortest point of the front hem, approx 90" to the longest point of the back hem

Modern Sizing Equivalent: XS-MED

Item# DD3473

Reference Photos: (1-2) F/W 2008 Alexander McQueen Runway Collection (Look 7 & Look 27).

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 spectacular Alexander McQueen dress is from the Pre-fall 2016 collection. The presentation version was far more elaborate but I think I prefer this one. It allows you to really see the pattern on the lace and I think can be worn to more functions with its simpler more versatile feel. Vogue's Sarah Mower said in part of this collection; 'There’s a sensuous glamour emerging through Pre-Fall which seems to be hovering somewhere around the ’30s or ’40s. Sarah Burton has pinned it to a theme she called “thinking about a woman’s obsession with the possessions she treasures, like her jewelry and makeup, and the things she collects.” This Pre-Fall character is a properly elegant woman, with red lipstick and a penchant for feather chubbies and velvet ankle-strap platforms, who might reach into her extensive wardrobe and choose between any number of fragile, dramatic gowns for an evening out.' and the lace butterfly dresses were mentioned specifically; 'Well, it’s a delight when fashion can make you fantasize for a moment. Yet the fact is that Sarah Burton has steered this collection gently away from too much stylization. “It's quite feminine, and unconstructed,” is the way she puts it. The patterns of lipsticks, Fabergé eggs, butterflies, birds, and the McQueen skull motif appear as prints on silk dresses and on coats, as well as on the show-stopping embroidered sheer gowns.'

The dress is almost startling in its beauty. It is made from an inner taupey nude silk that acts as the backdrop for the black net lace that sits over it. This allows you to fully appreciate the pattern that is worked through the lace. From a distance it acts as an illusion that you are bare under the lace. The lace itself has large butterflies worked through it that are beautiful. Every line of the dress is perfection. It falls from the shoulder to follow the curve of your body. Seams worked through the dress create the shape that you see but they have taken great care to line up the pattern of the lace along each seam so that your eye is not broken and the pattern remains true as it trails across the dress. From the waist is falls in one long sheath to the floor widening out gently as it reaches the hem. At the back it has a large curved cut out that leaves you entire back bare and exposed. So when you walk away it has a very sensual and sexy feel. The sleeves are the final touch and they are fantastic. Each is unlined so that you see bare skin through the lace. They are cut high and peaked at the top of the shoulder with a little bit of tulle at the inner edge to hold their shape. It is spectacular and a wonderful example of Sarah's earlier work. It is a wonderful dress now and will be a collectible in the future. Excellent condition

Fully lined in silk as described above and closes with a low set hidden zipper at the back. Three button and loops behind the neck. Each cuff zippers to close. Tagged a modern McQueen 42. 

Sleeves: 25"
Inset shoulders: 13" with natural shoulders approx 15"
Bust: to 17.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Hips: 17.5" flat across from side seam to side seam
Length: 58" from neck to hem
Neck: 14" around

Modern Sizing Equivalent: SML-MED

Item# DD3964

Reference Photo: Pre-Fall 2016 Alexander McQueen Collection, Look 33.

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 an Alexander McQueen piece. And it is an incredibly interesting piece when you fully delve into its history. This was a part of the McQueen wedding dress line for the Spring of 2012. By that date the label was under the direction of Sarah Burton. However this dress is a ivory lace version of the dress that Lee designed for the 2007 runway for Look 20. I have seen the twin of this dress for sale at more then double my price and mislabeled as being a 2007 original. But it is not. It was produced in 2012 as an updated dress made wedding appropriate and was based on the 2007 dress that I have included here. The 2007 collection was titled "Sarabrande" and the Alexander McQueen website stated this of that collection:The inspiration is Handelís Sarabande of the title is a majestic and elegant dance - the portraits of Goya, the turn of the century exotic and socialite Marchesa Luisa Casati and garden flowers. As always, there is a melancholic undertone: faded flowers are trapped in chiffon and lace, ruffled skirts constructed out of tiers of delicate petals and prints are botanical brightly coloured birds and blooms, scattering swallows and winding stems of leaves. Show pieces include a dress made entirely out of frozen flowers. Tailoring is this time more fluid than it has been and clothing indebted to horsemanship is worn with finely worked, oversized pirate shirts. McQueen's idealisation of the feminine form continues with an exaggerated hour-glass silhouette.' So the dress is an original Alexander McQueen design but one that was executed after his death. The connection to Lee makes it very interesting and the dress is exceptionally beautiful.

The dress is stunning and even though it is meant to be a wedding dress I think that his work transcends any box assigned to it. As stunning a piece it would make for a bride it would also be spectacular for the events surrounding a wedding weekend or as a gala / event piece. The dress is very fitted through the bodice and waist with a fully built in corset whose boning acts as a secondary design element. You can just see it peaking though the lace over the bust and bodice and the curves and complex pattern iff the boning makes for an interesting detail in itself. The breasts are formed and cupped and and the skirt falls to about the knee, depending on your height, at the front. The sleeves are to the elbow and made from a single layer of that stunning lace. It is set to sit off the shoulder and the runway version in black really gives you an idea of fit. On the runway I think they added a hip peplum or tulle under the back and sides to create a more bustle effect. On this one the train falls in a more graceful and soft feeling down the sides and then down the back to slightly train behind you. If you loved the look of the runway it would be easy to have something made to support the fabric underneath and recreate that look. It is an incredible dress and though it does look pretty on my dress form it is no where near as gorgeous as it will be on an actual body. Excellent condition with one minor note below. 

The bodice has a full complexly boned corset and cups and closes with a back hidden set zipper. The lace snaps into place over the top portion of the zipper and just above it. The skirt is fully lined in an ivory silk. This was never worn but there is a small yellowing spot on the back of the lace above the zipper that happened during storage. It is on the underside of the lace that snaps to close so once it is snapped into place the lace above it hides it completely. I have added three photos after the label shots to show this. The first is the mark on the lining, the second to show that it peaks out on the lace just slightly and the third shows it snapped close with the other side over it completely hiding the mark. The corset does have some stretch. Tagged a 42

Sleeves: 12.5"
Bust: approx 17.5" flat across from side seam to side seam with a B-C cup
Waist: 12-14" flat across from side seam to side seam
Seam at the bottom of the corset/top of the hips: 16-17.5"
Natural hips: open
Bodice: 19" from top of natural shoulder to bottom seam of the corset
Skirt: 38" from top of natural shoulder to front hem, 64" to the longest point of the back 

Modern Sizing Equivalent: SML-MED

Item# DD3907

Reference Photos/Video: (1-3) Spring 2007 Alexander McQueen Runway. Look 20 worn by Camila Finn.  /  (4) Cate Blanchett in Black Lace Alexander McQueen at the 2007 Golden Globe Awards

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

"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.