This is a spectacular and rare suit from the Fall 2004 McQueen show and its near twin walked the runway that season for Look 31. I have only seen the jacket come up for sale but I have never seen both pieces together as the complete suit. The runway pieces were often not produced in significant numbers and were often only found at the flagship stores in very limited quantities. This masterpiece is from the Fall 2004 show entitled 'Pantheon Ad Lecum' or 'Towards the Light'. For this collection McQueen was quoted as saying that he wanted to 'strip away all theatrics and focus purely on design'. The colours in the show focused on a nude palette and tweed was a predominant element in the collection. He also kept the embellishments to the bare minimum throughout the collection and this is one of the few pieces that was highly embellished with his usual dramatic flair.

I love that this suit walks a line between day wear and evening. The tweed says day but as you look at the fabric closer you realize that it has been shot through with a subtle gold thread that elevates the fabric. The cut and line of the set reflect his master level tailoring skills and then the embellishment screams that this is indeed a McQueen piece of the highest caliber. Both pieces are made from a light brown tweed that has the gold shot through it as mentioned above. This gives it a very subtle metallic feel but its a detail that you only really notice when you are close to the suit. The pants are fantastic. They have a smooth flat front with a zipper closure and little scoop pockets on either hip at the waist. They are cut to skim over the hips and then the legs are wide and full. They are fabulously made and lined through the upper half. I love the matching jacket. It has lightly padded shoulders and the arms are long and cut with the precision that you expect from a McQueen piece. The waist is brought in just slightly and it is cut to sit just over the waist of the pants. Onto this is an elaborate embellishment that combines thick 3D braiding detail made from a deep muted gold real metal thread  hundreds of burnished gold metal studs in two sizes. These are set in an elaborate design that forms a shape to suggest his signature harness.  The applique work wraps over the shoulders,  narrows down and inward at the waist and then flares out to wrap around the hips. The same beautiful design is repeated on the back.The zipper is hidden at the front so when it is zipped you have this stunning almost breast plate feel. Every time I have a really good McQueen in the shop I am just blown away by his ability to create the lines he did and the level of craftsmanship that went into his pieces. This one is no exception and it is remarkable. I love it.  Excellent condition with a small note below

The pants are lined through to about the knee and close with a hidden set side zipper and a button at the waist. The jacket is fully lined in a muted gold silk and zippers to close at the front. Each sleeve has a hidden set zipper. Light padding in each shoulder. The jacket is tagged a McQueen 38. There is a tiny bit of stress at the same at the top the shoulder to part of the embellishment. It's extremely minor but mentioned for accuracy. Please see the photo after the label shot.

Jacket
Sleeves: 24.5"
Slightly inset shoulders: 14"
Bust: 17.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Bottom hem: 16" flat across from side seam to side seam
Length: 20" from neck to hem

Pant
Waist: 14.5-15" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 40.5" from waist to hem with 2" turned under
Inseam: 31.5"

Modern Sizing Equivalent: XS-MED

Item# DD4310

Reference Photos/Video: Fall 2004 Alexander McQueen Runway, Look 31. Model Hannelore Knuts.

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 very rare runway documented Givenchy Haute Couture suit is from the Fall 2000 collection and is the twin of the one that walked the runway. This is from the small period of time that Alexander McQueen was the Creative Director for the house. He succeeded John Galliano as head designer in 1996 at the age of 27. McQueen subsequently left the label in 2001 when his contract ended citing his creativity was constrained. His appointment there had been tumultuous from the start. Hubert de Givenchy had describe his appointment it as a "total disaster” and McQueen had shot back that the founder was “irrelevant”. Of course now in hindsight we see these collections for the genius that they were. They still had that rebellious spark running through them that McQueen is known for and these are now a cherished part of his history. They also showcased his ability to navigate the world of Haute Couture. He has said in interviews that he did walk away from the label with far greater knowledge about the techniques of couture and the process of couture, which of course benefited how own label greatly. 

On the runway this suit was shown with a silk top underneath with a flounced collar. This one came comes with its matching vest making it a proper three piece suit for a strong plays on menswear. There is much talk about the rebellion of McQueen and I feel like with the dramatic sculpted hairstyle that he styled the suit with and sending a model down the runway with a lit cigarette shows that spirit. When was known for his remarkable tailoring and this suit is no exception. It's made from a classic pinstriped men's wool suiting in a black. The pinstripes are created by running a gold toned thread vertically through the fabric. The fabric has a slight texture to it which adds to the beauty of the suit. The jacket is an incredible feat of construction. This is where McQueen's genius shines and having the couture atelier at his disposal just makes it stronger. Sleeves are cut long with four functional buttons at each cuff. The buttons are black enamel with gold edging. The shoulders are shaped with internal padding. The front lapel is done in a muted gold silk satin. It comes down the front in a tuxedo reminiscent shape and I love that the inner edge of the jacket is lined in that same gold silk. So if you open the jacket you get that flash of colour all the way to the bottom. The jacket is shaped with an incredibly masterful hand. The shape is a result of multiple tiny precise seams that run from just under the bust to the hem all the way around the jacket. They are done so precisely that at first glance you might mistake them for the pinstriping, but upon closer inspection you see that each is a tiny little perfect vertical seam. Each is tailored to perfection to bring the waist in and give the jacket shape. There is light inner padding and shaping underneath around the hip. A flap pocket sit on each hip and it closes with two matching gold and black buttons at the front. The vest underneath is made from the same gold as the lapel of the jacket and it is an almost straight replica of a classic men's vest. It buttons at the front with silk covered buttons in a matching gold. The pants are fabulous and are very unusual. They have a flat front with no band around the waist and are cut to sit slightly low on the hip. A classic McQueen signature. There is a sharp fold running down the front and back of the pants. The lower half of the pant leg is split to the knee up the back and then that split is edged with panels of the same gold silk of the collar and vest. This gives a slight flare and is an incredible detail. The upper part of the jacket has a slightly oversized fit and you can see on the runway shots that this is intentional. This is a remarkable example of his skills as a tailor and his time at Givenchy. Excellent condition with one small note below

All three pieces are hand lined. The jacket and pants in a fine black silk and the vest in a matching gold coloured silk. The jacket and vest button at the front to close and the pants zip to close. All the work is entirely done by hand to haute couture standards. I see some small faint marks on the lapel and front of the vest. This may come out with additional cleaning. It has been cleaned but not aggressively. It otherwise looks to have been worn very little if at all. Please see the two photos after the label shot. The pockets in the jacket are still tax shot. It is remarkable. The proper Haute Couture labels and handwritten tape are present.

Jacket
Sleeves: 23.5"
Shoulders: 16"
Bust: to 22.5" flat across from side seam to side seam
Waist: to 15.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 26.5" from neck to head 

Pant
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 43" waist to hem
Inseam: 33.5" from inner seam to hem
Rise: 13.5" from back waist to inner seam

Vest
Bust: 19" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Length: 22" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4261

Reference Photos/Video: Fall 2000 Givenchy Couture.

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 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 is a spectacular and rare suit from the Fall 2004 McQueen show and its near twin walked the runway that season for Look 31. I have only seen the jacket come up for sale but I have never seen both pieces together as the complete suit. The runway pieces were often not produced in significant numbers and were often only found at the flagship stores in very limited quantities. This masterpiece is from the Fall 2004 show entitled 'Pantheon Ad Lecum' or 'Towards the Light'. For this collection McQueen was quoted as saying that he wanted to 'strip away all theatrics and focus purely on design'. The colours in the show focused on a nude palette and tweed was a predominant element in the collection. He also kept the embellishments to the bare minimum throughout the collection and this is one of the few pieces that was highly embellished with his usual dramatic flair.

I love that this suit walks a line between day wear and evening. The tweed says day but as you look at the fabric closer you realize that it has been shot through with a subtle gold thread that elevates the fabric. The cut and line of the set reflect his master level tailoring skills and then the embellishment screams that this is indeed a McQueen piece of the highest caliber. Both pieces are made from a light brown tweed that has the gold shot through it as mentioned above. This gives it a very subtle metallic feel but its a detail that you only really notice when you are close to the suit. The pants are fantastic. They have a smooth flat front with a zipper closure and little scoop pockets on either hip at the waist. They are cut to skim over the hips and then the legs are wide and full. They are fabulously made and lined through the upper half. I love the matching jacket. It has lightly padded shoulders and the arms are long and cut with the precision that you expect from a McQueen piece. The waist is brought in just slightly and it is cut to sit just over the waist of the pants. Onto this is an elaborate embellishment that combines thick 3D braiding detail made from a deep muted gold real metal thread  hundreds of burnished gold metal studs in two sizes. These are set in an elaborate design that forms a shape to suggest his signature harness.  The applique work wraps over the shoulders,  narrows down and inward at the waist and then flares out to wrap around the hips. The same beautiful design is repeated on the back.The zipper is hidden at the front so when it is zipped you have this stunning almost breast plate feel. Every time I have a really good McQueen in the shop I am just blown away by his ability to create the lines he did and the level of craftsmanship that went into his pieces. This one is no exception and it is remarkable. I love it.  Excellent condition with a small note below

The pants are lined through to about the knee and close with a hidden set side zipper and a button at the waist. The jacket is fully lined in a muted gold silk and zippers to close at the front. Each sleeve has a hidden set zipper. Light padding in each shoulder. The jacket is tagged a McQueen 38. There is a tiny bit of stress at the same at the top the shoulder to part of the embellishment. It's extremely minor but mentioned for accuracy. Please see the photo after the label shot.

Jacket
Sleeves: 24.5"
Slightly inset shoulders: 14"
Bust: 17.5" flat across from side seam to side seam
Waist: to 14" flat across from side seam to side seam
Bottom hem: 16" flat across from side seam to side seam
Length: 20" from neck to hem

Pant
Waist: 14.5-15" flat across from side seam to side seam
Hips: to 19" flat across from side seam to side seam
Length: 40.5" from waist to hem with 2" turned under
Inseam: 31.5"

Modern Sizing Equivalent: XS-MED

Item# DD4310

Reference Photos/Video: Fall 2004 Alexander McQueen Runway, Look 31. Model Hannelore Knuts.

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 walk the runway in 2003 as look 43 of the show. For this show Ford dipped into the archives and looked at Saint Laurent's early years. The show centered around three colours, a pale lavender, champagne and coffee. This was one of the closing looks at the show and I think it was best of the final four looks. It is a look that is extremely flattering to the ware with all of its gathers that fall softly over the body will hiding all flaws. Tom was only at YSL from 1999 while designing for Gucci at the same time, until 2004 when he left to open his own label. This makes this a dress from one of a small number of collections where he was at the helm of this label.

This dress was sold in two lengths, a shorter version and then this longer one true to the runway. The longer ones were a more limited production. The dress is stunning. And not only is it stunning but it's a very tactile feeling dress once on the body. It is made from that ultra soft thin slinky jersey that he favoured during this time period. This makes the dress feel almost weightless once on the body. The colour is that deep coffee colour that was one of the three talking points of the collection. It is set to drape and skim over the body in these fantastic panels from shoulder to hem. Anchoring these are panels of a black silk satin ribbon that run vertically down the lower part of the dress and are used to highlight and define the cut of the upper part. The dress falls from straps that curve over the shoulders and the inner bodice are two triangle that plunge low for a bare expanse of skin. The waist is anchored with more of the black ribbon. This is where the design gets interesting. He has put a second layer over the bodice that hooks into place at the side. The second layer is cut to be more blousy and adds to the draped feel the dress has. At the back the inner bodice cuts more straight across and then the overlay dips to the waist. Everything is cut on the bias so the dress has incredible drape in movement. When this is on and you move the whole dress reacts. It's really a fantastic piece. Excellent condition.

Unlined and closes with a side zipper. The overlay hooks to close at the side. There is no size tag on this one and the dress does have some stretch. I have put the comfortable range of measurements of it laying flat. On a smaller frame it will drape more

Waist: 14" flat across from side seam to side seam
Hips: up to 21" flat across from side seam to side seam
Bodice: 15" from top of shoulder to waist
Skirt: 46" from waist to longest point of hem

Modern Sizing Equivalent: XS-MED

Item# DD4300

Reference Photos/Video: Spring 2003 Yves Saint Laurent Runway, Look 43. Model Caroline Ribeiro.

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 very pretty dress. It is from the Spring 2009 collection and was Look 19 in the show. In 2009 Valentino was headed by Alessandra Facchinetti and this was her third collection for the label. It was also her last. Rumors were swirling about her departure and shortly after this show they were confirmed. The collection as a whole was not well received but there were a few pretty pieces and this is one of them. On the runway it was shown in a shorter length and I don't think that one works half as well as this longer commercially produced piece. Once the added length was added the dress is even prettier.

The dress is made out of a very fine ivory silk that is printed with a black dot print. It is strapless and the bodice is covered with draped silk that is gathered in towards the center and wraps over itself at the center. At the back it narrows down into a twist for a little extra detail there. The dress falls to the floor from under the empire seam. The skirt is cut on the bias and it is set into that seam under the bust so that you get a draped and curved effect at the center of both the back and front. An inner built in corset holds it all in place. The dress is lined with a light silk chiffon and this little bit of added structure gives it just enough weight to hold the shape you see. It falls softly over the body and moves with you when you move. There is a slit that runs up one side so that you get a flash of leg when you walk. You can see how beautifully the dress moves in the runway video here and it is even better in this longer length. To finish the dress she added an elaborate braided cord detail that sits just under the bust. The cord is braided into a box shape and then knotted. Huge glass crystals in pale colours have been hand applied onto the knot for a bit of glitz. It is striking. Excellent condition with one minor note below

There is a built in lingerie stretch net, wire cupped and boned corset that zips to close with its own zipper. The dress is then lined in a silk chiffon and this outer layer zips to close at the side with a hidden set zipper. I see some tiny small lines in the silk here and there is one small mark on a fold at the front silk. Please see the photo after the label shot.

Inner bust: 16.5-17" flat across from side seam to side seam
Inner waist: 12-14" flat across from side seam to side seam
Hips: open
Length: 54" from top of bodice to waist
Slit: 26" from hem up

Modern Sizing Equivalent: SML-MED

Item# DD4288

Reference Photos/Video: Spring 2009 Valentino Runway, Look 19. Model Toni Garrn.

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 very rare runway documented Givenchy Haute Couture suit is from the Fall 2000 collection and is the twin of the one that walked the runway. This is from the small period of time that Alexander McQueen was the Creative Director for the house. He succeeded John Galliano as head designer in 1996 at the age of 27. McQueen subsequently left the label in 2001 when his contract ended citing his creativity was constrained. His appointment there had been tumultuous from the start. Hubert de Givenchy had describe his appointment it as a "total disaster” and McQueen had shot back that the founder was “irrelevant”. Of course now in hindsight we see these collections for the genius that they were. They still had that rebellious spark running through them that McQueen is known for and these are now a cherished part of his history. They also showcased his ability to navigate the world of Haute Couture. He has said in interviews that he did walk away from the label with far greater knowledge about the techniques of couture and the process of couture, which of course benefited how own label greatly. 

On the runway this suit was shown with a silk top underneath with a flounced collar. This one came comes with its matching vest making it a proper three piece suit for a strong plays on menswear. There is much talk about the rebellion of McQueen and I feel like with the dramatic sculpted hairstyle that he styled the suit with and sending a model down the runway with a lit cigarette shows that spirit. When was known for his remarkable tailoring and this suit is no exception. It's made from a classic pinstriped men's wool suiting in a black. The pinstripes are created by running a gold toned thread vertically through the fabric. The fabric has a slight texture to it which adds to the beauty of the suit. The jacket is an incredible feat of construction. This is where McQueen's genius shines and having the couture atelier at his disposal just makes it stronger. Sleeves are cut long with four functional buttons at each cuff. The buttons are black enamel with gold edging. The shoulders are shaped with internal padding. The front lapel is done in a muted gold silk satin. It comes down the front in a tuxedo reminiscent shape and I love that the inner edge of the jacket is lined in that same gold silk. So if you open the jacket you get that flash of colour all the way to the bottom. The jacket is shaped with an incredibly masterful hand. The shape is a result of multiple tiny precise seams that run from just under the bust to the hem all the way around the jacket. They are done so precisely that at first glance you might mistake them for the pinstriping, but upon closer inspection you see that each is a tiny little perfect vertical seam. Each is tailored to perfection to bring the waist in and give the jacket shape. There is light inner padding and shaping underneath around the hip. A flap pocket sit on each hip and it closes with two matching gold and black buttons at the front. The vest underneath is made from the same gold as the lapel of the jacket and it is an almost straight replica of a classic men's vest. It buttons at the front with silk covered buttons in a matching gold. The pants are fabulous and are very unusual. They have a flat front with no band around the waist and are cut to sit slightly low on the hip. A classic McQueen signature. There is a sharp fold running down the front and back of the pants. The lower half of the pant leg is split to the knee up the back and then that split is edged with panels of the same gold silk of the collar and vest. This gives a slight flare and is an incredible detail. The upper part of the jacket has a slightly oversized fit and you can see on the runway shots that this is intentional. This is a remarkable example of his skills as a tailor and his time at Givenchy. Excellent condition with one small note below

All three pieces are hand lined. The jacket and pants in a fine black silk and the vest in a matching gold coloured silk. The jacket and vest button at the front to close and the pants zip to close. All the work is entirely done by hand to haute couture standards. I see some small faint marks on the lapel and front of the vest. This may come out with additional cleaning. It has been cleaned but not aggressively. It otherwise looks to have been worn very little if at all. Please see the two photos after the label shot. The pockets in the jacket are still tax shot. It is remarkable. The proper Haute Couture labels and handwritten tape are present.

Jacket
Sleeves: 23.5"
Shoulders: 16"
Bust: to 22.5" flat across from side seam to side seam
Waist: to 15.5" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 26.5" from neck to head 

Pant
Waist: 15" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 43" waist to hem
Inseam: 33.5" from inner seam to hem
Rise: 13.5" from back waist to inner seam

Vest
Bust: 19" flat across from side seam to side seam
Waist: 16.5" flat across from side seam to side seam
Length: 22" from neck to hem

Modern Sizing Equivalent: SML-MED

Item# DD4261

Reference Photos/Video: Fall 2000 Givenchy Couture.

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 example of Karl Lagerfeld's Haute Couture work. I am so glad this was a runway piece because it was almost impossible to photo correctly on the dress form. The elaborate sleeves that you see coming out from under the jacket are actually separate pieces altogether. You can see on the runway shots how beautifully they sit on an actual arm. My client opted for a more sleek jacket that did not take her in it at the waist as much as the runway look did and a more classic trouser. If you preferred that cinched in waist look you could easily belt the jacket. The simpler silhouette of this jacket allows for more versatility and styling. Sarah Mower said on her review of the show that; ‘It was pure Chanel, crystallized to a point of perfection only witnessed in haute couture…. Karl Lagerfeld began this mostly black-and-white collection with a new treatment of the Chanel suit…. These were paired with flat white go-go boots, which were not referenced from the sixties, but from a pair Coco (always ahead of her time) was wearing in a photograph from the decade before. That allusion and others demonstrate just how deftly Lagerfeld—Chanel historian par excellence—marshals his knowledge. He sprinkles the camellias, the satin bows, the organdy collars, and the bound edges so lightly that they become playful thrills—not belabored underscorings of theme or "brand identity."…. Lagerfeld reinvents the house signatures to pique the fantasies of today's young woman—and that he does just beautifully.’ 

The lines of this suit are crisp and sharp and the tailoring is immaculate. This is sharply contrasted with the dandified collar and arm pieces. It is incredible to have the full suit. This set includes the jacket, pants, inner top, collar and both arm pieces. The suit is made from a fine black wool that is light in weight and has a slight texture. It is just heavy enough to hold the shape beautifully. The jacket is cut to have a slight oversize feel through the body. The shoulders are shaped and the sleeves fall to just past the elbow. There is no collar. The neckline comes down the front in a simple V and then it zips to close down the remainder of the front. Two sleek little pockets are stacked on top of each other on either side of the waist for some detailing. It is cut to be more straight through the body and then flares out slightly at the hem, falling to just past the hip. The pants are classic and simple in their cut. They are flat fronted and cut to taper down to the ankles. A sharp fold runs down the front and the back of each leg. The inside of the suit is as immaculate as the outside and it is entirely made by hand. Every stitch is perfection. Under that goes a little sleeveless ivory silk top with a small neat collar. The top is easy fitting through the body. The top three buttons are finished with rhinestones and enamel and then the rest of the buttons are hidden under a flap of silk. Three additional pieces come with the suit. The first is a detachable silk organdy collar that goes around the neck and adds a romantic flounce with a large soft bow and ties. This gives the suit an unexpected touch of drama. Next is a pair of detachable sleeves. The sleeves are also made out of the same silk organdy as the collar and slip on the lower arm. Both those and the collar have a nod to the regency era when this type of sleeve and collar were all the rage. The sleeves are finished with a row of those beautiful buttons and the ends are ruffled. Every piece has been entirely made by hand and all the proper Chanel couture labels and numbered tapes are present. I love that with this one set you have so many pieces to mix and match with other things you own. It allows you to be able to sprinkle a bit of vintage Haute Couture throughout your wardrobe. This is a rare opportunity to own a piece of true couture by one of the most important designers of our lifetime. Excellent condition with a minor note below. 

The jacket and pants are hand lined in a fine black silk. The jacket closes with a hidden zipper under the front panel of fabric. The pockets appear to be functional and all four still have their original tacking in place. The pants zip to close with a hidden set side zipper. The toppings to close at the front. The collar snaps into place and the sleeves slip onto the arm with functional buttons running down the cuffs. The edges of the collar and cuffs have intentional raw edges. I see one small area of breakage in the silk on the edge of one cuff. Please see the photo after all of the label shots. I see one rhinestone missing off one button on each cuff and one on the top. All of the pieces are made and finished by hand to couture standards. Proper couture labels present with couture tape are present on all pieces but the sleeves. Sourced from the original couture client 

Jacket
Sleeves: 18"
Shoulders: 15.5"
Bust: to 19" flat across from side seam to side seam
Waist: to 16" flat across from side seam to side seam
Hips: to 22.5" flat across from side seam to side seam
Length: 34.5" from neck to head 

Pant
Waist: 15.5" flat across from side seam to side seam
Hips: 20.5" flat across from side seam to side seam
Length: 39" from waist to hem with 1.5" turned under
Inseam: 28.5" from inner seam to hem
Rise: 15.5" from back waist to inner seam

Top
Bust: to 20" flat across from side seam to side seam
Waist: to 19" flat across from side seam to side seam
Hips: to 21" flat across from side seam to side seam
Length: 24" from neck to head 

Collar
14" around and the snaps could be adjusted up or down a bit if needed

Cuffs
Length: 13" including the extended cuff, 9" without
10" around the upper edge and narrows to 7" around the wrist

Modern Sizing Equivalent: SML-MED

Item# DD4263

Reference Photos/Video: Spring 2006 Chanel Couture Runway, Look 9. Model: Svetlana.

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