This is from my same client whose aunt purchased from Ady Couture who I explained in depth in this listing while she was living in Switzerland during the eighties and into the nineties. Prior to that, during the late sixties and into the early 80s her aunt lived in both France and Brussels where she purchased pieces from Louis Mies. Mies was a small independent couturier who did custom work for his clients to couture standards. He designed many piece for the Queen of Brussels and like Ady, he had permission from several of the Haute Couture ateliers to produce their Haute Couture pieces using the patterns and buying the fabric direct. This dress is based on the Fall 1974 gown that Yves Saint Laurent showed that season. The fabric has changed and I think this fabric is better then the silk moire taffeta of the runway piece. It is more wearable for a modern woman in this stunning rose detailed silk. It is beyond beautiful in person and one of my favourite personal pieces. 

All of the finishes  on the dress have been done by hand and it has all of those lovely details that you expect in a couture dress. It is made out of a black silk taffeta and this fabric choice helps it to hold its intended shape. On the main body of the dress the silk has been finished with hand embroidered roses. These are made with a chenille velvet thread that is worked through the silk to form those spectacular large roses that cover the entire dress. Scattered over and around the roses are dots that are made with the same chenille. This gives the dress an incredible 3D texture and they also add a lovely and romantic touch. The neckline is scooped low across the front and the it buttons to close under that. There is an elaborate set of snaps and hooks that follow the waist line and carry over to the side where there is a hidden set zipper. The top is so well made I think you could choose to wear the scoop to the back even. It skims over you and the waist nips in. The sleeves are gorgeous. Each is constructed in the proper tailoring manner and are set on a curve to follow the shape of the arm. At the shoulders there is a series of soft pleats that creates that bit of volume you see there. The skirt is equally well made. It curves out from the hips to fall to the floor, widening out beautifully as it nears the hem. Inside the skirt is a full built in silk under-skirt that gives the skirt the volume that you see. The inner skirt is finished with an edging of black silk ruffles and it set slight below the top skirt in length. So when you move a certain way or sit you get just a glimpse of the ruffles at the hem. I think my favourite detail though is the precise and unusual rolled pleats that circle the waist. Each is made by hand and each perfectly matches its neighbour. The hours of work that it would have taken to implement these would be mind boggling. All of the inner seams are finished by hand and I have included some shots of the inner seams for you to see how beautiful they are. It is extraordinary and the kind of quality and beauty that you will only find with vintage. It appears to have been worn very little if at all. Excellent condition

Fully lined through the bodice in a black silk crepe chiffon. There is a built in black silk taffeta inner skirt. It closes with silk covered button and loops down the front. At the waist there is an elaborate series of silk covered snaps and hooks that close along the waist line and then it zips at the side with a hidden set fine metal zipper. There is an inner waist stay that hooks to close. There is at least an inch and a bit of fabric on either side of each inner seams through the bodice to let it out if needed. The inside is all hand done and it is finished to couture standards. 

Sleeves: 24"
Shoulders: 15"
Bust: to 18" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of shoulder to waist
Skirt: 42" from waist to hem with 3" turned under the hem 

Modern Sizing Equivalent: SML-MED

Item# DD3682

Reference Photos: Fall 1974 Yves Saint Laurent Haute 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 from my same client whose aunt purchased from Ady Couture who I explained in depth in this listing while she was living in Switzerland during the eighties and into the nineties. Prior to that, during the late sixties and into the early 80s her aunt lived in both France and Brussels where she purchased pieces from Louis Mies. Mies was a small independent couturier who did custom work for his clients to couture standards. He designed many piece for the Queen of Belgium and like Ady, he had permission from several of the Haute Couture ateliers to produce their Haute Couture pieces using the patterns and buying the fabric directly from them. I have some new information that he might have sold actual couture pieces through his salon as well. I was not able to find any exact references for this one. It does bear a striking similarity to the 1977 Valentino couture collection pieces and I have included some if those iconic photographs here. Most likely this would have been one of Mies own couture designs. It is absolutely unbelievable in person and one of my favourite personal pieces from her estate so far. 

The level that this dress is made to is a beautiful thing to see. All of the finishes have been done by hand and it has all those lovely details that you expect in a couture level garment. It is made out of a fine black silk taffeta and then parts of the design are edged in a beautiful black Chantilly lace. These fabric choices help it to hold its intended shape and give it the lovely volume that you see. The dress has weight to it but it is not overwhelming once on the body. There are so many yards of fabric used in the construction of this gown that it is mind boggling. The neckline is cut wide across so that it sits off the shoulder. This leaves that bare expanse of skin showing that balances the volume of the dress below. It top is very elaborate. There is a six inch cape feeling ruffle that wraps all the way around your shoulders. This was then edged with a 3.5" band of that stunning handmade black lace. Under that the sleeves are set to peek out to give the illusion of a double cape detail but they are actually true sleeves. They are cut very wide and full and each is also edged in the lace to give the bodice a tiered effect on each side. The actual bodice skims loosely over you and there is a black velvet bow at the centre of the neckline. The waist comes in for shape and I added a grosgrain ribbon to pick up on the bow at the neck and define the waist more. The skirt is a masterpiece. It curves out from the waist and falls to the floor where it widens out even more as it nears the hem. It is made up of three full layers. Inside the skirt is a full built in black silk under-skirt that has wide bands of stiffened netting at the hem and part way up the skirt to help hold the volume. Little ruffles run along the seams of this lining where it is pieced together despite the fact that no one would ever see them. The next layer is an exterior one and it is also made of the black silk taffeta. It has two ruffled tiers at the hem, each of which is edged with the black lace. Where the tiers start near the bottom there is another built in band of netting inside to hold the volume on this layer as well. Then the top taffeta layer falls over those two layers. It is cut to end just above top tier of the middle layer. It curves up at the front to meet the seam at the waist and the lines this creates are gorgeous. The final result of all these tiers and layers is incredibly beautiful. The hours of work that it would have taken to implement the detailing on this dress is mind boggling. The dress is made to couture standards with all the inner seams finished by hand. I have included a shot of one of the inner seams for you to see. It is extraordinary and the kind of quality and beauty that you will only find with vintage. It appears to have been worn very little if at all. Excellent condition with one note below

Fully lined through the bodice in a black silk and constructed as described above. There is a built in black silk taffeta inner skirt. It closes with a painted metal zipper at the back. The inside is all hand done and it is finished to couture standards. There is a couple small repairs / tiny holes on the ruffle on the neckline. There is so much fabric they get lost in the folds. Please see the final shot after the label. It otherwise looks unworn 

Bust: to 19.5" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Hips: open
Bodice: 15" from top of natural shoulder to waist
Skirt: 43" from waist to hem

Modern Sizing Equivalent: SML-MED

Item# DD3882

Reference photos: Valentino campaign 1977 shot by Deborah Turbeville

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 a version of the dress I just recently sold in the shop with just a slight change in the design. Yves sent a series of these dresses down the runway that year including a shorter version to this one where the smaller bands on the dress were done in multi-colors and an all black long one that was used in the 1987 ad campaign. I have included these reference photos for you so that you can see just how great this dress is on the body. In person and even on the dress form it just does not present as well as it will once on a girl who properly fits it and brings it to life. The 1987 collection is one of my all time favorites and I am very pleased to have this wonderful example from it in the shop for you so soon after the last one.

The dress is made from a black silk faille base with a layer of dotted black netting applied over the bodice in horizontal bands. This choice in fabric gives the dress its structure and shape so that it holds the shape around you once on. The bodice is strapless and cut on a soft curve across the neckline. It is lightly boned on the inside for a built in shape that molds your form to it. It curves in just slightly to skim over the waist and then curves back out for the hips. From there it falls past the hips and the lower skirts flare outwards to the hem. The lower skirt is quite full and makes an incredible statement. The bands between the lace of the bodice are made from wide black silk grosgrain ribbon and they are beautiful and rich feeling. I love the contrast between the texture of the grosgrain and the dotted silk netting. At the back, each ribbon warps around and ends in a large flat bow for five of them in total running down the center of your back. Bows were a prominent part of the theme for this show and this dress displays that wonderfully. That combination of the grosgrain ribbon, the dotted lace, the bows, and that stunning full lower skirt is just gorgeous to see and it is even better on the body. Excellent condition

Fully lined in a crisp black cotton and closes with a side set zipper. The inner bodice is lightly boned and shaped. Inner waist stay that hooks to close with a flat hook & eye. Tagged a 42. It appears to have been worn very little if at all.

Bust: 16" flat across from side seam to side seam with an A-small C cup built into the front
Waist: 13.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 52" from top of bodice to hem

Modern Sizing Equivalent: XS-SML

Item# DD4431

Reference Photos: (1) Spring 1987 Yves Saint Laurent Ad Campaign (2-4) Spring 1987 Yves Saint Laurent Runway /  (5) Spring 1987 editorial photo source unknown

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 stunning dress and shows the softer, more romantic side of Lanvin from this time period. This would have been designed by Jules-Francois Crahay, who headed the Lanvin ateliers from 1964-1984. In the book Lanvin by Rizzoli, that has a lovely forward from Alber Elbaz, it is noted that the Spring 1984 was Crahay's last RTW collection for the label before his retirement. Crahay's time at the Lanvin label is one of my personal favourite periods for the house and I think it is so special to have a documented piece from his last RTW collection. Having the runway photos makes it that much more special since you can really see how great this one is on the body.

The dress is made from a beautiful hand loomed red linen. The linen gives it a stunning texture and the depths of colour that is achieved by using linen is fantastic. It has been lined in a black silk and from the back this gives it that wonderful contrast that you see. From the front the dress is this beautifully simple and romantic feeling dress. The sleeve are softly gathered into the shoulders and they are cut wide and straight to just above the elbow. The bodice is squared off at the front and it is cut to skim over you to the waist. The cut through the waist area is loose and easy and depending on how tight you tie the back it can sit more loose and easy or with a bit more shape. The skirt is set into the waist in a series of tiny soft gathers. This picks up beautifully on the shoulders and adds a little volume around the hips and through the skirt. I love the pockets hidden along each hip. They really add to the easy feeling that the dress has. The skirt has tons of fabric in it. When you stand straight you don't really realize how much fabric has been used but when you move or sit it really flows around you beautifully. The back is almost shocking with the surprise of it when you turn around. He has scooped the waist down to expose the very lower back and then it is open above that and held in place by three ties. The linen extends out on each side of that scooped back in wide ties and then each tie is a combination of the red linen on the top and the black silk underneath. When you ties these into bows you get this fantastic combination of red, black and your bare skin peeking out between it all. It is a fantastically surprising dress that is sexy and easy at the same time. I love it. Excellent condition

Fully lined in a black silk satin through the top and black silk through the skirt. It close with a the hidden zipper on the inner lining at the low back. The back ties into place above that. There is a slightly darkened spot on the front skirt that is very minor. The dress is numbered under one folded edge of the tag. I did not take a photo of it because it's really hard to get to but if you twist the edge up you can see it.

Sleeves: 12.5" and 14" around at the widest point
Shoulders: 15"
Bust: to 18.5" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from top of bodice to waist
Skirt: 43" from waist to front hem, 47" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD4429

Reference Photos/Video: (1) Spring 1984 Lanvin Runway.

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

Bill Blass launched his label in 1970 when he bought out the Maurice Rentner label and re-launched it under his own name. Blass was arguably one of the most famous of  the American designers. His forte was the ability to mix simple styles with luxurious materials and his evening wear in particular seemed to have of always being flattering on the body. This is a gorgeous example of his work into the 1980s. The teak silk is even better in person and it is just beautiful.

The fabric of this dress is stunning. It almost has a sueded feel to it and it is all cut on the bias. It falls from the shoulders in a stunning sheath down the body and widens out as it nears the hem. The front is cut in a way that feels more simple and straight and then at the back is where you have a lot of drama. It is sleeveless and the neck is cut straight across at the front. Each shoulder has a intricate detailed art deco feeling spray of beads across the top of the shoulder. The beads are an iridescent copper gold and they pick the light up wonderfully. The back is exceptional and when you walk away or turn in this dress no one is going to forget you. The silk is gathered in around the top of the shoulders and then drapes down past the waist. He did not add a waist seam to the front of the dress but at the back he did put on in to both bring it in and give the silk a place to be gathered into to. This also gives you more shape as well. The fabric drapes down from the shoulders and around the sides a bit and then is gathered back into that low center point of the back. This leaves the entire back bare and exposed. This unexpected flash of skin is seriously sexy and the drama of that draping is fantastic. The fabric is also gathered more at the back of the skirt so that you have a bit of gorgeous movement happening when you move. It is really a stunning piece. Excellent condition

The dress is lined through the bodice in the same fabric and the skirt is unlined. It closes at the back with an overlapping flap of silk that hooks into place. Hand finishes throughout. The easy cut should allow it to fit a range of sizes

Bust: 17-19" flat across from side seam to side seam
Waist: to 15" flat across from side seam to side seam
Hips: to 24" flat across from side seam to side seam
Length: 56" from top of shoulder to front hem, 59" to the back hem

Modern Sizing Equivalent: SML-LRG

Item# DD4423

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 Haute Couture dress that came to me from the niece of the original couture client, In our hunt for more information on it we found the runway photos from the 1982 Givenchy Haute Couture presentations and you instantly see that it is its twin in all ways. I love having the runway photos so that you can see just how amazing it is in the body. This dress was made by hand in the atelier of Ady Couture who was based in Lausanne Switzerland. Ady herself was a couture trained seamstress and headed a team who had full permission of the Haute Couture houses she worked with to make the designs they showed in Paris for clients based in Switzerland and the surrounding areas. She would purchase the couture fabrics from the couture houses along with the patterns and then make the actual dresses in her atelier. This arrangement with the couture houses was a way to work around customs during this time period and do fittings for clients unable to travel to Paris. So far we have verified that she had this arrangement with Yves Saint Laurent, Christian Dior, Givenchy and Ungaro. There may have been others but those are the four labels we have documentation on from the runway.

The dress is made from a deep copper gold silk taffeta and this fabric choice allows it to hold those stunning lines and volume that you see. It is absolutely beautiful and a testament to the level of design that you only see in couture pieces. The colour of the silk is even better in person. I have managed to almost capture it in these photos but in person it is even richer feeling then what you see here. At the front the neckline is set in a simple high scoop. The bodice is cut to skim over your curves and is simple in cut. The sleeves are incredible. Each one is set on a curve to follow the shape of the arm in the traditional manner of dressmaking. They are set into the shoulders with a beautiful series of soft pleats so that you get a bit of volume at the shoulder. They puff out slightly around the upper arm and then narrow down at their ends. The waist is seamed and the skirt is gathered all the way around the waist in a series of soft pleats. These puff out from the waist slightly and this little couture trick gives the illusion that the waist is smaller then it is. On the runway it was shown with a black velvet bow and I have added one to emulate that same look. The skirt is one of the best skirts I have seen both from a design point of view and by its level of construction. It is made into two attached sections. The top comes out from the pleats all around the waist and it poufs out around you. A seam brings the skirt in and then the lower part of the skirt falls to the floor from there. That second tier has many yards of silk in it so that it flares out as it reached the hem. Between the two sections is a wide velvet ribbon that wraps around the seam and ties into a bow at the side. Which beautifully picks up on the bow around the waist. All of the volume and shape that you see is created through the way it is cut and the fabric choice. The skirt does not have extensive underskirts to shape it. The silk of the skirts are lined in a silk organza to help give support but it is really the genius of the cut itself that creates the shape. An elaborate and intricate floral design runs across the front and back of the bodice and down each sleeve. Hand done embroidery work is combined with tiny black sequins and hand applied beads. It is some of the finest hand work I have seen. Inside the dress is completely finished to couture standards with every seam finished by hand. I have taken some detail shots for you to see the fine workmanship inside. It is an incredible piece and absolutely beautifully made. It appears to have been worn very little if at all. Excellent condition 

The bodice is fully lined in a matching gold toned silk and the skirt is fully lined with a slightly gold tinged silk organza. It closes with a hand placed back zipper and the skirt snaps into place with silk covered snaps over that. Hidden set zippers at each wrist. Hand finished throughout. The velvet ribbon out is not original to the piece but will be included. It appears to have been worn very little if at all. Made to Haute Couture standards with a tremendous amount of detail put into its construction. It is a slightly softer gold copper in person then how it photoed.

Sleeves: 26"
Slightly inset shoulders: 13.5"
Bust: to 19" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: open
Bodice: 15.5" from shoulder to waist
Length: 42" from waist to front hem, 45" to the back hem

Modern Sizing Equivalent: SML-MED

Item# DD3685

Reference Photos: Fall 1982 Givenchy Couture Runway.

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

This dress is instantly recognizable as having been designed by Bob Mackie. He was best known for dressing Cher and for his signature glamorous looks. The best of his work are the pieces like this that are dripping with bead work. Modern girls are obsessed with his vintage pieces. He worked for both Edith Head and Jean Louis prior to working as a costume designer and co-designing with Ray Aghayan. That led to his incredible journey in designing for stars like Cher and Diana Ross for many years. In many ways his creations defined their careers and that era of glamour. His work always has that touch of the best of the bygone glamor of Hollywood.

This is an amazing dress that is extremely flattering even though you are covered completely. The base of the dress is made of a soft peach silk and then onto that is the vertical bands of detailing that completely cover the dress. That design that you see is made up of a combination of muted gold and clear glass tube beads that have been set in vertical rows over the entire dress. There is a more intricate pattern over that on one shoulder, around the collar and down the sleeves that is made up of tinier tube beads, muted gold sequins and rhinestones. And then scattered within all of that are little highlights done in a silver sequin with a tiny clear bead at their centers. This ultra glamorous combination gives the dress an extra layer of texture and glamour as every inch of it catches the light and sparkles. The dress has a decent weight to it when it is off of the body because of that extensive bead-work, and yet once on the body it drapes in a way that it is balanced and not at all unwieldy. The necklace is high and the collar is extremely detailed. I love the detailing on the outside of each sleeve. The waist is brought in just a touch to create shape and that curved down and angled seam there that is detailed with more rhinestones and beads helps to really lengthen the feel of the dress around you. The skirt call store from there and slightly widens out as it nearest the ham. It's a long slim shape combined with all those vertical rows of bead work make you look tall and lean once you are in the dress. Excellent condition.

Lined through the body matching peach chiffon and the sleeves are unlined. It closes with a back zipper and each sleeve has a zipper at its end. Padding in each shoulder. A touch more pastel feeling in person. Tagged a vintage Bob Mackie 6

Sleeves: 22"
Shoulders: 15"
Bust: 16.5" flat across from side seam to side seam
Waist: 13" flat across from side seam to side seam
Hips: 18.5" flat across from side seam to side seam
Length: 57" from neck to longest point of the back hem

Modern Sizing Equivalent: XS-SML

Item# DD4426

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