Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. His work always has a high fantasy element to it and he was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection. Every piece I bring into the shop that was made by him is very special and this one is no exception. Bill had a great fondness for history and looked globally for his inspiration. This set pays homage to Asian culture and I love how he combined the traditional cherry blossom print with English roses. It is gorgeous.

I love that you can wear this set together or as separates to extend their wear. It is absolutely gorgeous either way. The skirt is made from two long panels that are attached along the waist band and part way down each side. This creates this wonderful line from the hip to the hem. It is seamed down each side to just past the hips and then below that it is completely open. When you move or sit you get this long flash of legs all the way up. It is almost scandalous for its time period. The jacket is cut with more of an oversized feel. The front has no closures. You just slip it on and go. The top of the collar flares out for a bit of detail and the sleeves are cut wide and full. The jacket is detailed with black flat braiding that highlights the cut and adds detailing. More braiding runs along the edges of the skirt. The fabric is a beautiful red silk with little cherry blossoms and English roses woven through it in a slightly metallic finished thread. This is one of those pieces that in person and on an actual body it is even better then how it looks on my dress form. Excellent condition with a minor note below

Both pieces are fully lined in a red silk. The skirt closes with a metal and nylon zipper. The jacket has no closures and slips on to wear. I see a tiny touch of foxing on the side of the skirt, a tiny pen mark on the front of the jacket and some slight lines running up the satin on one sleeve. Please see the photos after the label shot. All these are very minor. Tagged a vintage UK 8. You might be able to add a little extension at the waist to get a bit more room if needed

Jacket
Sleeves: 24.5
Shoulders: 15" across
Bust: to 16" flat across from side seam to side seam
Waist: 15" flat across from side seam to side seam
Hips: 19.5" flat across from side seam to side seam
Length: 13" from neck to hem

Skirt
Waist: 11.5" flat across from side seam to side seam
Hips: 18" flat across from side seam to side seam
Length: 43" from neck to hem
Slits: 20" from hem up

Modern Sizing Equivalent: XXS-XS

Item# DD3436

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Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were worn by the rich, the famous and the beautiful. Much of his work verged on couture and he was unrelenting in striving for perfection. His work has a high fantasy element to it. Every piece I bring into the shop is very special and the range he had was incredible. I recently had a deep brown version of this dress in the shop only a couple of weeks ago and I'm very pleased to have another one so soon. This dress is also a little extra special because its twin in ivory was part of the 'Great Names in Fashion' exhibit at the Fashion Museum Bath.

The body of the dress is made of a fluid black jersey fabric that is light in weight and drapes amazingly on the body. It cascades and flows to the floor from the densely beaded panel that sits across the upper bust. A second matching panel is also set at the back. Both panels have been completely hand covered with a design that is made out of hundreds of ivory and gold glass tube beads. Along the one side of the front panel there is a row of hand carved mother or pearl buttons that runs from the top of the shoulder to just past the waist. The buttons are functional and hold a decorative overlay in place that tops the inner dress. This overlay loops under the opposite arm and wraps around you to the back where it attaches to the panel there. The overly adds this incredible draped Grecian feel to the dress and it also gives it added movement when you move. The dress underneath is a long sheath that falls from the shoulders and widens out slightly as it nears the hem. The sleeves are long and each one ends with more of the MOP buttons. The entire dress is detailed with these strips of tiny little raised beads on a silver strip. These follow all of the edges of the dress and he even use them for all of the long interior seams of the inner dress even though you don't easily see them. I just love that he did that and it just shows you the attention that was paid to dresses during this time period as opposed to modern pieces where they probably wouldn't have bothered to put extra detailing where no one would ever see it. The strips add a touch of weight and help the dress to fall perfectly around you and they also catch the light for added glamour. During this time period these jerseys would have been cutting edge fabrics and an unusual choice for a designer to use and considered very avant garde. It is stunning and a beautiful example of Bill Gibb's work and its never a bad thing when it is a proven museum worthy piece. Excellent condition with a tiny note below

The dress is unlined and slips over the head top wear. The attached panel buttons into place over the interior dress. Each cuff has loop and buttons to close. It appears have been worn very little if at all. The loose and easy cut should allow it to fit a range of sizes. I have given the comfortable range of measurements while laying flat. On a smaller frame it will just drape more. The striped applique at the top of one shoulder has a couple of beads missing on one part. Please see the photo after the label shot

Sleeves: 21.5"
Slightly dropped shoulders: 15"
Bust: 15-18.5" flat across from side seam to side seam
Waist: 14-19" flat across from side seam to side seam
Hips: 16-22" flat across from side seam to side seam
Length: 58" from top of shoulder to hem

Modern Sizing Equivalent: XS-MED

Item# DD4232

Reference Photos: Bill Gibb Dress on display at the "Great Names of Fashion Display" Exhibit at Fashion Museum Bath.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

Bill Gibb was one of the most influential designers in 1970s Britain and his clothes were sought out and worn by the rich and famous. His work has a high fantasy element and he was crowned Designer of the Year in 1970. Much of his work verged on couture and he was unrelenting in striving for perfection. I love finding his worn becasue its rare and exceptionally well made. It represents the more fantastical side of British fashion during this time period and I love that. 

This dress is amazing and a wonderful example of his work. It may not be what you typically think of when you see Gibb's work but it does show the range that he was capable of. The dress is made from a silk chiffon that has been dyed to a deep fuchsia that gradually darkens to a deep mauve. I love how the color deepens as it goes down the dress. The bodice is cut with a wide sleeve that comes out from the gathered and corseted waist. The neckline at the front and back dip in a deep V to meet the high set waist. This creates a beautiful shape that is far better on a real body then how it looks on my dress form. The front neckline is detailed with a little fabric flower that is finished with sequins to pick up on the detailing on the skirt and to tie the top and skirt together. The body of the dress is one large extra wide band. The silk is gathered over it and it is given  support and shape by that gathering and the seam work inits construction. This runs right to the top of the hip. The skirt cascades to the floor from there in a sweep of silk chiffon. Fused directly minor the silk of the skirt is a fantastic pink glitter that catches the light every time you move. The inner lining s a pale silver blue silk and having that colour layered under the top colour gives it a very unique effect that is conveyed better in real life then how it photoed. It is gorgeous and really needs an actual body in it to bring it to life. Excellent condition.

The dress is fully lined in a pale silver blue silk and closes with a side metal and nylon zipper. There are hook and eye along part of the bottom seaming of the arm on that side as well. Big iridescent glass buttons on each cuff. Small areas here and there where the glitter has fallen off but its minimal and I am being picky. It appears to have never been worn, or worn very little

Sleeves: approx 23"
Shoulders: no defines seam
Bust: no true side seams so open and variable
Natural waist: 14.5" flat across from side seam to side seam
Seam at bottom of gatherings 24" down from the shoulder: 18.5" flat across from side seam to side seam, skirt is open under that
Length: 57" from top of shoulder to hem

Modern Sizing Equivalent: SML-MED

Item# DD3068

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This dress is a stunning and rare piece of Halston history. Its twin walked the runway for the Spring 1973 show and you can see how spectacular this is on the body. This is classic Halston from his main label couture line. It is incredibly chic and sexy and one of two important Halston pieces I have for you today. This is an incredible example of his work from this time period. 

This is an amazing couture Halston dress that is a very rare and special find. It is entirely cut on the bias and utilizes his signature minimal seaming. Halston defined how woman dressed in the 1970s and these jersey dresses that he did were tremendously flattering to the body. It is also insanely sexy with the side cut outs that wrap all the way around the back leaving your back completely bare except for that one strap that goes across and hooks to close. It also eaves almost your entire stomach and your sides completely bare. The fabric is a beautiful black silk jersey that is heavy enough to be opaque and the dress is backed in a second attached layer of the same silk jersey. The use of this fabric allows the dress to move and drape fantastically. The neckline is high and scooped around the neck and it hooks to close at the back. Then this extends down into the front panel that has straps that come out from the sides to hook at the back. From there it creates a upward curve that meets the downward curve of the top of the skirt in the middle centre of your front bodice. I love the way that the panels curve and create these cut outs on either side of your middle. At the back the top of the skirt curves down and it can sit quite low depending on the shape of your body. It also leaves the top of your hip exposed at the sides and it is so sexy. The skirt flares out to the floor from there in a sleek column of silk jersey that flares outward as it nears the hem. It is spectacular. The jersey is cut on the bias and there are yards of it in the skirt. The second layer of silk jersey is attached all the way around the hem and having the second layer helps to soften out any bumps underneath the top layer and helps to make it very flattering to wear. This is a very rare example of Halston at the top of his game. It really showcases how he use the absolute minimal amount of seaming to create these absolutely stunning pieces. It is easy to see why his work is the subject of so many books and retrospective shows at museums worldwide. Excellent condition with a tiny note below.

The entire dress is made from two layers of the silk jersey. The dress hooks to close behind the neck and then again at the strap that wraps around the back. Hand finished. At some point the ham appears to have been let down but it's well finished along the edge so I've left it as isThere is darkening along the original edge and I see a small area on the front that looks a tiny bit darker than the rest of the dress, but it wouldn't photo well and I'm being pretty picky. If you find that the neck seems to sit high you could add a little extension to the back where it hooks to close if you needed a little more length and have it sit a little lower.

Neck:  14-15" around from hook to hook
Bust: The front halter should accommodate a variety of cup sizes. From end to end of where it hooks to close around the back it is 32 to 36 inches total in length
Opening of the skirt: 13-18" flat across from side seam to side seam
Total length: approx 67" from neck to hem 

Modern Sizing Equivalent: XS-MED

Item# DD4663

Reference Photo: Spring 1973 Halston Runway.

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This fantastic cape is from the Fall 1976 collection and it is the second one from this collection I have had in the shop this week. Several versions of it were produced that season including this and the longer and slightly more elaborate deep purple one I listed earlier this week. We have included photos from the runway pieces here and we also found an ad campaign shot with its twin and have included that for you to see. I personally have several versions of his capes myself and have worn them countless times. It is literally the perfect thing to pop over a dress at night time. It is a very versatile and so easy to wear piece.

The cape is in a very beautiful pale taupe combined with a black flat braided edging. The fabric is a high end wool that has a little bit of weight just due to the sheer amount of it in the cape but is still comfortable and easy-to-wear. This is one of those effortless pieces that is easy to make a part of your wardrobe. You just slip it over your shoulders and it drapes in place. A slightly oversized hood extends out from the neck and this added addition of the hood adds the perfect amount of detail and drama. A flat blue braided rope finished all the edges and I love the elaborate braided knots that closes it in place at the neck. A long fringed tassel sits on either side of that closure for added drama. I love the bit of movement these create when you move. There is a ton of fabric in the body of the cape so that when you move you get wonderful movement as it floats and billows around you. The cut is impeccable and it is a great piece of YSL's fashion history. Excellent condition

Unlined and drapes over the shoulder to wear with a knot closure at the neck as seen. The occasional graze to the surface. The easy open cut should allow fit just about any size

Length: 50" from shoulder to hem

Modern Sizing Equivalent: OSFA

Item# DD4658

Reference Photos: Fall 1976 Yves Saint Laurent.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

A version of this 1973 coat in a different pattern is featured in one of the Biba books and you can see the same shape through the shoulder and sleeve. I have had this for many years now and it is a very hard piece to let go of. It really showcases her love for all things Art Deco and the cut of this coat is phenomenal. 1973 marked the year that the Big Biba store opened in a seven-story building on Kensington High Street. Every floor had its own theme with floors and millions of people visited.

This coat is absolutely wonderful. It has those fabulous Art Deco lines that Barbara Hulanicki excelled at and that so many of the best of her pieces reference. It is made out of a woven wool that creates a giant houndstooth pattern. The neutral colour combination of the taupe and black is so easy to mix and match with everything. The coat has some weight to it but feels balanced once on the body. I love that you can see the actual weave of the wool. This adds extra texture and dimension to the pattern. The coat falls beautifully once on. It has a single large flat metal hook at the front and then swings open under that. There is no collar, and it simply falls into a V to that hook and then carries on to the hem. It is more fitted through the shoulders and then falls outwards with all of the volume created by the way the fabric has been cut and pieced together. The shoulders and sleeves are spectacular. Each shoulder is set with a high capped and rounded cut. This was something that Hulanicki became known for and pieces with this cut are among the most coveted. The sleeves are equally as fabulous. They are cut wide and full and then the ends flip over to create that huge 7" cuff. Hidden set pockets along one of the more inner vertical seams is the perfect finish. It is just exceptional and I think it is one of the best Biba coats I've ever personally seen. Excellent condition 

Fully lined in black silk. It has one hook to close at the front. Light padding in each shoulder. Pockets on each hip. I see some light water marks on the inner lining here and there. The open should fit a variety of sizes as long as the upper shoulders fit.

Sleeves: 21" and 14" around the upper arm
Shoulder: 17.5" flat across the exterior of the entire upper shoulder
Bust: to 18" flat across from side seam to side seam
Waist-hips: open
Length: 43" from neck to hem

Modern Sizing Equivalent: XS-MED

Item# DD4659

Reference Photo: Photo feature of the first Autumn collection at Big Biba in 1973 from the book “Welcome To Big Biba” by Steven Thomas and Alwyn W Turner. 

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

This is the actual dress that is in the book on Thea Porter's work and appears on page 111. The book notes that this dress has "Two prints based on Persian paintings, designed by Sheila Hudson, combined on the dress. One on the bodice with polo players, while on the sleeves and skirt is a single horseman with Persian style calligraphy at the hem of the skirt." We've also included photos of a jumpsuit with the same print that appeared at the July 1971 press view and several other versions of the dress from editorials from that time period. A Version of the dress was also part of the Thea Porter exhibit. This print was very well documented and Thea made a small series of pieces from this fabric. Each piece was made specifically so that it was cut to follow the print perfectly. This is the only one I've ever seen made in this length and in this style. Given her extremely limited run on certain pieces, it may in fact be the only one that exists. It is truly a very special piece.

The cut of this dress is exceptional. It has a small neat collar and the collar hooks at the front. It is then slit to the waist with one single hook just under the halfway point to hold it in place. This leaves a large slice of skin showing when it is on the body. The bodice is unlined and has a single layer of the printed silk cotton gauze which gives it a touch of transparency. Horsemen romp over the bodice with dogs following in pursuit through flowers and trees. The sleeves are phenomenal. Each is gathered into the top of the shoulder and then are a huge balloon sleeves under that. More horseman sit at the top of each sleeve and then you have the calligraphy mentioned above wrapping around the gathered cuffs. The waist is elastic and this make the dress extremely easy-to-wear and comfortable on the body. Under that, the skirt has an incredible amount of fabric and here again we see horsemen wrapping all the way around the dress and then the bottom displays more calligraphy, flowers all in those beautiful colours of blue. There is an incredible amount of fabric in the skirt so it moves beautifully once on the body. This is an exceptional and extremely rare example of her work. Excellent condition with a small note below

Unlined and slips onto wear. There are hook and eye at the top of the neck and then another just under the halfway point of the slit down the front. The waist is elastic. I see some darkening to the inside of the collar and slight darkening on the exterior collar near where it hooks to close at the neck. Please see the photo after the label shot.

Sleeves: 24.5"
Shoulders are really inset so no true seams
Bust: 15-17.5" flat across from side seam to side seam
Elastic waist: 10-16" flat across from side seam to side seam
Hips: open
Bodice: 14" from top of shoulder to waist
Total length: 42" from top of shoulder to hem with 1.5" turned under the hem

Modern Sizing Equivalent: XXS-SML

Item# DD4657

Reference Photos: (1) Model in Thea Porter, Flair Magazine, 1971.  /  (2) Marina Schiano in Thea Porter's Persian miniature inspired print dress. Photo by Bill King for Harper's Bazaar, March 1972.  /  (3)  Model in Thea Porter, Vogue UK, 1971.  /  (4) Thea Porter Press Viewing, July 1971.  /  (5) 1971 Thea Porter Cotton dress, Textile by Sheila Hudson, Collection of Susanne Deeken. Shown on display at the Thea Porter 70s Bohemian Chic Exhibit at the Fashion and Textile Museum.  /  (6-8) This dress shown in the book "Thea Porter: Bohemian Chic" by Laura McLaws Helms and Venetia Porter.

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.

Valentino launched his ready-to-wear label in 1962 two years after opening his atelier in Rome. He eventually expanded and added other boutiques. His first New York boutique launched in the fall of 1970 and it caused a sensation. Traffic was backed up 3 blocks with everyone who was anyone trying to get in on opening night. More boutiques followed including one at Bergdorfs. He encouraged his couture clients to also shop in his boutiques. He wanted everyone to have the Valentino experience and noted that he often carried the lines he created for his Couture label into the boutique work. The fabric and construction details were still remarkably close in quality to his couture pieces at this point in time. The line between the two was often blurred and on this set you can see that in the hand finishing that is has. I absolutely love this set. It is gorgeous.

The dress is made out of a black silk that holds its shape and volume beautifully. This is a two piece set made up of a dress and its matching jacket. They are fantastically beautiful worn together but I also love that by having the two pieces it gives you more styling options and you can wear then separately and mix and match with other things you already own. The dress is suspended by two tiny straps that curve up and over each shoulder. A wide set V sits at the front and then it dips lower across at the back to leave a bare expanse of open skin. It is cut to be more fitted to the waist and then under that it is all volume. The skirt has an incredible amount of silk in it that really shows best when you move. The lightness of the silk causes the skirt to billow out and move around you as you move, yet it still has enough weight that it holds that full feeling when you stand still. When this is on and you are walking the effect that this creates is absolutely gorgeous. A full 13" ruffle circles the lower hem and it has been sewn is on top of the skirt and not simple seamed onto the edge. This is a clever technique that leaves fabric inside and behind the skirt and this helps to hold its shape. This uses extra fabric so it's not something you see as much anymore. And it has pockets. The jacket is a thing of beauty in its own right. It widens out from a soft shoulder and curves around and up from the hem to the neckline. I love the tiny ruffled finish that follows the edge. The sleeves are incredible and each is cut to be a wide bell shape. By their ends they are each a full 20" around and the ruffle that finishes each sleeve is a little more then that even. It is absolutely beautiful. This is a stunning Valentino from this time period. Excellent condition. 

Fully lined in a black silk. The dress closes with a back zipper and there are two hidden hook and eye at the base of the jacket at the front. Tagged a vintage Valentino size 6. 

Dress
Bust: to 16.25" flat across from side seam to side seam
Waist: 12" flat across from side seam to side seam
Hips: open
Bodice: 14.5" from top of shoulder to waist
Skirt: 43" from waist to hem

Jacket
Slightly inset shoulders: 13"
Sleeves: 22.5" long and 14" around the top part of the arm
Bust: 17" flat across from side seam to side seam
Waist: 14" flat across from side seam to side seam
Length: 17.5" from neck to hem

Modern Sizing Equivalent: XS-SML

Item# DD4054

All items are thoroughly checked over before shipping. Unless noted everything in our shop has been professionally cleaned. All sales are final. Overseas clients will be emailed to obtain agreement to our final sales policy before the order is shipped as per our return policy.