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.

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 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 exploring the far corners of the earth for inspiration. This set has obvious Asian roots with the fabric choice he made but he has taken the lines of a traditional piece and extended and manipulated them to make a new silhouette. I love how the fabric combines the cherry blossom print with English roses to further emphasize his combining of cultures in this set. It is gorgeous.

The skirt of this set is made from two panels that have been cut into long rectangles and then are brought along the waist band. This creates this wonderful linear line from the hip to the hem. It is seamed down each side to just past the hips and then below that one each side is a high slit to the hem. So when you move or sit you get this flash of legs. It is very sensual. To counteract the slimness the line of the skirt creates, the jacket is cut to feel more of an oversized. It is left open at the front with no closures. You just slip it on to wear. The top of the collar is set so that it flares out to the sides. The sleeves are long and cut wide. The jacket is detailed with black flat braiding that highlights the cut and adds detailing. More braiding runs along the edges of the set and highlight its lines. The fabric is a beautiful bright red silk satin with little cherry blossoms and roses woven through it in a slightly metallic finished thread. This is one of those pieces in person and in an actual body it id far 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. They are all very minor but mentioned for accuracy. Tagged a vintage UK 8

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" 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

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 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

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 Bessi company was launched in 1950 but it was not until 1968 that it started producing the printed pieces that the label is now associated with. Like Pucci he signed all his prints and created them himself. In terms of style, construction and quality, Bessi dresses were often on par with Pucci and Leonard, especially the ones from the late sixties to mid seventies. I have had a dress in this same print and I love seeing it on these as well

Some pieces just make you happy inside when you see them and these pants fit that bill. It is an absolutely gorgeous Bessi piece that is a super easy way to add a little instant pop of vintage into your wardrobe. They are made out of a silk jersey that glides and skims over your body perfectly. This fabric choice makes it extremely comfortable to wear and move in. The waist is banded with one of their signature contrasting prints. The legs are cut wide and straight with a slight flare when they reach the bottom. I love that the bottom is also finished with that band of contrasting print. The colour combination is fabulous. The base is a light purple-blue color with a pretty print done in little pops of different shade of pink. The floral and swirling design covers the entire surface of the pants to work together beautifully. Excellent condition

Unlined and they close with a side zipper and hook an eye at the waist. You could move the hook and eye and snap if needed. It looks like this has been done in the past. The fabric through the body of the pants does have some stretch this is reflected in the hip measurement below.

Waist: 14" flat across from side seam to side seam
Hips: 19-22" flat across from side seam to side seam
Length: 41" from top of bodice to waist
Inseam: 28" from waist to hem
Rise: 17" from waist to inner seam

Modern Sizing Equivalent: SML-MED

Item# S985

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 unexpected materials in way that was very flattering to the wearer. These pants are so unusual and must've been a part of a resort or spring line. I absolutely love them.

These are based on a simple fisherman pants that you see in many cultures around the world. You have to wonder if he travelled somewhere and was inspired to make a version for the West. They are made out of a beautiful Indian cotton. The colour of the cotton is a deep blue that then has a blocked pattern done in red and a matte gold on it. This completely covers the pants from top to bottom. As they near the hem of the pants the pattern changes to a horizontal stripe that gets smaller and more intricate. The pattern gets far more dense and anchors the pants. They have no closures. To wear them they are simply tied into place. They are seamed down the center of the body and then along the inner edge of each leg. The outer part of the leg is completely open and this  is what allows it to wrap around you. To wear them you hold the front in place and tie it at the back. Then you grab the pant from between the legs and bring it up over the back and tie that in the front. There is enough fabric in the legs that the resulting wrap over at the side keeps you covered. When you walk or move you do get a bit of leg showing at the very bottom. It's extremely simple and ingenious. You can't give Mr. Blass credit for the design but they are a great pair of pants. These would be fantastic to travel with and you can easily dress them up or down because of the print. Excellent condition

Unlined and they tied to wear as described above. They appear to have been worn very little if at all and the wrap does give some flexibility in measurements. These are very hard to measure so I've given approximate laying flat of the material it will cover and then you watch overlap is it wraps around you.

Waist: the fabric on both sides is 29" wide before the ties extend. This makes the waist and hips adjustable
Length: 44.5" from top of bodice to waist
Inseam: 33" from waist to hem
Rise: 13.5" from waist to inner seam

Modern Sizing Equivalent: XS-MED

Item# S986

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 particular design from the Halston IV line is one of my favorites besides the one shoulder dresses I find for you. The design is so simple but at the same time it has so much impact with its bare and sexy feel created by the plunging front and sides. It is an incredible piece that you can wear over and over and style it in a zillion ways depending on what you pair with it. I have included some reference photos from the main Halston line that shows where the design for this dress originated. I have also included photos of Martha Hunt and Emmy Rossum who both have worn the twin of this dress from my archives. I love having these photos because it lets you see just how fabulous this dress is on.

This is a dress that is insanely sexy and bare feeling yet the ivory colour of it keeps it feeling fresh with a touch of innocence to it. It somehow manages to walk that line in that very Halston kind of way. The dress is made of a wash and wear cream coloured jersey. It has amazing drape and it feels easy-to-wear once on the body. The bodice has a halter style front that plunges right to the waist. It has an opening that you slip your head through and then a panel of the same fabric drapes over the back. Long ties extend out from each side of the panel and you use these to wrap it into place and tie it at the front. At the back this leaves a gap between the bottom of the panel and the waist for a little flash of skin. The sides are also left open and bare to the waist. Despite its bareness it is cleverly cut so that when you have it on it stays in place. The ties snatch in the waist as much as you want and the skirt falls from there. There is a lot of fabric in the skirt and this gives a tremendous movement when you move. The dress has the added bonus of traveling very well. It is the kind of piece that you can throw into your suitcase and slip on with either flats or heels when you reach your destination and be instantly ready to go. This would make an amazing wedding dress for the bride looking for a non-traditional choice or as an alternative dress in a more extended wedding celebration. And of course it could also be worn to any event. Excellent condition with a minor note below

Unlined and slips on to wear. There is elastic through the waist and it ties into place as described above. This makes it very easy to fit and it should fit a range of sizes. If you don't like how it dips in the back and leaves that space you could easily tighten the elastic more or tie it in a way so it doesn't do that. I see perhaps the faintest a bit of darkening here and there in the skirt. This is only seen when it's laid out flat. There's so much fabric that I really just mentioning to be very picky. The easy cut and elastic waist should allow it to fit a range of sizes

Bust: no true side seems but each triangle covers up to13.5" flat across
Waist: 17-21" flat across from side seam to side seam and you use the tie to belt to cinch it in
Hips: open
Bodice: 15.5" from neck to waist
Skirt: 44" from waist to hem and the back extends down couple inches lower

Modern Sizing Equivalent: SML-LRG

Item# DD4250

Reference Photos: (1) Emmy Rossum in Halston for Harper's Bazaar US.  /  (2) Martha Hunt in Halston.  /  (3) Spring 1973 Halston Runway.  /  (4-6) Spring 1977 Halston 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 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.

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 extraordinarily rare example of the work that Ossie Clark and Celia Birtwell were doing together in the very early 1970s. What makes this dress unusual is that it features one of Celia's prints but the print has been embroidered onto the dress rather than screened like they normally are. There is a even more elaborate version of the dress in the Ossie Clark book that I have shared here for dating reference. I have seen long versions with the embroidery on them come up for sale but those only have a small amount of detail on the bodice usually. This is the only one I've seen with this amount of extensive embroidery on it. It is utterly fantastic.

Ossie somehow manages to take a rather conservative feeling piece of clothing and work in the flow and drape that he was known for. His pieces always have a touch of sexuality to them that became one of his trademarks. Even with a dress like this where you are fully covered something magical happens once this lands on an actual body. The dress made out of a classic black moss crepe. The neckline is in a shallow V and there are button and loops that run across the top of each shoulder for added detailing. It is cut to skim over the bust to the waist. We see the influence of the 1930s in this dress with the curved vertical seams that run down the center of the bust and the gathered angled seam around the waist. The waist has attached ties on both sides. These wrap around and tie to cinch in the waist and add more shape. The skirt flows and flares out from there. It skims over the hips and then begins to flare out. There is a lot of movement in the lower skirt created by an added panel at the bottom of the skirt. I love the curved seam that attaches this lower panel to the dress. This gives it tons of movement when you move. The sleeves are have a touch of a cap at their tops and narrow down to a button at the wrist. That spectacular moon and stars print by Celia Birtwell covers the entire dress. To emphasize the shape and different parts of the dress the embroidery has been applied in different weights. Denser in some and more scattered inothers. This label is from the couture Ossie Clark line and it specifically what's the print is by Celia Birtwell. The midi length makes it extra versatile and it is a dress that will easily go from day to night. This is an exceptionally rare example of the pairs work. Excellent condition

Unlined and closes with a back set zipper. Attached ties at the waist. Each cuff has one fabric covered buttons at the wrist. Tagged an vintage UK 10.

Sleeves: 24"
Shoulders: no true define seam
Bust: 16" flat across from side seam to side seam
Waist: to 13" flat across from side seam to side seam
Hips: to 17.5" flat across from side seam to side seam
Length: 44" from top of shoulder to hem

Modern Sizing Equivalent: XXS-XS

Item# DD4244

Reference Photo: "The sun and moon dress that Ossie made for Nicky Samuel, satin-backed silk crepe with embroidery applique, c.1971" from the book Ossie Clark 1965|74 by Judith Watt.

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