Chanel Boutique wool suit, 1980s. Made from cream colored wool bouclé, the smart suit is lined with matching silk woven with the CC logo. The superb tailoring emphasizes the clean lines of the minimalist styling. We see in this classical suit everything that Coco Chanel stood for: dignity, restraint, indeed a style that allows women to dress as comfortably and confidently as men do. NEW LISTING
Dior Boutique mohair jacket, 1980s. Made from a wool/mohair blend, the jacket's royal purple hue will make you the center of attention. I love the gentle shaping that emphasizes your curves while retaining the comfort of a loose cut. The finishing is exceptional: a welt breast pocket and two inset pockets with flaps. NEW LISTING
Christian Dior cashmere sweater, 1970. Made from cashmere with rabbit fur collar and cuffs, the plush cardigan has an irresistible charm. Wear it over bare shoulders to get the full effect of the short, cropped style—so fresh and sassy! The knitted design of diamond shaped cables is the insignia of the ever stylish Dior look. NEW LISTING
Pucci cotton blouse & skirt set, 1960s. Pucci is best known for bold, graphic patterns with a kaleidoscopic, slightly psychedelic feel. Even in a calmer mood, using neighboring hues, his colors are electrifying. Here, his use of competing, adjacent colors is brilliant: the wide vertical stripes of medium purple and medium slate blue bordered by narrow vertical stripes of deep sky blue. NEW LISTING
Oscar de la Renta chiffon skirt, 1980s. The featherweight design has layers of silk chiffon with delicate bias-cut ruffles. Loyal fans of de la Renta love his feminine, elegant creations. Our saucy little skirt has the chic charm and sex appeal expected from Sarah Jessica Parker's favorite designer. Be prepared: the fiery cranberry red will raise the temperature in the room as you make your entrance. NEW LISTING
Beaded chiffon party dress, 1950s. I love the graceful elegance of 1950s party dresses. The three-layered skirt has a beige silk crepe lining covered with a layer of beige chiffon, which confers an alluring yet ladylike charm on the dress. In this beauty you will turn heads—not easy to do at a time when so many eccentric and revealing costumes bewilder and ultimately bore most men.
Jean Dessès rhinestone studded evening gloves, 1950s. In spite of their luxurious appearance, the elegant gloves are made from washable black cotton. They are embellished with prong-set rhinestones. The stylish, sophisticated gloves offer to the collector a piece of Dessès design history without the high cost of one of his gowns. Who can forget the dramatic yellow Dessès gown worn by Renée Zellweger for the 2001 Oscars!
Ceil Chapman beaded satin dress, c.1950. Here is everything you could want in a Ceil Chapman piece. Made from exquisite sea foam green satin, the dress is almost totally covered with opaque white glass beads and iridescent sequins. The beading, drawing attention to the bust, is signature Chapman. The construction details whisper "quality." This beauty bespeaks wealth and status in a confident, understated manner.
Mary McFadden quilted silk evening coat, c.1980. Printed with a watered silk, abstract design on an ivory ground, the dreamy coat features McFadden's line quilting. It is lightweight and easy to wear. In McFadden's fashion, we often see what is apparent in this coat of many colors. It is joyous, fresh, and natural. This smart coat can be worn with black pants or over a simple slip dress.
Dior-New York little black cocktail dress, 1960s. Slip into this delicious LBD and release your inner Audrey Hepburn! Made from black wool crepe, the dress features a wide ruffled hem border of black taffeta, which curves upward to a large taffeta rose at the base of the plunging neckline. Since Chanel introduced the little black dress in 1926, it has become the epitome of chic. Dior's version makes a sophisticated, dramatic fashion statement.
Pucci silk jersey dress, 1960s.The bold print catches the eye; the soft silk jersey molds to the figure, keeping the focus on your body! There is nothing to complicate the process of putting on a Pucci dress—or of taking it off:) Pucci instinctively knew what more technically gifted designers did not understand: there are few sounds with quite the frisson as that of a zipper being undone.
Mollie Parnis mini party dress, 1960s. Made from from flocked georgette sparkling like sequins, the dazzling dress is a real head turner. It comes with a black satin ribbon cummerbund. The flirty ostrich feather hem and sleeve borders are a delightful touch. I love the unabashed femininity of 1960s mini dresses, sexy yet demure. These dresses let your legs do the talking but never in a vulgar way.
Goddess-style chiffon evening dress, 1940s. The dress evokes the Greek goddess style—a red carpet favorite—with its long floating scarf attached in front to one of the shoulder straps. You can drape the scarf artfully across your bare shoulders. The graceful skirt has double layers of chiffon. The magnificent evening gown in a striking tangerine hue is drop dead gorgeous.
Adolfo wool knit suit, 1970s. From one of the few masters of wool design, the smart burgundy knit suit is an exemplar of the Adolfo look. The stylish suit is as comfortable to wear as a sweater. The chic cardigan-style jacket has two V-shaped pockets and is open in the front. The woolen texture of the glowing roseate nap makes this the perfect suit for the coldest winter day.
Mainbocher color-blocked evening gown, c.1950. In this magnificent satin dress, Mainbocher uses soft pastels (pink, peach, and powder blue) in the ingenious color blocking. The design has the self-confident refinement of old money. The bodice dips below the waist at center-front and in back, emphasizing a small waist. The bust line is enhanced with curving bands of faux pearls and rhinestones.
Stavropoulos beaded evening dress, 1980s. His glamorous creations were known for comfort, softness, and ease of movement. The surplice-style gown wraps around the body, leaving a deep open slit in the skirt. The neckline and front opening are embellished with pearls, rhinestones, and silver-lined crystal beads. Here is the high style glamour of the 1980s—the scintillating brilliance of the pearls and rhinestones does the trick!
Eleanor Garnett beaded evening gown, 1950s. The satin chartreuse green has a penetrating, emotive quality that subconsciously charms and exhilarates the viewer. The obi-style sash confers on the gown an exotic charm and elegant formality—perfect for the stylish hostess. The sash is finely embellished with faux pearls, prong-set rhinestones, and silver-lined crystal beads. I love the stand-up front ruffle.
#0924 $1,200 Reserved
Yves Saint Laurent animal-print evening dress, c.1980. Saint Laurent sparingly mixed the lamé throughout the animal print to add just the right touch of glitter. With its body-molding bias cut, the sylphlike mermaid dress is reminiscent of glamorous 1930s Hollywood styles. The open surplice back, broad shoulders, and fishtail train have plenty of attitude. This has to be the slinkiest, sexiest Saint Laurent dress I have ever seen.
Hermès cashmere/wool boyfriend style coat. Made from a cashmere/wool blend of brown and black tweed, the luxe coat showcases Hermès' legendary attention to detail. Whether the design is avant-garde or a tailored classic like this man tailored coat, the stylish elegance of Hermès is unmistakable. In the chill of winter, the best fashion uniform of all is a plush cashmere coat.
Christian Dior-New York satin brocade coat, 1960s. The stylish coat was made from luminous teal-and-olive brocaded satin, whose brilliant hue is even more dazzling up close. While not couture, the chic coat has superb construction and finish, as expected from a top couture house. The three-quarter-length sleeves would be perfect with long gloves or vintage costume bracelets.
Bob Mackie beaded evening gown, c.1980. From the master of glitz and glamour, this fab gown has Mackie's signature sex appeal and drop dead style. The skirt has a deep front slit and is slightly longer in back. Mackie's creations shimmy and sizzle. This one is elaborately decorated with red sequins and glass beads on fine black silk.
Louis Féraud party dress, 1980s. A long black velvet bodice is paired with a flouncy pleated taffeta skirt. I love the unabashed femininity of Féraud's party dresses, ultra sexy while remaining sweet and demure. Known for dressing the Parisian elite in the 1960s, he won the Golden Thimble Award in 1978 and 1984 and maintained consistent high quality throughout his career.
Chanel Boutique 3-piece cashmere sweater suit, 1990s. Karl Lagerfeld is the genius who recreated the Chanel spirit: ultra-fashionable, casual chic. The sweater set, consisting of a cardigan and sleeveless shell, was made from fine ivory Scottish cashmere. The skirt is of matching ivory wool crepe. The suit captures the essence of the Chanel style: elegant, comfortable, and practical.
Galanos sarong-style evening dress, c.1975. Made from bias-cut silk satin charmeuse, the sexy evening dress is a very high style "sarong." The lines of the plaid are sparkling gold. The gold chevrons against a black ground intimate high social status. What a classic look with a hint of 1920s retro chic! This is signature Galanos: sex appeal in an elegant couture-quality package.
Carolina Herrera lace/crepe party dress. The fab LBD from the CH Label features the meticulous attention to detail seen in her pricey top line, which goes for $1700-$2400 new. The delicacy and refinement of the floral lace design is of the last degree of feminine charm. Alluring as well as ladylike, the dress recapitulates Spanish fashion history, where black lace has intimated romance and mystery for 400 years.
Scaasi taffeta cocktail dress, late 1950s. Although Scaasi is known as a superb colorist, he shows here that he can do the LBD with equal mastery. The effect is based on his finely honed sense of shape. Made from black silk taffeta, the only adornment is a large velvet rose at the deep "V" of the front neckline. With the signature off-the-shoulder neckline, draped torso and sculpted skirt, this stunner makes a sophisticated, dramatic fashion statement.
Malcolm Starr crystal beaded evening dress, 1960s. The substantial weight of the duchesse satin intimates "high-end luxury." The effect is enhanced by the crystal beading and fine construction—ideal for a wedding. The shape of the skirt is supported with matching inter-lining. Here is the high end designer look at a great price. This dazzling duchesse dress has a glittering glamour that will turn heads.
Valentino embroidered lace jacket, 1970s. The sublimely stylish jacket is a masterpiece of highly textured surface decoration. Made from lightweight black floral lace embroidered all over with black ribbon flowers, the unstructured jacket is the ideal canvas for textile art. Like a fashion godmother's blessing, this is Valentino's heart-rending, pretty elegance, faithful to his artistic credo: "To make women beautiful."
André Laug faux snakeskin coat, 1970s. The finely textured rayon fabric drapes like silk. The vertical bodice seams open into inverted box pleats above the waist, creating a softly sculpted Empire line, showcasing the languid grace of Laug's elegantly understated designs. His discreet good taste was especially popular with his "old money" American clientele, who appreciated the mix of Old World sophistication and New World simplicity.
Zandra Rhodes printed silk chiffon dress, 1980s. The plain black skirt is divided into panels to reveal a glimpse of leg when you walk. The skirt lining is also split into panels. The bodice front and sleeves are printed with a variation of Rhodes' Indian feather design. She never loses sight of the raison d'etre for fashion: to make the wearer feel pretty and desirable. Each of her unique creations, no matter how unconventional, blooms like an exquisite flower.
Scaasi sequined velvet evening dress, 1980s. Scaasi's affinity for sculptural design and elaborate construction shows the influence of Charles James. The wide open neckline of the bodice is framed with a cape collar that forms faux sleeves. They are elasticized across the tops and can be worn on the shoulders or dropped below. The shape is totally built into the dress, which could stand on its own as a piece of sculpture.
Chanel wool tweed coat, 1970s. Made from herringbone wool tweed plaid, the enchanting—and unusual—pastel peach color will be admired. The impeccable Chanel cut and tailoring make this a timeless classic. The inspired use of pale peach for outerwear tells us the wearer belongs to the aristocracy of style, a special cadre of fashion initiates whose smart attire always attracts admiring glances.
#7216 $950 Sold
Oscar de la Renta satin evening gown, 1990s. Here is the understated sophistication and superb construction demanded by de la Renta's A-list clients. The gown pairs a long, fitted black satin bodice with a full striped skirt of olive, black, and café au lait satin. The dress is beautifully engineered on the inside with great attention to detail. There is a separate petticoat of khaki taffeta stiffened with horizontal bands of nylon mesh.
Galanos silk chiffon evening dress with stole, c.1980. I love the casual elegance of this spectacular evening gown. The backless bra halter falls in soft panels at the sides of the skirt. The rest of the skirt is composed of five layers of silk chiffon. The four under layers are attached and close in back with a metal zipper. The full outer layer—with larger-than-life printed poppies—floats over the underskirt. The inspired floral motif walks the line between youth and sophistication.
Dorothy Bullitt evening dress, 1970s. The large rhinestone-studded bow and side-draped skirt will guarantee every eye is on you as your make your entrance. The graphic design combines the elegance of classical black with striking magenta and rhinestone accents. This is the high-octane glam that we all crave. The sensational debutante-quality evening dress has the Dorothy Bullitt label. A local Mainline girl, Grace Kelly, was a model there before her movie stardom.
Christian Dior silk evening coat, late 1960s-early 1970s. Made from heavy black silk taffeta overlaid with sheer black silk, the skirt is styled with 3 panels daringly slit to the waist. The billowing sleeves and voluminous skirt contrast with the wide obi-style sash. The exceptionally long skirt, which forms a train in back, is perfect for making a grand entrance. The coat has the self-assurance of the lady who can afford to be "casual" with a Dior.
Mary McFadden pleated evening dress, c.1980. The rich cranberry red is intensified by the texture of the pleating. The neckline is accented with a bib panel of multi-colored beads and sequins. The svelte silhouette and the beaded bib pane showcase the marriage of exoticism to sleek stylishness. McFadden's "Fortuny pleats" in polyester are permanent and practical for traveling. The thrilling red hue will raise the temperature of the room as you make your entrance.
Randolph Duke beaded evening dress, c.2000. This fabulous evening dress from the master of elegant evening wear has two layers. The outer layer is made from black net lavishly decorated with swirling patterns of clear crystal beads and metallic beads. They shift from silver to muted bronze, depending on the light. The centripetal beaded motif subconsciously draws the viewers' eyes to the wearer. The lining layer is beige lycra stretch knit with a hint of gold sparkle.
Zandra Rhodes "Sparkle" chiffon dress, 1970s-80s. The enigmatic zigzag motif hints at an arcane mystery. The neckline adapts to the pose of the wearer, draping lower in front or falling off one shoulder. The sleeves are slashed open and outlined with pearls to reveal the wearer's upper arm underneath. A sophisticated woman understands the discreet, almost intimate, allure of this style.
Manolo Blahnik suede stiletto shoes, c.2007. From today's reigning shoe genius, these fab Edwardian-inspired lace up shoes were featured in the 2/07 Vogue paired with a Victorian-inspired jacket by Alexander McQueen. The two-tone boots are fashioned from pink-and-cream colored suede. The toe foxing, decorative perforations, and lace up fronts were the last word in Edwardian boot fashion. The stiletto heels and cutout sides give our shoes a modern flavor.
Galanos silk halter & culottes evening set, 1970s. With its vivid floral print and Galanos' flawless styling, the set has the casual elegance he was known for. The draped style with minimal construction is lightweight and effortless to wear. The halter falls in straight lines from the ruched collar band to the hip. The halter design is both ladylike and sexy, cut to showcase your natural assets! The bold and brilliant floral print is joyous, fresh, and natural: perfect for fall and winter.
Oscar de la Renta silk party dress, 1980s. So fresh and youthful with its sunny color and jaunty plaid, this beauty combines a fetching, girlish appeal with a woman's allure. The diagonal lines of the bias-cut side panels add visual interest while molding the dress to the torso. The dress closes in back with a nylon coil zipper. The seams are detailed with self-covered corded piping. Boom or bust, de la Renta knows what his ladies like.
#1894 $1,250 Sold
Galanos Hollywood evening gown, c.1951. Made from heavy pink crepe embellished with rows of silver-lined crystal bugle beads. The straight lines are broken only by directional beading in the bust area and a deep slit in the front skirt. The directional beading accentuates the body's curves. he result is design magic—sexy, svelte, and streamlined. The result is an effortlessly elegant evening gown.
Bes-Ben wide brim straw hat, 1950s. Whether "fun" or conventionally decorative, Bes-Ben hats appeared fresh and innovative because of Ben's unerring sense of scale and proportion. The dramatic wide brim hat is an attention grabber with its luscious, larger-than-life flowers. From the 1960s on, these unique hats have become strong collectibles. One Bes-Ben hat set an auction record of $18,400.
Pedro Rodriguez beaded mini dress, 1960s. The densely packed clusters of pastel flowers have a lifelike 3-dimensional quality. They are rendered with seed beads in shades of pink, pale blue, yellow, and silver/gray. The abstract floral motif in delicate, feminine hues entwines itself around the wearer's body—subtle, yet alluring! We can see why Rodriguez' elaborately beaded evening wear was sought after.
Fox fur coat, 1970s. The wide lapel collar and slightly flared shape make the clutch-style coat comfortable and lightweight to wear. The horizontal pelts alternate with bands of gray leather. The silk lining is brightly patterned. Still soft and supple, the long haired coat was custom designed for a former fashion model. The opulent, luxurious look will be prized by the woman who knows her own worth!
Galanos silk sun dress, 1980s. The detailed construction and meticulous attention to detail are comparable to what you will find in haute couture. Made from substantial-weight silk faille, the dress appears effortless on the outside; inside it is totally lined with charmeuse hand stitched along the top. The brilliant, 5-color floral print is so pretty and feminine—and will win all hearts! Here is woman's beauty in bloom.
Helena Barbieri embroidered silk gown, c.1965. The lovely yellow is accented only by the play of texture. The designer inventively uses appliqués, cut from the embroidered fabric, to add texture and depth to the feminine, ladylike design. The lifelike appliquéd leaves look so delicious and grabbable! The full-on primary yellow is powerful. It is a declaration of confidence; which is why it is often worn by actresses on the red carpet.
Vera Wang silk jersey cocktail dress, 1990s. The perfect little black cocktail dress has it all. The torso, made from silk/spandex jersey, will mold to your figure like a Ceil Chapman dress. The shoulder straps and gracefully draped, double-layer skirt are of bias-cut silk chiffon. The unadorned black design, relying solely on cut, conveys a timeless sophistication, epitomizing Baudelaire's dictum that every dress style is beautiful in its own time.
OMO/Norma Kamali taffeta cocktail dress, 1980s. The fab dress is an example of Kamali's lighthearted approach to fashion. I love the open back with bows, so fetching and feminine. Kamali chose the delightful lilac/mauve color well ahead of its current vogue. The fullness of the skirt is ingeniously supported with a padded roll just below the hipline so that the skirt will never look flat or wilted, even without a petticoat.
Gianni Versace Madame X evening gown, 1980s-90s. Versace captures the spirit of the infamous plunging neckline and decorative straps that might slip off the shoulders at any time. From there, he takes off with a modern interpretation as body-conscious as the original: a thigh-length, body hugging torso of heavy crepe and a bias-cut, circular lower skirt of sheer chiffon, revealing the legs. This is the most imaginative "Madame X" dress I have ever seen.
Adrian velvet hat, 1940s. From the most important costume designer in the history of film, the unique, softly sculptured velvet hat is an ingenious takeoff on the beret. The top can be tilted and draped to suit the wearer. Because this distinctive hat is so visually arresting, it lends a romantic aura to the wearer. More than any other designer, Adrian created and sustained "Hollywood glamour."
Fox trimmed velvet evening coat, 1970s. Shaped with princess line seams flaring out below the waist in a full circle skirt, the figure flattering cut adds fullness to the skirt without adding bulk in the hips. The hood and 3/4-length sleeves are trimmed with wide borders of fox fur, reminiscent of the Siberian look made popular by Julie Christie in the movie Dr. Zhivago (1965). A plush velvet coat belongs in the wardrobe of a beautiful and desirable woman.
Malcolm Starr evening dress, 1970s. The exquisite dress in demure pink has the superb construction and materials which Starr always delivered. The dress is fashioned from substantial-weight silk shantung with interlining used in the skirt to support the shape. The dress is totally au courant with the current Paris couture season: Starr's beauty has the refined, A-list look seen on the runways this season.
Beaded silk velvet evening ensemble, c.1940. I love the haunting beauty of the deep rich green hue. The strapless dress features a softly draped skirt with a provocatively deep slit. The unlined bolero style jacket, open in front, reveals the low-cut neckline of the dress. The jacket and dress bodice are embellished with sparkling bouquets of rhinestones and clear crystal beads. What a dramatic and sophisticated fashion statement!
Eztévez beaded silk cocktail dress, 1980s. The uncluttered silhouette and low cut back are signature Estévez, what well dressed women look for—the refined, best-dressed-list look. Made from soft black silk faille and lined with black China silk, the dress closes in back with a nylon coil zipper. The only embellishment: the over-sized shoulder bows with beaded fringe. The figure flattering cut is shaped with princess line seams.
Mink fur coat, 1970s. Still soft and supple, the luxe coat came from the estate of a wealthy socialite. The finely shaped coat does not overwhelm the slender figure. Made from fully let out brown/black mink pelts, the plush coat is lined with black satin with a wide decorative hem border. The collar can be buttoned up high to keep your neck warm or buttoned lower to form a lapel. In front are vertical set-in pockets lined with dark brown velvet.
Courreges wool maxi dress, 1970s. Made from navy wool crepe, the dress has fab floral cutouts around the neckline backed with sheer mesh with sequin centers. Through the late 1960s, his designs remained simple with a lack of nostalgia. He remained a designer who always looked to the future. We once adored Courreges' brilliant gaiety; still, his joyful legacy is undimmed by time.
Malcolm Starr silk coat and dress ensemble, 1960s. Malcolm Starr produced impeccable, elegant fashion in the 1960s and 1970s. The dress was made from medium weight, winter white silk shantung, the perfect alternative to the little black dress. Winter white can also be dressed up or down with accessories and never goes out of style. The crisp clean lines of the minimalist styling is totally au courant.
Hannah Troy watered silk evening gown, c.1960. Made from ivory watered silk taffeta printed with bouquets of romantic roses. I love the draped bodice and huge bow. The crystal pleating at the top of the skirt controls the fullness without adding bulk. The draped bodice and huge bow are so chic! The watered silk print achieves a masterful Impressionist effect: we can almost see the brushstrokes used to emphasize the changing quality of light.
Chantilly lace cocktail dress, 1950s. For centuries Chantilly lace has conveyed a subtle yet unmistakable sexual tension because it both flaunts and covers up the female figure. This sizzler is made from black satin covered with black Chantilly lace. The dress hugs the torso to below the hip, where the dress flares out in a full-circle hem flounce. Chantilly both flaunted and covered the female figure—a combination that has driven men wild for 400 years.
Oscar de La Renta evening dress, 1980s. Known for delicate opulent designs, the designer departs here from his signature, elaborately decorated creations, showing the Spanish influence on his work. The dress is fashioned from an artful combination of sheer silk chiffon and dense silk velvet. The pleated chiffon band that wraps around the bodice draws attention to the form-fitting, velvet torso and fish-tail train. Sexy and ultra-stylish!
Mollie Parnis beaded cocktail dress, 1970s. This classic black-and-gold dress with crisp styling is a real head turner. Made from substantial weight wool crepe, the bodice and sleeves are studded with textured gold tone beads. The front is embellished with a long satin bow. The skirt rises at the center-front to meet the sexy plunging neckline. Mollie Parnis designed gowns worn by First Ladies from Mamie Eisenhower to Betty Ford.
Suzy Perette evening dress, late 1950s. The signature black velvet and taffeta theme has the sexy yet demure style so popular in the 1950s. The dress features a plain apron-front style of black velvet that opens in back to expose the elaborately draped taffeta skirt. A large red silk rose at the center-back accents the skirt. Men cannot help themselves: they are drawn to a woman who intimates the seductive sophistication of the evening.
Beaded silk organza evening coat, late 1950s. Made from silk organza covered with faux pearls, rhinestones, and silver beads, the versatile coat can be worn as an evening coat or as a dress. It would be fabulous as a wedding accessory; or wear it with skinny black pants. It can be worn closed to the neckline or worn daringly open to the waist. In this case, the provocative silhouette and dazzling decoration evoke the exotic allure of the East.