Presentworth Clothing

In 1999, Rei Kawakubo (b. 1942) focused on unprecedented sculptural texture and irregular color blocking to design her Comme des Garcons Spring/Summer 2000 collection, which was domi...

Unlike anything else from the 1990s, Comme des Garcons founder Rei Kawakubo (b. 1942) designed in 1999 for her Spring/Summer 2000 collection this pink-overdyed pullover soft stretch-...

For her eponymous brand's second collection for Fall/Winter 2002, British Stella McCartney designed this airy layered silk-chiffon empire-waist cap-sleeve rose-color pullover blouse,...

About a decade ago Brunello Cucinelli debuted these impeccably-tailored 100%-virgin-wool grey shorts whose back is completely concealed by tuxedo tails fashioned from a curvilinear-c...

Appearing in several versions on the Stella McCartney Spring/Summer 2003 collection runway with silk oversized long bell sleeves (see our photos of the gold and white versions beginn...

Given the "YSL" stenciled logo that had been created in 1961 while the fashion designer was only producing haute couture, paired with the French-blue bordered "Yves Saint Laurent" brand tag noting only "Made In Italy", this 52x52-inch transparent hand-painted vibrant crepe-de-chine silk panel with intricately hand-sewn rolled edges was commissioned as a couture shawl...

Designed by U.S.-based Oscar de la Renta (1932-2014) for his 1975 Resort collection, this deeply-draping two-layer empire-waist silk gown maxi dress is handpainted in a blue-cream-an...

U.S.-based Oscar de la Renta (1932-2014) for Spring 1982 created a number of styles of bold vibrant uniquely-handpainted crepe-de-chine caftans that helped define his five-decade fas...

As the key element of runway finale Looks 57 and 60 for the Comme Des Garcons Spring/Summer 1999 collection (see our photos of the Vogue coverage), this layered overdyed-purple navy ...

This couture lingerie-like spaghetti-strapped black silk-satin apron vest--with extraordinary graphic cutwork featuring a heavily hand-beaded breast-plate and appliques--was custom made by a young designer for a New York City female...

When Belgian former fashion designer Martin Margiela debuted gold-Lurex knits while French luxury-goods Hermes Womenswear Artistic Director, simultaneously in Fall 1999, he introduced at his eponymous Paris-based Maison Martin Margiela a collection featuring 1970s-inspired Lurex-accented sweaters, along with oversized loose clothes intended for either women or men. Including a distinct black-printed white-folded tag stitched into a seam by Italian experimental knitter Miss Deanna, who created many memorable knits under Margiela's artistic direction, this Margiela sparkly finely-knit viscose-and-Lurex-blend long-sleeve pullover is a minimalist unisex design with narrow ribbed trim at the crewneck, wrists and hem. Its "Made In Italy" size 44 with a 15.5-inch shoulderline is without darts and drapes like a one-size-fits-most stretch T-shirt. The lightweight sweater was knit from pale-gold, grey and blue yarns into an ombre pattern like a dip-dye technique associated with fabric. Yet the additional glittery orange-tone metallic thread (difficult to photograph due to reflections) interspersed throughout was clearly not dyed or printed. Conversely, Margiela's Fall 1999 Artisanale Line 0 collection that was produced instead by his Parisian team explored the textural effects of hand-painting fabrics, such as the unisex T-shirts that were striped or obscured with thick silver paint. Earlier in the 1990s, Margiela had reproduced some vintage...

As a variation of the traditional waiter-style apron that Belgian former fashion designer Martin Margiela reworked with his eponymous Maison Martin Margiela since its first collection for Spring/Summer 1989, this minimalist convertible transparent black chiffon rectangular garment was part of his Spring 1994 collection. The iconic corner-stitched textural white-cotton brand label is stenciled with seemingly contradictory text referencing an earlier Fall 1990 collection. Instead of the blank label that had become internationally recognized among progressive-fashion buyers during the brand's initial five years, this black print was added in this manner for only one collection during its founder's tenure. This distinct typography identifies it a one of his favorites that he re-editioned from his first 10 fashion shows. This season-less self-curated retrospective collection without any new designs was unprecedented in the ready-to-wear fashion industry, which sold only newly-designed clothes typically two to five times annually. In the early 1990s, this old-made-new-again collection was astonishing for a Paris-based high-end brand, for which any lack of fresh designs for Spring had otherwise been attributed to the loss of an artistic director or the outbreak of war. Nevertheless, there are subtle differences of color, material and draping possibilities that make our re-edition unique from the 1990 apron and from later "replicas", which was the term that Margiela printed on a different kind of label for his second self-curated retrospective in Spring 1999 following 10 more collections. Aside from the text-printed brand label with four characteristic hand-sewn corner stitches, the only other element that unified Margiela's first collection of favorites was that all the items were overdyed a darker color so that the clothes were various shades of grey, blue or black depending on the original color of the textile and how much dye the thread/yarn absorbed. The first Margiela apron...

Belgium former fashion designer Martin Margiela for his eponymous Paris-based Maison Martin Margiela Spring/Summer 2007 collection in a minimalist style debuted this cherry-red crepe...

With the finest fabric and tailoring--the base expectation for all progressive minimalist luxurious fashions designed for powerful women by German Jil Sander before the Prada-buyout ...

French-born Nicholas Ghesqueire, lauded in the 2000s for his innovative couture-like construction with atypical ready-to-wear luxurious fabrics tailored to perfection, designed for h...

With Belgian former couture-fashion designer Martin Margiela's original blank-white textural-cotton corner-sewn label from the early 1990s visible above the prominent knit-hole, this openwork yarn top that is clearly a one-of-a-kind "Line 0" Artisanal garment by Maison Martin Margiela is crocheted from a brown soft animal-hair blend into a see-through changeante pattern recalling a collapsed spiderweb. A prominent European dealer sold a similarly designed but longer deconstructed openwork grey cape that also features a circular knit hole in a mohair-blend. Its remaining additional tag indicates that it was produced by Margielas' longtime Italian knitter Miss Deanna for the Autumn-Hiver 1993-1994 collection. Further, we have found similar one-of-a-kind Margiela openwork-knit and unraveling pieces, as well as one with oversized snaps like the fasteners on our top, dating back to his 1992 collections. Suggesting it could have been from an earlier collection, Antwerp's fashion museum MoMu featured a pale deconstructed mohair knit sweater dating from 1990 in its major Martin Margiela 20-year retrospective, which was produced in collaboration with the designer during his final year at the house in 2008. Based on other Margiela couture pieces with more than one remaining identification tag, the design of our cardigan without a remaining text tag began as a vintage top collected by Martin Margiela to upcycle or reproduce, and/or it was made-to-order by Miss Deanna before he finished it to some degree with his Paris-based team. Our knit fastens with pompon-tipped yarn ties, along with two signature silver oversized-snap buttons, which most noticeably appeared on Margiela tops in 1994 for a collection that was inspired by toy-doll wardrobes and included human-sized reproductions of actual miniatures. For price comparison, another 1stDibs dealer currently lists a silver-oversized-snap-fastening brown faux-leather windbreaker "doll" jacket by Maison Martin Margiela for upwards of $7,000. Also on 1stDibs, two other Margiela 1990s...

In the sexy sleek skin-tight style that Texan Tom Ford introduced as the former artistic director at Yves Saint Laurent Rive Gauche while the French esteemed eponymous designer was r...

Over 20 years ago, the late Roberto Cavalli who recently died in 2024 designed this silk-and-cotton top-and-jeans set showcasing his signature mix of animal prints with luxurious emb...

In the 1930s when French fashion couturier Jeanne Lanvin (1867-1946) was creating decorative bias-cut silk tulle overlays for her feminine full-skirted sleeveless "robes de style", she designed this black semi-transparent silk-tulle formal jacket featuring diagonally-striped topstitched silk-crepe appliques throughout the bias-cut panels. This sheer geometric-patterned cape-like jacket has a skirt that drapes from an open waistline and a top-fastening bodice with gathered rounded 3/4-length sleeves that each have two arm seams and shirred embroidered cuffs. It could have been the first "swing coat" design that was given that name around 1935, when Lanvin was the "uncontested leader in the haute-couture field"--according to the French Palais Galliera that has collected and exhibited similar garments at its fashion museum in Paris. In New York, TheMet collected a House of Lanvin black evening coat with a similar shape that also features dramatic linear appliques, but in a white starburst that it dates to Spring/Summer 1927. The unprecedented modern look of this Art-Deco women's jacket, which was inspired by 18th-Century French and Spanish topcoats for aristocratic court dresses, may have been good cause for Maison Lanvin to custom-make some close reproductions of a one-of-a-kind couture original for additional clients in Paris, which is implied by the remaining French brand-label noting "Adaptation Jean Lanvin...

In the early 1990s in France, Paris-based Azzedine Alaia (1935-2017) designed this knit pullover chemise-style sleeveless lavender violet viscose dress that features bias panels in b...

Featuring a dramatic never-worn zipper skirt from the iconic Spring/Summer 1986 Alaia Paris collection--which dominated the Vanity Fair published preview of Foundation Azzedine Alaia...

In the 1960s, the Paris-based revolutionary futurist haute-couture designers included Andre Courreges, Pierre Cardin and Paco Rabanne, who was the last to died in the 21st Century in...

American Tom Ford, for his first collection for Yves Saint Laurent Paris/Rive Gauche while also creative director at Gucci, designed this Spring/Summer 2001 black formal evening gown...

Tom Ford for his Gucci Spring/Summer 2001 collection toyed with the retro mid-century concept of nude sex-appeal embodied by Marilyn Monroe, who inspired that season's designs and ad campaign. With the themes of bare skin and black-seamed sheer stockings, Ford's opening looks on his fashion-show runway featured ecru corset dresses with black transparent or leather overlays and stiletto heels (see our other listing for runway "Look 2"). Our versatile ecru leather tuxedo-influenced sharp-shoulder dinner jacket is from the same award-winning collection. Significantly, 2001 was the year that Tom Ford (b. 1961) won the Council of Fashion Designers of America womenswear award for Designer of the Year, while The Met acquired Ford's signature corset dress for its Costume Institute collection. Purchased at the Gucci boutique on Manhattan's Upper East Side, this "Made In Italy"-labeled jacket is tagged size 40, while suiting a US-size 4 to 6 with the padded shoulder-to-shoulder seam measurement of 15.4 inches and 23.6 inches arm length. The jacket is streamlined by marked and angled peak lapels, sleeve vents with concealed buttons, back symmetrical vent, and single-point closure near the interior seam via a tiny Gucci branded silver-tone metal clasp. Notably, these are among the most technically challenging elements to tailor. Fully lined in ecru silk-blend fabric, the jacket's left interior chest pocket sports button-and-fabric-loop closure and a fully sewn larger black Gucci brand label. We added photos of the jacket worn over our black-tulle-covered ecru strapless balconette corset dress that was the Gucci Spring/Summer 2001 fashion...

In the 1990s, French Thierry Mugler (1948-2022) designed this haute-couture labeled and numbered corset-style topstitched zigzag-panel ecru 100%-cotton-denim cocktail dress, which is...

For her Fall/Winter 2002 runway finale with the model embodying a "jeans bride", Stella McCartney debuted this unique ethereal lingerie-like black transparent silk georgette blouse ...

From one of the last fashion collections for French Maison Martin Margiela by its renowned founder Belgian artist Martin Margiela before he prematurely retired in 2009, this asymmetr...

The late Italian Gianni Versace near the end of his life--cut short by his murder in July 1997--designed this couture heavily-embroidered semi-transparent silk chiffon sleeveless hou...

Acquired from the French flagship Christian Dior Boutique in Paris when John Galliano was its artistic director of both haute couture and ready-to-wear, he designed this hip-accentua...

Around 1970 when Bill Blass introduced his eponymous brand after becoming a leading couture fashion designer among New York City society, he created this sleek tuxedo-like ecru-satin...

While at Paris-based Balenciaga in late 2007, Nicolas Ghesquiere designed this 100%-silk bias-cut paneled dress that explodes with a grey and pale-yellow flower print and features un...

While British John Galliano was creating haute couture in Paris as French fashion-house Christian Dior Artistic Director beginning in the late 1990s, he designed this "Made In France" black lace-and-sheer-mesh low-back boned corset featuring a bold curvilinear halter neck, underwire padded 32B bustier with a rounded-bust silhouette, cinched waist with a lace ruffle, and embroidered text "Dior". Along with leading couture designers Jean-Paul Gaultier and the late Vivienne Westwood, Thierry Mugler and Gianni Versace, Galliano is closely associated with the popularity of the contemporary corset, which was the focus of his acclaimed couture show in 2024 as the ongoing artistic director of Paris-based Maison Margiela for the past decade. Notably, a Galliano corset from his turn-of-the-century Christian Dior collection--with like tags and similar low back with bustier--can be viewed online among the collections of the Underpinnings Museum, which is dedicated to the most outstanding lingerie. In addition to the tags noting "Christian Dior Made In France" along with the size, Galliano added subtle Dior-logo embroidery to the cleavage. There is no tag noting the materials of the multiple laces, tulle mesh, bones and additional padding or strap fabrics, which seem primarily synthetic for desirable stretch-to-fit. Instead, care-instruction symbols can be found on the back of the size tag. The neck straps for this French-size 85 or U.S.-size 34 can be adjusted to one of the three tiers of hooks that best suits the wearer, while the corset has two tiers of hooks to cinch the waist. As worn by our small-size mannequin, the top will flatter even an A-cup breast size. As noted in our listing sidebar, the buyer will receive the corset packed in its original Christian Dior silver shoebox-size cardboard packaging, while the lingerie will be wrapped in the original logo-printed white tissue paper. The box and paper are in good condition without rips or perforation, while the lingerie is in like-new condition as if it had only been tried on and not worn for an event. For price comparison, a later dated Galliano/Dior bustier corset top--with like tags but strapless--recently sold on 1stDibs for $6,200. The previous sole owner of our top recalled making their purchase as new lingerie in 2001. This French ready-to-wear complex-structure garment should not be confused with other international lingerie lines with different but similar labels--"Christian Dior Intimates...

For a formal special event, this 1980s maxi dress sleeveless gown by American designer Victor Costa features glamorous glossy red satin that is gathered, ruched and topstitched in bo...

Uniquely designed as couture by French Jean Charles de Castelbajac in the 1980s in Paris, this oversized soft cashmere-viscose-wool bias-cut Italian-knit black sweater has made-in-Fr...

This timeless quintessential corseted, shirred, ruched and topstitched "little black dress" produced by Victor Costa in the 1980s was made for the high standards of New York's trendsetting Bergdorf Goodman. It was the first U.S. luxury department store to order exclusive special-occasion dresses from this Texas designer and subsequently to give him a namesake in-store boutique. He soon became associated with the feminine glamorous gowns worn by "PYT" (Costa-speak for pretty young things) on the Dallas-based television-series "Dynasty", which idealized status-conscious Texan women mostly via fashion. With a strapless curvaceous sweetheart neckline, narrow sinuous folds of crepe silk-blend jersey cross diagonally below the decollete, while contrasting vertical ruching defines the seven bones of the invisible corset structure that is fully lined on the interior. Under the bust in front below the empire-like peaked high waist, the fitted tucked underlay of the cocktail dress wraps around the back to end as an overlay in front, where the opening on the left side extends to the bodice like a discreet slit. The freely hanging bias-cut overlay in front is gathered underneath each breast for a forgiving central drape that adds additional curves to make the wearer's torso underneath appear in sleek condition despite a potentially less than ideal figure. The dress closes with a concealed zipper in the center of the back, with exterior hook-and-eye fastening to narrow the waist. There is a second concealed hook-and-eye fastener at the top of the zipper. Although the only remaining tag is the Costa/Bergdorf label, it is a contemporary U.S.-size 8, which will also suit a large-busted size 6 or a svelte size 10. Now 88 years old, Victor Costa (b.1935) became widely known by the 1980s in The States for perfecting affordable luxurious gowns that could be mistaken for one-of-a-kind flamboyant designs by foreign couturiers Christian Lacroix, Arnold Scaasi, Oscar de la Renta or Valentino Garavani. Early on, the avid female sketcher...

Evoking late-1980s couture with complex construction showcasing a wide variety of sewing techniques and French lace, this like-new "Christian Lacroix Paris Made In France" fuchsia-la...

This Alaia Paris black set of a very soft 100% leather high-waisted derriere-enhancing pencil mini skirt and rare logo scoop-neck T-shirt were made around the early 1990s by the foun...

Italian Miuccia Prada debuted for her Fall/Winter 2000 womenswear collection this Vogue-photographed fashion-show runway "Look 1" three-piece ensemble, which includes a 1940s-inspired thick check-texture wool skirt suit with defined hour-glass waist, padded shoulders and plush fur accessory. While Prada became known in the 1990s for some of the best accessories, this detachable multi-color red-fox collar with thin beige grosgrain ties and silk-lined reverse was featured in its ad campaigns and magazine spreads as the versatile must-have of the season at the turn of the century. With 100% virgin wool, sharp shoulders, flap pockets, and full lining, the warm jacket...

For his Gucci Fall/Winter 2001 collection, American Tom Ford designed this sleek partly-knit pullover tunic featuring a plunging V-neck collared suede front that drapes in a reverse ...

This antique ArtDeco-period couture British wool-and-satin black tuxedo button-decorated open-breasted tailcoat fits a women's U.S.-size 6 so well that we think it was custom-made fo...

For the Spring/Summer 1991 made-in-Italy collection of her eponymous London-based brand, Katharine Hamnett debuted this fitted elongated jacket skirt-suit as "Look 1" in her fashion show (see our photo of the video coverage). Her working-woman styled model was unexpectedly accompanied by a male model adorned in a cowboy hat, which suggests her power over a strong man. In a different color without metallic accents, this sleek three-button single-breasted lined jacket is paired with a matching seafoam-green tucked skirt with back slit. Immediately apparent based on the seven piped princess seams around the torso, the jacket is expertly tailored like Savile-Row menswear. It also has a speckled-grey felted collar, piped front pockets, and triple-buttonhole split sleeves. The skirt closes in back with a center zip with hook-and-eye fastening. The durable cotton-blend fabric, which is in excellent condition, is notable for its slight iridescence with a soft luster that links it to the reflective elements that dominated that colorful collection by Hamnett. We included photos of the suit lit by sunlight with yellow tones and in lighting with...

Japanese Rei Kawakubo designed this wool-blend half-dress topcoat with embossed pinstripes for her Comme des Garcons Fall/Winter 2000 collection, which she titled "Hard And Forceful"...

As French couture made by Martin Grant at his Paris atelier in the Marais in the mid-1990s, this pale grey plaid lightweight-wool slit-skirt suit has many hand-tailored elements that...

For his first collection for Yves Saint Laurent Rive Gauche for Spring/Summer 2001, American Tom Ford debuted on the Paris runway this tuxedo-style black virgin-wool evening skirt-su...

During John Galliano's first year as French fashion-house Christian Dior Creative Director in Paris for haute couture and ready-to-wear in 1997, he designed for his Spring/Summer 199...

This couture lace transparent red-and-black floral-pattern silk sleeveless evening midi dress, with an eyelash-lace boatneck and hem, is constructed with torso tucks above and below ...

For the first eponymous-brand debut in Paris by Belgium-born Veronique Branquinho for her Spring/Summer 1998 collection with couture details, the former Flemish-trained fashion desig...

Captured in a video-still from his Fall/Winter 1992 collection fashion-show in Paris, Martin Margiela uniquely upcycled the seam intersections from the crotch, dart or tuck on deconstructed garments to make a high-relief topstitched cross shape as the mysterious design feature on some of his tops and knits. On this Maison Martin Margiela silky black velour crushed-velvet cropped halter, the altered seams are the subtle central focal point of the transformed fully-lined viscose breastplate. The backless top is constructed like a pullover bra with flexible elastic crisscrossing straps with metal hardware, which appear to be hosiery garters or suspenders. The iconic off-white blank brand label is hand-sewn at its four corners on the reverse to just the lining, where there are tags above it noting the material, size and manufacture-country Italy. The French-size 40 is flexible enough to be worn over another top or alone by a range of sizes from 38-42 depending on bust size. Since our small-size mannequin is backless, when worn by the buyer the upper part of the halter will sit higher on the chest and the bottom corners attached to the elastic bands will be less visible in back than we could photograph. Fortunately, we found the same Margiela halter in a sunny black-and-white photoshoot from Winter 1995, and included our pics of a few shots. In one, notice where the black velvet is reflecting sunlight as white due to the irregular texture of the seamed cross. The Fall/Winter 1995 "Circus" collection by Maison Martin Margiela featured similar lined velour and sleeveless tops in the fashion show, but we could not find any photos in that collection of the distinct X-shaped elastic straps that boldly define the back of our top. Comparatively, a F/W 2006 Martin Margiela sequined...

This unusual mid-century lingerie-style black mini dress with a semi-transparent skirt that conjures a historic pinup-girl like Bettie Page is suitable as a mini dress as part of an evening ensemble. It was probably meant by its New York designer to be paired with slim cropped pants, which became popular in The States after worn by Hollywood-movie actresses Audrey Hepburn and Marilyn Monroe. The A-line short dress was most likely made by the former ready-to-wear fashion company following the revolutionary debut by French Christian Dior of his couture cinched-waist-voluminous-skirt "New Look" collection, whereafter German Sonja de Lennart introduced "Capris" in 1949, and American Hugh Hefner launched Playboy magazine in 1953. The complex hourglass-shaped garment features a double v-neck four-seamed ruched lined bodice in a crepe silky woven fabric. Its defined gathered bust extends from the chest seams at two angles to form short dolman sleeves only in the front, while there are arm seams in back. The gathered see-through black faux-lace organza flared skirt reveals a black velvet-textured scalloped floral pattern with a net underlayer. With beige lining, the self-trim band at the waist enables the folded scalloped-lace pattern to continue to stand out on the opaque black torso. The edges of the peplum and sleeves are further cut in a scallop shape to resemble more delicate eyelash-lace trim. The brand label of the obsolete line is the only interior tag that remains. Camouflaging the midsection, the flattering dress will best suit a U.S.-size 6. It can also be worn by larger sizes with a relatively slim waist and small or large bust as there is no restriction at the hips or wide armholes. At the waistline, a hook and looped cord fasten over the bypass zipper to better conceal it. Notably, the steel-tab-and-teeth zipper is an original U.S-made Murlen model, which was used in new clothes from the 1940s to 1960s and helps to date the mid-century dress.

Vivienne Westwood's son Joe Corre opened the first lingerie boutique for his sexy London-based brand Agent Provocateur in Soho in the mid-1990s, when the sole owner of this black lac...

In his classic long flared silhouette, Japanese Yohji Yamamoto skillfully designed with bias-cut draping both this navy ribbon-trimmed notched-lapel single-breasted lined jacket and ...

Like a turtleneck ensemble acquired by TheMet Costume Institute, Ann Demeulemeester designed this bold-silhouette contrasting-texture wool set of chocolate ribbed high-neck cropped tight knit sweater and black bias-cut crepe mini skirt for her Fall/Winter 1996-1997 collection, when the latter low-waisted garment without a waistband was worn on the Paris runway over trousers. The soft thick darted pullover jumper characteristically has the designer's hallmark of oversized exaggerated cuffs, which can be left unfolded for a more feminine look. The Belgian designer meticulously tailored the brushed-wool skirt so that its three seams are in the back, where there are also darts to flatter the bias drape, two belt loops, and invisible zip closure at the center. Aside from featuring knitted turtlenecks in almost every ensemble that debuted on the runway that season, this collection was significant because Demeulemeester--who was known for her black-and-white palette of monochromatic pieces until she retired from her independent label in 2013--added colors and textures including this sweater. However, red was the only color featured on the runway. For an alternative pairing idea, we included a photo of a similar brown ribbed darted high-neck sweater, which was worn in Demeulemeester's runway show for Fall/Winter 2000, but with a shiny billowy slit maxi skirt...

While John Galliano was also creating his early Christian Dior haute-couture fashion collections as its acclaimed creative director, for Fall/Winter 1999 ready-to-wear for his ongoing eponymous Paris-based fashion house, the Brit designed this teal-green woven-wool day-to-evening dress with a luxurious bias-cut satin silk underlay and couture-like finishing. Evidenced by this dress, at that time Galliano was championed by the editors of U.S. Vogue as the leader of the sleek ultra-feminine trend. The influential magazine had earlier helped to establish him in Paris with a U.S. financial backer for an independent atelier and in America among high-end retailers--from where this dress was purchased by the sole owner, but never worn. Although its streamlined elegance that creates a striking silhouette has the look of a conservative linear dress...

Twenty-five years before Chemena Kamali revived the 1970s-pantaloon style for her Chloe Spring/Summer 2025 collection, Chloe-alumnus Stella McCartney designed for her eponymous Sprin...

While he maintained his design-leadership role at Chanel, Karl Lagerfeld (1933-2019) created limited-edition silk chiffon Fendi-logo prints to be glimpsed through multiple thigh-high...

The Italian duo Dolce & Gabbana for their Fall/Winter 1995 runway show featured black lace ensembles that included this trio of merino-wool knit turtleneck with asymmetrical vertical...

In 1994, Martin Margiela did something unprecedented with his luxury fashion brand Maison Martin Margiela, which was to debut a collection with no new designs but rather a new-for-it...

This antique Native American brown chamois suede leather sleeveless chemise dress, which was handmade during the "reservation era" between 1870-1930, is made from two soft supple ani...

1997 arguably marked the pinnacle of Japanese Comme des Garcons founder and fashion designer Rei Kawakubo's collection debuts when she introduced deconstructed asymmetrical "lumps and bumps" padding and transparent tops that both deformed and revealed female bodies. For her Fall/Winter 1997 "Adult Punk" collection, she debuted this transparent ecru organza pullover dinner jacket or evening oversized blouse, whose bodice and lower long sleeves are color-blocked with white textured silk-blend appliques and lined in white tulle that is hand-sheered above the outer hem. A recent Parisian exhibition at Musee de la Mode, "1997 Fashion...

In Comme des Garcons founder Rei Kawakubo's iconic Spring/Summer 1997 collection titled Body Meets Dress, Dress Meets Body, which was nicknamed "lumps and bumps", this navy two-piece set of transparent pullover long-sleeve net tulle blouse and convertible translucent bias-cut draping long skirt or tube dress debuted on the runway in "Look 11" among the Vogue coverage (partly concealed under a navy open robe). Significantly, our pair repeats the fashion show's "Look 1" theme that was identified by TheMet museum curators as "clothing-absence/body-presence" with a see-through symmetrical top revealing breasts and a feminine bias-cut draped asymmetrical skirt. Variations of this silhouette were modeled in navy, or red like our primary photo. Many had net-encased organ-shaped down pillows freely inserted into net underlays by the designer to shockingly distort the silhouettes, such as with two kidney-shapes on the back or a tube across the front of the hips. This set will likewise accommodate such padding that is apparent in the Vogue photos...