McCartney 2003 Prototype LingerieLike Lace SilkChiffon Satin Black HaremPants

While John Galliano was creating haute-couture in Paris for French Maison Christian Dior as its artistic director beginning in the late 1990s, he designed this "Made In France" black stretch-lace-and-net low-back boned corset featuring a bold halter neck, padded underwire bustier with a rounded bustline silhouette, and cinched waist with a lettuce-edged ruffle. Along with leading couture-fashion 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 most recent couture show in 2024 as the creative 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 logo embroidery to the cleavage that reads "DIOR". 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 B-cup French-size 85 or U.S.-size 34 can be adjusted to one of the three tiers of hooks that 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 tissue paper. The box and paper are in good condition without rips or perforation, while the lingerie is in like-new excellent 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 international lingerie lines with different but similar labels--"Christian Dior Intimates...

As conceptual art while he transitioned to Hermes Creative Director in 1998, Belgian Martin Margiela--whose creations today debut in the setting of a contemporary-art gallery priced at upwards of EU$150,000--created this stenciled or block print. Conceived by arguably the most culturally influential contemporary fashion designer since Gabriel "Coco" Chanel, it is part of a limited-edition-of-two white-boxed set that includes the couture Maison Martin Margiela "Artisanal Line 0" body-harness lingerie in its maker's signature color white for Spring 1998. The same lingerie--one white and the other black--starred in a film made by Margiela among the five that he screened to present his Spring/Summer 1998 "Flat Collection" in Paris at the Conciergerie. In that film titled "4", which begins with a view of the iconic topless tabi "boots", the hands of Margiela's white-labcoat-clad assistants enter the frame to manipulate different garments on a model who initially wears the exterior lingerie (see our photos) as if jewelry. A simple dark collared coat, a white collared button-down shirt, and a dark button-down cardigan--all with the "displaced neckline" or "displaced shoulder" of the flat-hanging clothes--are transformed into new collarless plunging v-neck garments, which appear to be ruched when folded under the harness of the lingerie. Both black versions of the lingerie are in museum collections. In Martin Margiela's home-country, the ModeMuseum (MoMu) archived its collected piece as OBJ7660. In the 2018 Parisian retrospective exhibition at Musee de la Mode/Palais Galleria when its artistic director was Martin Margiela (working with Curator Alexandre Samson), the second black lingerie was featured on a mannequin and collected the same year by the Vogue Paris Foundation. Other conceptual designs from this same 1998 collection of jewelry were acquired by TheMet museum in Manhattan. Without the restriction of the use and function of clothing, the small uncreased print--on a card that can be removed from the interior-box bottom that it loosely spans--shows the buyer how to endlessly fashion unique tops using the structural-elastic lingerie as an undergarment for their own pre-worn button-down shirts. This is a more obvious example of the once avant-garde concept of anti-fashion upcycling that Martin Margiela introduced to challenge social and fashion-industry norms by the 1990s, which echos the revolutionary anti-art of Marcel Duchamp. Essentially, valuable art/fashion can be made from everyday vintage objects. While Duchamp did so in 1917 with a men's porcelain urinal titled "Fountain" attached to a gallery exhibition wall, they both made the point that it is the way that such items are reassembled that can make the result a progressive statement. What makes the print so special and worthy of framing for display is that, without words, the three numbered images on a single white card encapsulate the before-its-time fashion manifesto of Martin Margiela to recycle fashion in remarkable new wearable ways, such as harnessed by his unique lingerie. According to The New York Times in its 2021 feature-story that reflected on his radical fashion design and delved into his crossover art, Margiela "changed how we dressed in the 1990s", while his art embodies "the visionary man he has always been." At a turning-point shortly after Margiela designed this couture set in 1997, his personal manifesto became more difficult to accomplish in his fashion career as the new leader of France's historic luxury fashion-house Hermes, for which his first womenswear collection was presented for Autumn/Winter 1998. Frustrated by the limitations of the industrialized luxury trade and conglomerate conflicts with his closely guarded privacy, the famously "invisible" designer pre-maturely retired from the fashion industry in 2009 to independently build on his clever artistry in other mediums. Margiela continues to demonstrate what he often told his fashion teams: "The less you have, the more creative you are as a designer." This minimal finely-crafted lingerie without size or gender restriction--composed of adjustable "polya-elasthanne" straps with a clear anti-slip strip on the underside and three silver-plated metal double-rings--can be worn either as a concealed structural undergarment or as a visible jewelry-like body harness in appreciation of its meaning as a foundation for recycling fashion, pure form, and meaningful color. While the initial Maison Martin Margiela ready-to-wear brand tag until the late 1990s was a distinct corner-sewn unbranded white label accompanied by tags for origin and materials/care, the couture version for this lingerie is a single tiny white unbranded tag stitched in a line near the end of the waist strap, noting in English, "Made In France," with succinct material/care identification. The set's original white unbranded box and its white black-typed couture-identification sticker complete the "invisible-brand" aesthetic. We interpret the black-type codes on the aged box-sticker (“E98 ST HAUT; Struct Elas Blanc; 02; TU"): Spring 1998 Haute Couture; white structural-elastic garment; Artisanal Line 0 edition of two; one size only. The print, lingerie and box are in very good condition as shown in the photos with only one mark on the rear edge of the exterior box-lid. Although initially tried on by the sole owner to realize a restructured shirt, the lingerie body-harness was never worn. It was collected in Belgium at the Brussels boutique where Martin Margiela initially sold his brand with his founding business-partner Jenny Meirens since 1988. Prior, Margiela worked for several years as a fashion-design assistant to Parisian Jean Paul Gaultier. Both designers have since received independent museum retrospectives internationally--from Paris' Grand Palais and Musee Palais Galliera (The City of Paris Fashion Museum) to NYC's The Brooklyn Museum and Antwerp's MoMu. While others continue to try, Martin Margiela (b.1957) is the only leading fashion designer to have made a full-time transition to the commercial contemporary-art world with such highly valued works. As a rare revealing piece of both fashion and art history, the increasing value of this Maison Martin Margiela 1997...

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 decon...

In an atypical Japanese-dye color for Rei Kawakubo, in 1999 she designed this translucent salmon-pink bias-cut satin sleeveless maxi dress evening gown for her brand Comme des Garcons, which debuted on a model walking the Paris runway that Fall as "Look 12" among the Vogue photo-coverage of her Spring/Summer 2000 collection. The unusual V-neck shape creates a central drape in the front of the unlined dress that prevents the synthetic semi-transparent fabric from clinging to the torso, while still enabling the lower part to swoosh while walking. With the exception of the brand tag, all others were removed by the sole owner to eliminate bulk and visibility through the dress. If the buyer would prefer, the fabric can be made shinier and completely smooth with professional pressing. Please notice that In a couple of our photos the white drapery next to or below the dress was converted by 1stDibs auto-editing to appear like trailing elements. Also, as we used a backless mannequin, the rear side of the dress at the top is draping inward--not outward--in our photo. We have other items from this same Spring/Summer 2000 collection if the buyer may want to layer pieces for a look similar to the fashion show. This is such a beautiful minimal dress...

For her Fall/Winter 2002 runway finale as the "jeans bride", Stella McCartney debuted this unique ethereal style of lingerie-like transparent silk georgette blouse as "Look 36" (see ...

Arguable the most significant design in the Stella McCartney Spring/Summer 2003 collection since it debuted in several colors on the runway and was worn by the British designer to take her fashion-show bow, this pink-printed dark-grey silk-blend zip-front mini-dress with white satin stripes and pink piping was a favorite of the Vogue critic and her father Beatles co-founder Paul McCarthy. Vogue wrote: "Her hippest new idea came in the form of puffy satin bombers--she transformed one, a fusion of sport and chinoiserie print, into an off-the-shoulder bubble dress. McCartney is so into the glam-bomber idea, in fact, that she bounded onto the runway wearing a black version herself." The garment's voluminous batwing sleeves and stretch-cotton ribbed neckline and hem, plus custom golden-charm two-way zipper, enable it to have two different necklines and lengths to convert to a shorter puffier bomber jacket. Notably, the versatile piece that is subtly printed with mock-Beatles lyrics seems to have been the first tribute fashion-design that McCartney created to reference her father. Prior, she had credited her stylish mother Linda for instilling her with a love of fashion and inspiration for her initial namesake collections, which followed her first commercial collections with Phoebe Philo for Chloe. For background, when McCartney was a young girl in 1978, the mock-rock band The Rutles parodied a Beatles song, which was recorded by EMI as "Ging, Gang, Goolie". Given its lyrics, the chinoiserie-style dragon motifs were substituted by McCartney with bird skeletons...

Unforgettable, Nylon, Lace and Satin, Bow in Front, Tie in Back, Adjustable Straps, No Size Measurements Laying Flat (Has Stretch) Bust 17.5" Waist 17" Length 28" (at shoulder)

90's vintage Gianni Versace cotton bathrobe with the iconic butterfly print. This robe was seen on the runway as well as in the commercial photos of that season. The iconic print was re-iditioned in 2018. The robe...

Vintage Christian Dior bodysuit in sheer pink/nude color featuring iconic logos.

✨Vintage Y2K Dolce and Gabbana cami top ✨100% silk ✨Pristine conditions with all original labels attached ✨Size S

Vintage 90s very well kept La Perla Slip Dress in beautiful white lace. Perfect fit. Sexy but classy. The "La Perla Slip Dress" is a classic and elegant ...

RITMO DI PERLA LA PERLA Vintage 2000s very well kept (new) gold luxury and high-quality corset top. Very sensual & sexy. Embroidered with a layer of tulle with leaves and beads and a zipper at the back. Vintage La Perla corsets...