Massachusetts - Clothing

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

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...

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...

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...

Vivienne Westwood (1941-2022) designed this corset-style hourglass-shaped red velvet evening cocktail dress with its outsized double bow and sheer moire faux-underlay while producing her "Dressed To Scale" collection in 1998 with then-decade-long protege Andreas Kronthaler. A design from this collection set a Westwood-clothing auction record at Christie's London when a corseted silk gown fetched over $41,000. This fresh interpretation of the classic Marilyn-Monroe silhouette was dubbed the "MM Corset Dress" for Westwood's semi-couture Gold Label, while it can still be made-to-measure as a bespoke dress (see photo of model wearing version as a white wedding gown...

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 hand-painted transparent vibrant crepe-de-chine silk panel with intricately hand-sewn rolled edges was commissioned as a couture shawl...

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...

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 two-layer evening gown that ...

As conceptual art while he transitioned to French luxury-house Hermes Creative Director in 1998, Belgian Martin Margiela--whose creations today debut in the setting of a contemporary...

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...

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...

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 design mentor Rei Kawakubo's Japanese brand Comme des Garcons, Junya Wantanabe made this inimitable semi-transparent white taffeta floaty ruffled-V-neck sleeveless pullover dress with distinct parachute elements, cutwork, and adjustable ruching and draping as "Look 1 and 2" (see photos) for the Parisian fashion show debut of his Spring/Summer 2003 collection. The stunning combination of contrasts range from romantic-to-combat themes, gathered-to-flowing construction, raw-to-finely-finished edges, soft-to-hard materials, and gossamer-to-dense textural fabrics. Secured on the exterior of the dress with bold silver-tone metallic hardware, the parachute-like 100%-cotton grosgrain straps are mostly enclosed within multiple diagonal and vertical ruched channels to enable symmetrical or asymmetrical draping and lengthening of the thin synthetic fabric into multiple swags. Strap ends can freely hang from the functional hardware on the front of the dress and below its sides--as if they could be yanked to release the fabric into a drifty parachute sail. With the potential to be a stunning formal overlay if worn with a minimalist wedding gown or long skirt, the reverse side of the voluminous dress is equally remarkable for its ruffled diamond-shaped cutout at the lower back, where it is intersected by a trio of linked thick straps that are secured to a looped ruched channel. This creates an elongated bustle with a dramatic central 19-inch slit between the two swags that each extend 43 inches below the outer shoulder hem. This premiere-catwalk dress is distinguished from others in Wantanabe's "Parachute Jumper" collection by the complexity of its top. Two ruched straps form an X-shape via silver hardware at the upper back, extending to the front over the shoulders to form an adjustable face-flattering ruched V-neck with silver-hardware-linked narrow straps. The soft folds of the neckline contribute to the raised ruffle collar, as well as flow to the shoulder seams. The hand-cut hem was designed unfinished and meant to fray, although it has not given its minimal wear and very good condition consistent with only age and storage. See our photos of the care/material tags. All tags remain, including from the Italian concept-store 10 Corso Como, where it was purchased in Milan. The "Made in Japan" size is a large-running "S" due to the pullover and adjustable style of the dress, which is equivalent to an Italian-size 44 or U.S.-size 6. Beyond a convertible dress...

Vintage mink coat, late 20th century, in dark brown, mahogany color. The coat features a simple, straight silhouette with a notched collar, square shoulders, straight sleeves, and hi...

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...

Alexander McQueen (1969-2010) designed this curvaceous uniquely-draped wool and hand-shredded silk-chiffon black cocktail-dress evening-gown for his Autumn/Winter 2002-2003 collection "Supercalifragilisticexpialidocious", which set a ready-to-wear $37,500 auction record in 2020 for its complimentary black billowing silk coat. Comparatively, a 1stDibs midi-dress listing similar to ours from his subsequent fashion-season collection for a raw-edge-cut silk chiffon red dress for Spring/Summer 2003 in good condition sold for $10,144. Our intricate ruched semi-transparent silk chiffon and sleek lined opaque wool hourglass midi dress is in very good condition. Although made in Italy, the tagged size 38 will suit a French 38/US 4-6. Like the 2020-auctioned coat from Supercalifragilisticexpialidocious, the gown is also among the few that encapsulate this collection according to Alexander McQueen, who was quoted by magazine Numero: "This collection was inspired by Tim Burton. It started out dark and then got more romantic as it went along." This is why The Met Costume Institute showcased a runway ensemble including the aforementioned coat in its museum retrospective, "Savage Beauty", a year after the designer died...

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 as 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...

A wonderful addition to your winter wardrobe, this reversible vintage coat is both attractive and versatile. The fur side is composed of black sheared fur, very lustrous and soft to ...

c. 1970 mink jacket in a soft golden shade features a spread collar and comes with a brown leather sash belt. One fur hook and an interior tie keep allow ...

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...

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...

1970s coat crafted of gray pigskin suede and featuring white fox trim for the lush shawl collar and front trim that contours around the hem. A self belt with buckle encircles the wai...

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

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...

Victor Costa at his dramatic best. Feel like a princess in this black strapless evening dress with its velvet bodice and tulle skirt. The sweetheart strapless bodice is fitted throug...

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,...

A great piece to spruce up your Fall wardrobe, this snakeskin blazer is shaped close to the body with front darts and contour seaming in the back. It ...

Floral voile 1930s day dress in pastel colors. Sleeveless bodice has capelet effect with ruffle border and ties that fit through tab. Paneled skirt flares at sides. Slips over the he...

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...

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...

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...

A novel vintage piece from the 1980s, this jacket is crafted of supple black suede and features a yoke, mandarin collar, and two pairs of tails at the neck of dark brown mink. The se...

Black plush wool maxi coat features double-breasted styling and self sash. The coat buttons up to the pointed collar. Set-in sleeves with two buttons at each wrist and shoulder epaul...

Yves Saint Laurent hard-to-find vintage 1979s cape from the designer’s Moroccan collection. Crafted of black wool, the simply cut long cape features a pointed hood and burgundy braid...

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 late British designer's Spring/Summer 1999 fashion show, this Vivienne Westwood runway-look three-piece ensemble of a black corset-sty...

One of Victor Costa's best designs, this strapless cocktail/evening dress is fashioned of white satin and black velvet alternating horizontal stripes with fitted bodice leading to an...

Ivory ribbon knit jacket features a matching mink collar and three-quarter sleeves. Rounded edges at hem and side slits. Hook closure at neck. Lined in emb...

Black cardigan from the 1950s-'60s embellished with black beads and sequins. Sweater composition is lambswool, angora and nylon and has tiny spherical ...

Luxurious fisher coat by Alixandre, known for high quality furs. Simple styling featuring a notched collar and round, padded shoulders, the vertical skins ...

For his Gucci Fall/Winter 2001 collection, Tom Ford designed this sleek leather and knit pullover that features a plunging V-neck collared suede front, which drapes in a reverse V-sh...

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...

Fabulous long sheath of black crepe with allover beading in a squiggle design of black bugle beads. Narrow body hugging design with straight neckline front and back and cut-in armhol...

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...

Make an unforgettable entrance wearing this stunning Lillie Rubin sheer black ballgown. The gown has beautiful details. Embellished with a play of textures: gorgeous floral black lace at the bodice, sheer sleeves & neckline and an ethereal black-on-black polka dot, soft tulle floor-length full skirt. This designer evening gown...

Unusual Norma Kamali vintage long with halter straps extending up from a double triangular insert that tapers to a low curve in back. Fashioned of black crepe, the skirt fits snugly ...

Odette Barsa was primarily renowned for her exquisite lingerie, produced from the 1930s-1970s, and this vibrant red print ensemble may have been originall...

This coat is simply amazing - an exquisite Blin + Blin custom couture wool and mink fur coat circa the 1950s. The luxurious mink fur accents and highest quality tailoring make this piece a truly elegant choice for the colder months. The coat is absolutely luxurious and the quality of the wool is unmatched by anything you'll find today; it's soft, supple, and has a wonderful feel on the skin. The coat has a loose, cocoon swing coat silhouette with bracelet-length bell sleeves accented by three bands of plush mink. The collar is further accented with mink. There's a floral wreath-shaped button closure with snaps at the neckline, and two front pockets. Fully lined. This is a coat you will wear and treasure for a lifetime. Excellent condition. Tags include a Blin+Blin 1827 maker's tag stamped with the custom order number of 304102. Estimated best fit is a modern size M-L. Please check your measurements to ensure a good fit, remembering to leave room for garments and movement for comfort. Shoulder to Shoulder: 17" Bust: 44" Waist: 44" Hips: 44" Sleeve Length: 20" Collar to Hem: 38.5" About Blin+Blin: Blin et Blin was a family-run French company founded in 1827 in the Alsace area of France which later moved to Normandy when the region was annexed to Germany. Blin+Blin specialized in the manufacture of luxury woolen cloth. During the 1920s it opened subsidiaries in Northern France and Britain and became one of France's leading woolen manufacturers. Blin+Blin supplied the Lilli Ann design house, one of the most collectible US mid-century vintage brands...

Stunning jacket by Pauline Trigère, c.1970s, in black smooth wool featuring a deep black fox border at the hem. Single breasted with self buttons and bound buttonholes, a shallow man...

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--which was interpreted by TheMet museum curators as "clothing-absence/body-presence"--with a see-through symmetrical top revealing breasts and a bias-cut draped asymmetrical skirt that clings to body curves. 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 with impossible feminine curves, 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...

Judy Hornby Couture voided silk bias-cut evening dress with deep cowl neck neck and layered hem, both layers trimmed with pearls. Long sleeves with gathered shoulders and pointed wri...

Arguable the most significant design in the Stella McCartney Spring/Summer 2003 collection--since our versatile garment debuted in different 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 bubble-shaped mini dress with white-satin stripes and pink piping was a favorite of the show's 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 with stretch-cotton ribbed neckline and hem, plus custom golden-charm two-way zipper, enable it to have 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...

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 ...

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...

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...

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.

Classic Missoni men's pullover featuring a complicated intarsia design in subtle colors of mostly beiges and grays highlighted by teal. Fabric is a soft bl...

c.1990s Gianni Versace coat in soft 15% cashmere/wool blend, featuring a true double-breasted style that buttons up to a small round collar. The body of the coat has seams towards th...

A profusion of multicolored beads and sequins adorns the surface of this eye-catching evening jacket. The mostly pastel beads cover the entire black silk surface in a riotous patter...

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 ...