Massachusetts - Fashion

1980s oversized cut in this hip-length fur jacket, possibly muskrat. The fur is lush and cut in flat, broad pieces throughout the body with their zigzag edging also finishing the hem...

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...

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...

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...

Wide-brimmed natural straw hat w/wide navy velvet band and red fabric roses. Small high crown perches on top of head, does not pull down, lined in taffeta. Wide brim, 5 1/2 inches at...

For his first collection focusing on black-and-white looks for Yves Saint Laurent Rive Gauche for Spring/Summer 2001, American Tom Ford debuted this tuxedo-style black virgin-wool an...

Unique and rich color teal distinguishes this mid-century box bag, a form which was popular during that period. Rectangular, with two sturdy handles and V-detailing and tab on front...

Cocktail ensemble, c.late 1970s-early 1980s, composed of a white tee-shirt-style top and black full skirt, both pieces constructed of sheer silk organza. This elegant and simple two-...

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...

This go-with-everything clutch is perfect for traveling and summer evenings out. Crafted of crocheted silver metallic thread, the envelope-style clutch by Rodo has a unique clasp - a...

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...

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 ...

Roberta di Camerino iconic velvet handbag in black, the center vertical section in gray velour front and back, the front accented by a wheel-shaped embroidery; in addition, the gray ...

1950s-'60s cropped ivory sweater covered in ABA sequins and studded throughout in a turquoise bead and pearl motif; turquoise beaded edging is further ad...

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

Mahogany mink waist-length jacket with shawl collar and sleeves that can be turned back with cuffs or let down for full length. Velvet cords terminating in mink spheres tie under the...

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...

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,...

Vintage maxi dress constructed of plaid taffeta in black and white and featuring a rolled turtleneck, long slim sleeves, a fitted bodice with high waist and gathered skirt. A grosgra...

Among the early standout sexy shoes designed by Stella McCarney for her eponymous British brand, these four-inch steel stilettos with maroon-ombre resin hee...

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...

Iconic 1970s platform sandals by Bruno Magli in bright green leather featuring crossed straps in front, a buckled strap in back, and a 3 1/2" chunky heel.

Nicely styled and fashioned Bill Blass pea coat from the 1970s in beige gabardine. Double breasted with nautical-theme buttons, tabs at the wrists and at the neck, and straight, slas...

Valentino red straw hat, the deep back tapering towards the front, where it is creased in the middle and held with a straw knot and tie. The straw is worked in concentric circles and...

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...

Petite gold mesh bag by Whiting & Davis with wrist strap and curved gold metal frame itch engraved initials "WMF".

Mr. John was one of the preeminent American milliners during the mid twentieth century, closing up his elaborate New York salon sometime in the 1970s, although he continued to design...

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...

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-...

Australian designer Annabel Ingall hat in bands of natural, melon, rust, and brown straw. High crown with small, turned-up brim. Looks unused.

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...

Velvet is in! This black velvet 1950s princess-style coat is in great condition and features a small collar and seven black buttons down the front. The nipped waist and flare skirt s...

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...

c.1960 fascinator consisting of a structured pink velvet ring under a coordinating deep net that extends from top of head down front and sides. One si...

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...

1980s royal blue coat and dress with charcoal beading in geometric patterns and hearts. The open coat reveals a V-neck, 3/4 sleeve dress underneath...

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 as one of his favorites that he reproduced 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...

Quintessential Geoffrey Beene in cut and detail, this stunning and sophisticated gown is composed of olive green satin with black wool crepe panels strategically integrated into the ...

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...

Small shoulder bag in fur, probably raccoon, with black leather frame and long gold chain. Black interior. Unmarked. Chain length: 37".

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...

Beaded pouch purse in royal blue beads with loop beaded fringe and overlay beading in gunmetal. Drawstring closure in twisted rope.

Small 1960s crocodile handbag from Artbag on Madison Avenue, NY, features an envelope style top with snap closure and double handles that attach belo...

This unusual mid-century black mini dress features a fully-ruched top and a semi-transparent organza-and-net skirt that conjures a historic pinup-girl like Bettie Page. Rather than l...

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...

An original c.1970s Bonnie Cashin all-weather coat in red poplin, lined in charcoal wool, and with attached charcoal wool scarf. The coat features Cashin's signature toggle closures ...

Rei Kawakubo designed this translucent salmon-pink bias-cut satin sleeveless maxi dress evening gown for her brand Comme des Garcons, which debuted on a model at Paris Fall Fashion Week as "Look 12" among the Vogue photo-coverage of her Spring/Summer 2000 collection (see our last photo of the ensemble). The unusual V-neck shape creates a deep central drape in the front of the unlined dress that prevents the synthetic semi-transparent fabric from clinging to the torso. To continue to flatter the curvy shape of the lower body like the bias-cut enables, such as while walking, Kawakubo added an additional piece of fabric with a circling angular seam that rises from the wider hem. With the exception of the brand tag, all others were cut off 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. If the buyer would like to create a layered ensemble with this gown as seen on the runway, we have other textural colorful tops to choose from with over-dyed unique appliques from this same Spring/Summer 2000 collection. However, we think our backless-mannequin photos show that this minimal dress...

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...

Ronald Amey was a masterful designer, from concept to execution, and, although a bit under the radar, his clothes are much sought after by connoisseurs. He used exquisite and interes...

Azzedine Alaia designed this French black leather skirt and T-shirt ensemble in the early 1990s. It includes a very soft lambskin high-waisted derriere-enhancing pencil mini skirt an...

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...

MM handbag c.1960s in dark pink, the leather featuring horizontal, curved stitching resulting in a quilted effect. The faux tortoise handles echo the shape of the bag and snap together to close. A coordinating faille interior has an attached money purse...

Immaculate styling is the hallmark of this 1950s suit fashioned of a fine brown and white tweed wool. The long blazer-style jacket features a notched shawl collar cut diagonally at b...

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

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...

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 ...

Lavishly sequined vintage cardigan in lavender accented with beaded florets. Hook-and-eye closures in front. Silk lined. An excellent example of the decorated sweaters popular during...

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...

Azzedine Alaia (1935-2017) designed this knit pullover chemise-style sleeveless lavender violet viscose dress that features bias panels in back defined by his signature curvilinear s...