Beaded and sequined tulle flapper dress, c.1925. Covered with a diamond pattern of iridescent champagne colored sequins, this glittering dress out of The Great Gatsby consists of a long beaded shell tunic over an underslip with attached beaded skirt. Here is the dazzling, sumptuous look of the Jazz Age! NEW LISTING
Embroidered net flapper dress, c.1927. The variety and piquant charm of the schematic floral motifs intimate the precious heirloom value. The relaxed, unstructured style is effortless to wear. The bias-cut flirty skirt panels add a touch of flapper sass to an otherwise straight silhouette. NEW LISTING
Beaded and sequined tulle evening dress, c.1920-1924. In this exemplar of Art Deco design, the black-on-black scheme does not camouflage the rich complexity of the intricate grid pattern. On the contrary, the monochrome geometric design—without distracting color contrast—perfectly counterbalances the fluid floral beading on the bodice. NEW LISTING
Metallic embroidered gauze tea dress, c.1930. The cobweb pattern of the gauze ground is embroidered with metallic gold floss, black and ivory fine cotton floss, and two shades of rose colored yarn. The delicate mix has a memorable textural quality. The semi-abstract floral motifs intimate the ineffable delicacy and refinement of a bygone era.
French flapper evening coat, c.1925. Here is the gilded, sumptuous look of the Roaring 1920s. The velvet collar, ruched in back, falls in wide-tie lapels in front. The sassy draped back is the quintessence of flapper style. The brilliant coat from Louis & Cie. is lined with copper colored silk velvet.
Deco devoré velvet coat, c.1925. The dazzling coat combines a boldly graphic Deco design with plush devoré velvet to mesmerizing effect. The hard edged design appears to float over a great depth of field. The hand-knotted silk fringe on the hem and sleeves is a design detail beloved by the flamboyant flapper.
Irish crochet lace tea dress, 1930s. In one masterful high-style conception are conjoined two of the most significant styles of the early 20th century: the tea dress and Irish crochet lace. With their endearing feminine charm, the enchanting floral motifs are of the last degree of charm.
Egyptian Revival beaded satin flapper dress, c.1925. The hem borders are lavishly hand beaded with crystal beads and rhinestones. The tunic has long beaded panels that fall from the back shoulders. The intricate design motifs have been arranged like aesthetic hieroglyphs that impart to the viewer a pleasing, yet enigmatic, message: high style chic with the exotic allure of the East.
Embellished chiffon tea dress, 1930s. Our gossamer creation of silk chiffon is trimmed with delicate silk lace appliqués and ribbon art bouquets. An endearing pink chiffon was used as a ground for the charming silk ribbon bouquets limned with a pleasing pastel palette. The delicate silk lace appliqués are executed with a masterful Rococo touch.
Floral chiffon dress with low cut back, 1930s. The slinky, form fitting silhouette and hip-seam detail anticipate the longer styles of the 1930s. The hybrid style combines a sophisticated 1930s silhouette with an endearing floral print, whose sunny hues—for a 1930s viewer—symbolized the unbounded optimism of the carefree 1920s.
Beaded satin flapper dress, c.1926. Featuring dazzling embellishment of silver-lined crystal beads and glittering rhinestones. The intricate pattern—the same on front and back—includes delicious stylized pineapples. The subtle elaborations of the intricate curvilinear Art Nouveau motifs on the bodice have a memorable beauty.
Beaded flapper dress, c.1928. Made from taupe silk crepe, the fetching dress is beaded with clear crystal and silver-lined crystal beads set in a grid design. With a handkerchief-style pointed hem, the skirt is ideal for dancing; the beaded decoration sparkles with joie de vivre. Both sexy and demure, here is the personification of the free spirited, fun loving flapper era.
Deco evening coat, 1930s. Made from black silk/rayon velvet, the stylish and sophisticated coat pays homage to the heyday of Art Deco in the mid-1920s. In fashion, a white-on-black theme creates high drama. In the dazzling Deco design, the striking "framing effect" of white-and-black color blocks creates a powerful theatrical effect.
Metallic brocaded lamé evening dress, c.1929. Made from gold and purple silk/lamé brocaded with metallic gold, our dress has the uneven hemline that anticipates the longer styles of the 1930s. The skirt consists of separate, ruched panels attached at the top to a short, straight underskirt. The layered effect of the richly textured, Persian-style pattern calls to mind the splendors of Central Asian textile art.
French flapper wedding dress, c.1928. The simple flapper style is the perfect background for the romantic embellishment. The hemline draws the eye to a delightful rhinestone basket of ribbon art roses, which have metallic cord centers. There is a second smaller basket of flowers peeking through the lace just above the knee.
Mixed lace tea dress, c.1920. So soft and romantic, the dress combines hand-embroidered tulle panels with a medley of hand-assembled tape lace in a textured design. Your "audience" will appreciate the masterful combination of floral motifs with design textures. Rows of feminine ruffles on the sides of the skirt enhance the textural appeal.
Fortuny Peplos tea gown, c.1920. The tunic attached at the neckline falls in points to the hip, giving the appearance of a two-piece garment. Fortuny used silk satin more finely pleated than anything ever seen in costume. The Peplos is incredibly soft and liquid, molding to the curves of the body. The richly modulated pastel pink has a mysterious, enchanting depth.
Beaded Chantilly lace flapper dress, c.1928. Made from black Chantilly lace with a wide hem border of finely embellished bronze metallic lace, the loose fitting, straight style is softened in front with large bias-draped lapels above the waist and a draped bias skirt panel below. The fab lapels intimate a "fashion uniform" for the most stylish of women.
Appliquéd robe de style dress, c.1924. With the original built-in panniers, this exemplary piece was based on Jeanne Lanvin's signature robe de style, which hearkened back to 18th century Court dress. Against a canvas of luxe maize-hued velvet, the exuberant floral appliqués—made from silks and silk ribbons—are reminiscent of the decorative charm of the Rococo.
Beaded silk chiffon jacket, c.1928. Covered with multi-hued glass beaded roses, the chic jacket presents a luminous kaleidoscope of color. The coruscating colors and stylish shape—like a gilded frame of a portrait in life—project an exotic, magical aura around the wearer. This is the essence of style: individual, brilliant, and impulsive.
French beaded velvet evening coat, mid 1920s. The sleeves and sides are elaborately beaded with alternating stripes of roses and geometrics. The sinuous, serpentine beading pattern is visually arresting. The main bands of the floral motif are executed with matchless mastery, conveying the exotic allure of the East.
Beaded tabard-style dress, c.1920. It lightly skims the body and drapes perfectly. Cleverly referencing the medieval tabard, the highly elaborated geometric design has a mesmerizing appeal. Just as emblazoned arms on the knight's tabard was a means of identification, so here the masterful beading certify a different kind of identity: as an aristocrat of style.
Beaded chiffon flapper dress, 1920s. Made from cream colored silk chiffon, the torso is embellished with a cobweb-style design of white glass beads. The inspired, fluid design accentuates female curves. The neckline is bordered with superb open work. The fab Deco design features the primary geometric forms characteristic of the Art Deco—a brilliant concept, a veritable brain wave!
Beaded evening dress with strappy back, 1930s. Covered with clear crystal beads, the dress slips on without closures, hugging the torso in just the right places. Everything is miraculously held in place—and only by your curves ;:) With its fab "back interest," this sophisticated dress conveys the alluring sensuality of 1930s silver screen idols.
Deco sequined evening cap, c.1925. By the late 1920s, the bell-shaped cloche had been pared down to the skull cap, following the new streamlined modernism. The simplified shape of the evening cap cried out for elaborate surface decoration. Here the embroidered design uses an ingenious mix of glittering sequins and coiled metallic spirals.
Sequined tulle flapper dress, c.1925. Cut straight to the hipline, where it is attached to a bias-cut circular skirt, the stylish dress personifies 1920s glamour. Whispering the romantic intrigue of the night, the sophisticated black-on-black design is punctuated with bursts of glitter from a mix of large diamond-shaped paillettes, sequins, and glass beads.
Beaded velvet and brocaded satin evening coat, c.1922. There is nothing quite so enduringly chic and timeless as a high style evening coat. Made from black-and-gold brocaded satin, the regal coat is probably French. The surface is covered with gold beads and sequins. The glittering Art Deco design infuses the dress with high-octane 1920s glamour.
Hollywood-style beaded evening dress, 1930s. The soft pink hue is the perfect setting for the outer layer finely embellished with opaque white beads, clear crystal beads, and glittering rhinestones. Fantasy is the quintessence of the scintillating, semi-abstract design of stylized roses and sprays of opaque white beads. Here is the dress for a woman who will embody those dreams.
Sequined net evening dress, 1930s. This is the slinkiest, sexiest mermaid dress I have ever seen. With its seductive cut, the sylphlike dress is reminiscent of glamorous 1930s styles. Made from stretchy ivory net, the dress is completely covered with scalloped rows of iridescent sequins. It provocatively molds to the body, ending with a scalloped hem and small back train.
Hollywood style sequined evening jacket, c.1939. Made from black net totally covered with flat black sequins that shimmer and sparkle in the nighttime of our dreams, the cut is gently shaped and comfortable to wear. Here are the built-up shoulders popularized by MGM designer Adrian in his designs for Joan Crawford. The style really took hold during WWII.
Metallic lace evening dress, c.1929. Made from gossamer beige and metallic silver lace, the dazzling dress bespeaks the gilded optimism of the Roaring Twenties. The skirt consists of artfully draped bias-cut panels of lace. What accounts for the sublime, empyrean beauty of our celestial dress? Is it the charming design motifs or perhaps the electric excitement of the glittering metallic silver lace?
Chantilly lace flapper dress, c.1925. The torso is straight to the drop waist. The skirt, straight in front and full in back, has layers of bias-cut panels. The slip is skillfully constructed with a sheer layer of black silk chiffon over a chartreuse satin lining. The cheerful red-yellow-blue tambour embroidery personifies the unbridled optimism of the mid-1920s.
Beaded crepe evening blouse, c.1939. The beaded decoration is spectacular. Here is the showiness and brilliance in clothing celebrated throughout the Great Depression. The creativity of the design motif conveys a stylish elegance that the initiated understand, but which remains a mystery to the rest.
Chinese embroidered dragon coat, 1920s. Straight-cut wide sleeves, mandarin collar and embroidered with 3 dragons, symbolizing good luck. The expressive dragon eyes are embroidered with silk floss. The striking 2-color design of real silver cord against carmine red satin makes an indelible impression.
Embroidered metallic lace skull cap, 1920s. By the late 1920s, the bell shaped cloche was pared down (streamlined modernism) even more to become a skull cap. The lace cobweb pattern creates a delicate filigree effect, as mysterious as it is beautiful. The embroidered chenille flowers add a 3-dimensional quality. This treasure of textile art has a mellow beauty not found in modern synthetics.
Embroidered tulle/Irish crochet flapper dress, c.1926. The winsome dress is embellished with raised floral embroidery, decorative crocheted ball buttons, and bands of pale beige Irish crochet lace. I love the fluttery lace faux sleeves. The dress slips on without closures. The simple shape of the dress is contemporary; the detailing has the distinctive charm of an antique original.
Fortuny stenciled velvet jacket, 1930s. Never before on the market, the jacket is hand stenciled with a Renaissance-style pattern in gold pigments. Here is the subtle shading found in Renaissance frescoes. With wide sleeves and a stand-up shawl collar, the short boxy style is meant to be worn open without closures. A Fortuny stenciled velvet outer garment is even more rare than a Delphos gown.
Fortuny stenciled velvet jacket, c.1930. The "lace" pattern is hand stenciled with layers of subtly changing silver/gray pigment, reproducing the Renaissance fresco effect. By an aesthetic dialectic,Fortuny synthesized ideas to create a new and different design. Here he brilliantly combines blocks based on Islamic tiles with borders based on 17th century lace.
Embroidered knotted net lace tunic, 1920s. This artistic tunic combines an ancient lace technique with a thoroughly modern T-shirt shape. The ingenious symmetrical design is composed of semi-abstract natural motifs—many referencing the harvest time. The variegated, multiform motifs create an unforgettable panoply of masterful ethnic-style design.
Metallic lace flapper dress, c.1925. The torso is straight to the hipline. The fullness of the skirt is softly gathered on the sides and in back. The elaborated floral motifs still show the influence of Art Nouveau. The incandescent beauty of the lace personifies the dazzling splendor of late 1920s fashion.
Metallic lace flapper dress, c.1925. Made from bronzed metallic lace over a black satin lining, this scintillating dress slips on without closures. The lower sides of the bodice are ruched, creating a cummerbund effect. The scalloped border on the lace is a delightful touch. The incandescent beauty of the lace personifies the dazzling splendor of 1920s fashion.
Silk velvet coat, 1920s. Made from luxe burgundy silk velvet, the stylish coat features an exquisite collar of embroidered silk. The sublime hand-embroidered Persian-style floral pattern intimates an aristocratic insignia—an emblem of membership among the fashion elite.
Velvet and lace evening dress, 1930s. The beguiling velvet dress, artfully cut in concentric rings that conform to the underlying curves of the body, gracefully skims the hips before flaring out in the circular lower skirt. I love the low cut neckline, framed with a draped collar flounce of fine beige lace. The sensual drape of the velvet and the deep black hue lend a seductive glamour to the alluring dress.
Flapper velvet skull cap, late 1920s. By the late 1920s, the bell shaped cloche was pared down even more to become a skull cap. This essential flapper accessory was made from black silk velvet and lined with black felt. Skull caps are perfect for bad hair days—just tuck your hair up inside the cap and forget about it.
Chinese embroidered satin coat, 1920s. Made from black satin with borders of ivory satin, the brilliant coat is finely hand embroidered in silk polychrome floss with Chinese motifs of flowers and figures. Especially memorable are the decorative cerise and amber flowers, whose whimsical verisimilitude puts Nature herself to shame.
Beaded chiffon and crepe evening dress, 1930s. The bodice is of silk chiffon embellished with a grid pattern of clear crystal seed beads and outlined with rhinestones and Swarowski-style crystal beads. A delightful bow ties the "necklace." With its plunging neckline and glittering rhinestones, this beauty personifies 1930s Hollywood glamour.
Metallic brocaded silk chiffon evening dress, 1930s. Brocaded with metallic gold flowers, the long fluid style, with its low cut back, intimates a seductive elegance. The opulence of black-and-gold (royal colors) makes an indelible impression on the eye of the viewer. Indeed, it is the burnished metallic gold brocade that epitomizes the luxe design.
New York silk lace dress, c.1924. The slip-style under layer is of black silk chiffon with a skirt lining of black China silk, attached black lace sleeves, and a satin ribbon cummerbund. Its pretty watered silk floral pattern shows through the outer lace. The lace over dress is decorated with velvet ribbon rosettes and streamers that hang from the base of the cummerbund.
Embellished straw cloche hat, c.1924. Made from café-au-lait brown straw, our hat has a small wired brim of matching silk taffeta. Plump padded fruits are combined with stylized beaded silk flowers and cellophane-type leaves. The fun loving style personifies the joyful mood of the 1920s.
Needlepoint bag with petit point birds, c.1920. What joy and gaiety in the design—worked in fine wool petit point—with two mythological birds (different on front and back)! The bag is hung from a gold tone metal frame and is lined with aqua silk. Inside are two pockets with a matching change purse and silk backed mirror.
Museum quality opera coat, c.1922. Made from cobalt blue devoré velvet, cut to a ground of bronzed gold metallic lamé. The kimono-style coat, loosely fitted on top with dramatic wide sleeves, hugs the body over the hips.
Fortuny stenciled silk gauze wrap, c.1920. The caftan-style wrap allows a body-clinging gown to show through. The 3/4-length wrap is cut square with openings for the arms. The hand stenciling is done with real gold metallic pigments aged to a mellow hue. His stenciled pieces are built layer on layer, achieving the effect of an old fresco.
Printed silk day dress, late 1920s. Made from pale green silk crepe de chine printed with plaid lines and flowers, the sleeveless torso is straight to the hipline, where it breaks to overlapping rows of bias-cut ruffles. The large cape collar forms faux sleeves. The floral print has an irresistible innocence, perhaps due to the improbable purple binding around the edges or to the layers of flirty ruffles.
Beaded velvet evening blouse, c.1938. Closing in front with a metal zipper, the blouse can also be worn as a jacket. With its coral and turquoise combination, the beading pattern is reminiscent of Navajo jewelry design. The bold beaded design executed in assertive, contrasting hues creates an almost hypnotic aesthetic tension that holds the viewer's eye.
Beaded silk chiffon dance dress, 1930s-40s. Made with an outer layer of black silk chiffon over a black silk crepe slip. The ankle-length gored skirt flares above the knee with inserted bias-cut panels and flounces. With swirling skirt and sleeves, this dazzling, Ginger Rogers dance dress makes a great dance even more spectacular.
Marcelle André evening dress, c.1930. Made from heavenly aubergine silk chiffon with lace inserts, the skirt has an amazing, intricate cut and molds to the hips before falling in soft full folds. The dress comes with a matching satin slip that has a nude silk chiffon top. Fab labeled French couture from Marcelle André!
Gallenga hand-stenciled tea gown, c.1920. Made from pumpkin colored silk velvet, it has dramatic long pointed sleeves and a square-shaped back train. In the subtle pattern, birds, hounds, and floral motifs frolic inside pointed ovals. The loose fitting style is comfortable and easy to wear. The coat was signed Maria Monaci Gallenga on the hem of the train.
Lace dress and bolero ensemble, late 1930s. The figure flattering dress accentuates the bust, skims the hip, and flares out below the knee. Open in front and longer and flared in back, the bolero jacket demurely covers the bust. Yet the bolero stops short at the waist, revealing a sexy dress clinging to the body over the hips.
Chiffon evening cape, 1930s. Dramatically shaped with fluttering double layers of black chiffon that plunge from just below the bust in front to full length in back. Is it the black chiffon cocoon or the exotic scalloping that creates an inviting yet enigmatic intimacy? The sphinxian cape will wrap a stylish woman in the mystery of the night.
French silk velvet jacket, 1930s. The luxe jacket reminds me of the clothing worn by the young expatriates in The Talented Mr. Ripley—the sort of ease and elegance that comes from money and leisure. They were not afraid to be stylish or artistic—or decadent for that matter. The gracefully draped skirt of the jacket is bias cut.