Beaded lace-over-satin evening dress, c.1923. This transitional style retains the long slender elegance and opulent embellishment of the 1910s but appears more modern with a revealing neckline and unstructured shape. The exotic Deco design artfully mixes geometric forms with floral motifs. NEW LISTING
Silk lace flapper dress, c.1929. The longer-in-back hemline anticipates the full length styles of the 1930s. The sexsational deep V-necklines in front and back will be worn over a slip: a black slip will give you a sophisticated LBD for evening; a contrasting light-hued slip will accentuate the exotic lace pattern. NEW LISTING
Embroidered gold lamé flapper dress, c.1928. The graphic design features a bold blushing rose embroidered in chain stitch of heavy silken floss on a canvas of a contrasting royal blue satin. Echoing the single rose are several large Poiret-style roses caressed by blue leaves in decorative frieze on the front of the skirt. NEW LISTING
Beaded silk crepe party dress, c.1930. The marriage of a sophisticated long torso and a coquettish ruffled skirt makes for inspired design. Add the striking contrast in beading: large cobalt blue vs. tiny sable black and you have an unforgettable fashion statement! NEW LISTING
Deco gold lamé evening coat, c.1925. The stylized pattern of flattened chrysanthemums is rendered in graphic black-and-gold metallic brocade (royal hues). In our brilliant, luminous coat there inheres a regal, resplendent beauty that will turn heads as you make your grand entrance, and keep them turned. NEW LISTING
Beaded satin/lace flapper dress, c.1926. The loose fitting, drop-waist style is comfortable and easy to wear. Wide borders of matching lace around the neckline are mirrored around the hem. Glittering rhinestones dot the lace hem border. NEW LISTING
Paquin velvet evening cape, 1920s. From one of the great names in the pantheon of haute couture, the layered cape has an attached upper shoulder cape with rows of ruffles across the back. The shoulder cape creates the illusion of sleeves, but there are no armholes: ingenious construction in the service of peerless design!
Metallic lace evening dress, mid 1920s. The outer layer is made from black knotted net lace embroidered with black silk floss leaves and an exotic zigzag pattern of burnished gold floss. The large gold lamé rose at the shoulder and the black-and-gold Deco clasp at the hipline are fab period details.
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 under slip with attached beaded skirt. Here is the dazzling, sumptuous look of the Jazz Age!
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.
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.
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.
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.
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.
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.
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.
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 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.