French couture quality, embroidered tulle dress, c.1915. The attention to detail and fine hand finishing suggest the dress came from a couture fashion house. Exquisitely hand embroidered with padded satin stitch, tiny French knots, and open-work fill. Here is the winning charm and demure elegance of the period. NEW LISTING
Princess lace dress with train, c.1923. With its charming and slightly uneven texture, this heirloom quality lace dress delights the eye of the viewer. The graceful back train embodies the stately and ceremonious persona of a gracious hostess or of a beautiful bride. NEW LISTING
Normandy lace dress, c.1930. Very popular around 1910, Normandy lace features patchwork designs of lace and whitework embroidery. The skirt, flared below the gently shaped torso, dips to a small back train. NEW LISTING
Tabard-style beaded overdress, 1920s. Sturdy enough to wear, the stylish dress lightly skims the body, draping perfectly from the weight of the beads. The lavish clear crystal beading is spectacular. The sides of the dress are open. NEW LISTING
Beaded chiffon flapper dress, c.1925. The tabard-style beaded chiffon overdress covers a lilac charmeuse slip. The floral print on the overdress is enhanced with clear crystal beading. Soft pastel coloring and clear crystal beading resonate with a luminous Renaissance beauty! NEW LISTING
Beaded silk georgette day dress, c. 1922. The long lean look of the early 1920s conveys the refinement of the 1910s but was easier to wear. Covered with silver beading above the wide hem border, this dress is an incomparable display piece whose exotic beading motifs are masterful aesthetic hieroglyphs.
Wide-brim bicorne hat with original trim, c.1922. Bicorne hats achieved a brief but noteworthy prominence in millinery high fashion during the early 1920s. The crown and brim of the hat are covered with black velvet. A hint of burgundy in the black feathers is a charming touch.
Silk velvet evening cape, 1920s. The softly controlled fullness of the torso is caught in below the hipline by a bias-cut flared skirt. The fabulous fuchsia hue and sensual silk velvet are all you need to feel at home on the red carpet.
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.
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.
Boué Soeurs hand-embroidered dress, c.1925. The 3 inserted figural medallions of handmade needle lace make this piece an exemplar of the needle arts. The figures are dressed like 17th century courtiers. The medallions alternate with baskets of flowers down the front of the dress.
Boué Soeurs hand-embroidered slip, c.1925. Lavishly hand embroidered with floral bouquets. The embroidery is bordered with scalloped handmade filet lace, the Boué Soeurs trademark. You can wear the slip as a mini dress; or as originally intended, wear it under the trousseau dress (#7497); but the exquisite needle art is too pretty to hide.
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.
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.
Beaded devoré velvet flapper dress, c.1926. The Chinese palette and large stylized flowers intimate the exoticism of the East. The floral pattern is repeated in crystal beads on the plain chiffon upper bodice. The only embellishment is a long car-wash panel—anchored with a beaded semi-rosette—on each side at the hip.
Beaded lace and chiffon evening dress, 1930s. It is straight to the lower hip. The lower skirt flares out with bias-cut panels. The masterful beading conveys a sophisticated artistic class sensibility; while the thrilling flame motif will raise the temperature in the room.
Beaded gold lamé flapper dress, c.1924. The skirt is attached to the slip, while the outer bodice shell is separate. Both pieces slip on without closures. The fabric is woven with a stunning black-and-gold Deco pattern lavishly embellished with crystal seed beads and gold tone bugle beads.
Deco beaded silk flapper dress, c.1925. The design intimates an opulent haut bourgeois Bohemianism—the luxury of the beau monde (elaborate beaded ornamentation) combined with the artistic creativity of the new Art Deco movement (bold geometric motifs).
Men's vintage original tropical suit, 1930s. The style is like that of the iconic 1930s Palm Beach suits by Goodall. The "Palm Beach suit" is the insignia of the town's most elite social circles. To play the part, you must look the part. You can wear this suit on a luxury cruise; or in a previous life, among the top Palm Beach social cliques.
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.
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.
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!
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.
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.
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.
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.
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.
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 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.
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, 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.
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.
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.
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!
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.