Irish crochet/wool coat, c.1905. Our super luxe coat was purchased at Francis & Co. (Paris). It is an exemplar of early Edwardian style. The Irish crochet flowers are bold and gutsy; the wide angel-wing sleeves are so dramatic! NEW LISTING
Lace trimmed silk wedding dress, c.1908. The stylized charm of the floral design and the gossamer delicacy of the lace pattern personify the feminine ideal in clothing. The dress delights the jaded modern eye with its soft feminine styling, pin tucks, and hand-assembled lace. NEW LISTING
Beaded and embroidered net coat, c.1912. The cutaway style that dips down to a train in back epitomizes Edwardian elegance. The plush raised effect of the ribbon embroidery is enhanced by a mix of sparkling faceted beads. The whimsical, aristocratic refinement of the embroidered motifs still shows an Art Nouveau influence.
Charmeuse, lace, and chiffon wedding dress, c.1915. The supple softness of the silk charmeuse body of the dress complements by contrast the straight silhouette. The boldly patterned lace creates a strong accent. NEW LISTING
Brussels handmade Duchesse lace overdress, c.1905. Originally part of a grand Belle Epoque silk gown, this exquisite overdress can be the core of a unique wedding ensemble. What a fantastic buy—the visual effect of an heirloom lace garment without the higher cost of a complete Brussels lace dress!
Mixed lace tea dress, c.1910. Handmade lace, machine made lingerie-style lace, and tambour-embroidered net lace are the motifs in this symphony in lace. The high waisted bodice is fashioned from delicate floral embroidered net.
Beaded devoré velvet evening wrap, c.1914. Made from rose colored velvet cut to a ground of navy blue chiffon, the fluid unstructured shape is so modern. The navy chiffon sections are covered with iridescent glass beads. The plump velvet roses are bordered with bands of meandering fleurs-de-lis. The sublime roses in bloom have a haunting beauty with their vivid verisimilitude.
Hand-embroidered linen walking suit, 1910s. Embroidered with raised, padded satin stitch and fancy fill open work and with fab hand-embroidered scalloped edges. The gracefully flared skirt is smooth over the hips. The skirt waistband was let out for a modern fit. NEW LISTING
Kid leather shoes with ribbon stripes on toes, c.1905. The chevron pattern of aqua gros grain ribbon is appliquéd onto the toes. So simple and elegant, the geometric design foreshadows Deco modernism of the 1920s. NEW LISTING
Beaded metallic brocade evening bag, c.1912. Made from metallic silver and gold brocaded silk, the bag is embellished with an Art Nouveau pattern of bronzed gold bullion, faux pearls, and glittering rhinestones. It belonged to Katherine Drexel, great granddaughter of Francis Martin Drexel, founder of the Drexel family in the United States.
Silk boudoir jacket, c.1900. The lightweight silk jacket is a delicious shade of pale pink. Rows of lace inserts and pleated tulle edge ruffles add to the emblematic feminine appeal. Frilly combing jackets have moved from the Edwardian boudoir into contemporary fashion.
High style brown velvet hat, c.1910. I love the sophisticated elliptical shape with the narrow rolled brim that curls up to meet the extravagantly decorated crown. The brim is covered with matching brown ostrich feathers, two of which form a faux bow in back. The tour de force of the milliner's decorative art is the use of brown mink pom-poms and velvet pine cones.
Linen riding habit, c.1908-1920. Covering the tops of the jodhpurs underneath, the long shapely jacket has a deep, to-the-waist vent in back and is man tailored with a notched lapel and diagonal breast pocket. What a remarkable historical artifact at a great price: a valuable collectible and an eye catching wearable!
Filet lace tea dress, c.1910. The long slender dress personifies understated elegance: everything is soft and feminine. This graceful, gossamer design combines sheer silk chiffon covered with rows of pin tucks, pleated ruffles, and textured filet lace embroidered with a fab Chinese-style pattern in silk floss.
Orientalism-inspired wool coat, c.1912-1920. Wide kimono sleeves, a high stand-up collar, and a straight cut. The black cloud-form pattern is embroidered with curled wool yarn and outlined with black cord. As exciting and wearable today as 100 years ago, this stunning coat is a peerless exemplar of Orientalism in fashion.
Brussels lace trimmed wedding gown with cathedral train, c.1910. Covered with layers of matching dotted swiss tulle and handmade Brussels lace, the stately gown features a poufed draped tulle on the skirt anchored with a garland of waxed orange blossoms. With a long cathedral train and handmade Brussels lace trim, this historically accurate gown is a rare find.
Brussels handmade lace wedding dress, c.1905. This important heirloom lace dress has panels of Point de Gaze needlepoint lace surrounded by Duchesse bobbin lace. A large piece of fine Brussels lace is itself a much sought after collectible. It is rare to find an entire dress made entirely from antique Brussels lace.
Wide-brim straw hat with floral decoration, c.1905. Made from natural colored straw, the hat boasts the elaborate floral decoration so popular during the Edwardian period. Shirred ivory cotton tulle and pink satin ribbon complete the tableau.
Beaded satin/lace wedding dress, c.1912. The long lean lines and empire waist are in the Directoire style; while the elaborate beading, draped lace, hobbled asymmetric skirt, and fishtail train are early 20th century innovations. Loops of sparkling crystal beads complete the inspired ornamentation. This magnificent collectible is also suitable for the bride who wants the couture look!
Coronation robe of British Duchess, c.1911. Lined with ivory satin, the robe and train (over two yards long) were fashioned from rich claret velvet imbued with dignity and tradition. The short capelet is of white ermine with four rows of black sealskin spots, indicating the rank of Duchess. The front closure of the robe has an embroidered bronze coronet.
Redfern natural silk cape, c.1901. Sturdy and wearable, the stylish cape has the solid construction of a gentleman's garment. The choice of a menswear plaid lining was an inspired touch. The romantic, full-gathered hood could be right out of a Gothic novel like Jane Eyre; while the dramatic cutwork pattern on the black leather trim is like the arcane insignia of the fashion elite.
Wire frame hat with fruit trim, c.1910. Trimmed with concentric circles of black raffia ribbon and stretched over a wire frame, the delicious decoration is to die for. The looped bows are made from wired, chenille-style raffia. The brim is topped with mouth-watering faux fruit.
Edwardian style vintage blouse, 1970s. Finely fashioned from peach colored silk crepe de chine with French seams and rows of pin tucks, the princess line seams give the blouse a figure flattering shape. The hem border is of expensive handmade Cluny lace. This beauty gives you the romantic allure of an antique in a garment sturdy enough to wear.
Two-piece cotton day dress, c.1905. The petal-soft pink hue of our ultra-feminine tea dress is a pleasant alternative to the standard white. The masterful ornamentation is to die for! The bodice is embellished with charming ruffles, lace inserts, and narrow tucks; the skirt is decorated with rows of wide tucks.
Embroidered tea dress, c.1910. The pristine dress is lavishly decorated with machine embroidered cutwork and lace inserts. With their endearing feminine charm, the floral motifs on the bodice intimate the eternal mystery of woman's beauty. Despite the elaboration of decorative elements, the dress has an unaffected naturalness that wins the heart.
Wool melton coat, c.1900. The wide sailor collar and cuffs of black velvet trimmed with braided soutache give an exotic charm to the surplice-style coat, which is fuller in back, falling in graceful folds. The full raglan sleeves and coat back are shaped with decorative seaming detail. You would have to pay $2700-$3000 to find such masterly decoration on a designer coat.
Hand-embroidered linen/lace ensemble, c.1910. The high waist and the two vertical panels emphasize the long lines of the silhouette. The panels almost appear continuous from the vest to the skirt. Both the long sleeved dress and the sleeveless vest are hand embroidered with a cutwork floral pattern. The satin stitch embroidery has an amazing 3-dimensional verisimilitude.
Silk chiffon nightgown, c.1910. The bodice, pleated to the empire waistline, falls in soft folds below the ribbon ties. The nightgown features panels of handmade filet lace, delicate floral lace, and silk ribbon rose buds. The seductive allure and delicate femininity of the floral lace, as it adorns and caresses your body, will not be lost on the man in your life.
Chantilly lace gown, c.1905. The bodice has the full pigeon-breasted front typical of the period. The skirt is cut longer and fuller in back, forming a small train. The grand gown is noteworthy for the unusual addition of colorful floral appliqués. The textural elements—Chantilly lace inserts and black velvet ribbon bands—really stand out.
Mixed lace wedding dress, c.1905. What a delightful mix of embroidered panels, machine lace, and handmade Irish crochet flowers! On the skirt panels, an array of lace floral motifs complement the large padded satin stitch embroidered roses.
Fancy lace skirt, c.1905. The skirt fits smoothly over the hips to below the knee, where the lower flounce cascades into a long back train. In the vocabulary of high style costume, the elegant train connotes an almost regal elegance.