Vintage Clothes

Zandra Rhodes

Zandra Rhodes printed silk chiffon dress, 1980s. The plain black skirt is divided into panels to reveal a glimpse of leg when you walk. The skirt lining is also split into panels. The bodice front and sleeves are printed with a variation of Rhodes’ Indian feather design. She never loses sight of the raison d’etre for fashion: to make the wearer feel pretty and desirable. Each of her unique creations, no matter how unconventional, blooms like an exquisite flower.

André Laug

André Laug faux snakeskin coat, 1970s. The finely textured rayon fabric drapes like silk. The vertical bodice seams open into inverted box pleats above the waist, creating a softly sculpted Empire line, showcasing the languid grace of Laug’s elegantly understated designs. His discreet good taste was especially popular with his “old money” American clientele, who appreciated the mix of Old World sophistication and New World simplicity.


Red Valentino 1960s-style mini dress, c.2003. The super stylish LBD recaptures the original Mary Quant-André Courrèges 1960s mod look, but Valentino’s version is almost better than a 1962 vintage original! The shape of the dress radiates out from the central bow. The box-pleated skirt cleverly mirrors the inverted V-opening on the bodice. The weighty black wool gabardine effortlessly holds the shape.


Dior-New York little black cocktail dress, 1960s. Slip into this delicious LBD and release your inner Audrey Hepburn! Made from black wool crepe, the dress features a wide ruffled hem border of black taffeta, which curves upward to a large taffeta rose at the base of the plunging neckline. Since Chanel introduced the little black dress in 1926, it has become the epitome of chic. Dior’s version makes a sophisticated, dramatic fashion statement.

Pedro Rodriguez

Pedro Rodriguez beaded mini dress, 1960s. The densely packed clusters of pastel flowers have a lifelike 3-dimensional quality. They are rendered with seed beads in shades of pink, pale blue, yellow, and silver/gray. The abstract floral motif in delicate, feminine hues entwines itself around the wearer’s body—subtle, yet alluring! We can see why Rodriguez’ elaborately beaded evening wear was sought after.

Valentino embroidered lace jacket, 1970s. Dispensing with unnecessary seams, the sublimely stylish jacket is a masterpiece of highly textured surface decoration. Made from lightweight black floral lace embroidered all over with black ribbon flowers, the unstructured jacket is the ideal canvas for textile art. Like a fashion godmother’s blessing, this is Valentino’s heart-rending, pretty elegance, faithful to his artistic credo: “To make women beautiful.”


Stavropoulos beaded evening dress, 1980s. His glamorous creations were known for comfort, softness, and ease of movement. The surplice-style gown wraps around the body, leaving a deep open slit in the skirt for ease of movement. The neckline and front opening are embellished with pearls, rhinestones, and silver-lined crystal beads. Here is the high style glamour we associate with the Reagan White House—the scintillating brilliance of the pearls and rhinestones does the trick!

Bill Blass

Bill Blass little black dress, 1980s. Polished classic was often used to describe the work of pioneering American designer Bill Blass. Whether glamorous evening wear or casual sportswear, the Blass design is always tasteful and sophisticated. With clean lines and a classic look, the unadorned LBD is an exemplar of the Blass style. It combines an empire-style, black velvet bodice with a black silk crepe mini skirt. The dramatic cut-out neckline is accentuated by the understated tone-on-tone design.


Vintage Chanel quilted bag. Made from quilted tan calfskin leather with gold tone hardware and hang tags. The matching leather lining has two zippered pockets. The soft, supple leather and superb detailing exhibit the signature Chanel quality. All the hang tags and hardware match in colour.

Vintage Chanel CC logo bag. Exactly what you would expect to find in an authentic Chanel bag: the metal hardware and hang tags all match; the stitching is tight and even and matches the colour of the leather; the plump CC logo is slightly padded; and the inside Chanel leather label reads “Made in France” and is stitched in place.


Scaasi sequinned velvet evening dress, 1980s. Scaasi’s affinity for sculptural design and elaborate construction shows the influence of Charles James. The wide open neckline of the bodice is framed with a cape collar that forms faux sleeves. They are elasticised across the tops and can be worn on the shoulders or dropped below. The shape is totally built into the dress, which could stand on its own as a piece of sculpture. The built-in crinoline is a tour de force of layers of stiffened tulle.

Brocaded satin evening coat, 1950s. Here is the plush 1950s mode, when fashion returned to pre-war opulence. The fitted waist emphasises female curves; the wide collar frames the face; while the three-quarter-length sleeves will show off your bracelets. This is the stylish, feminine luxury that will never go out of style. There is nothing quite so enduringly chic and timeless as a high style evening coat for a woman whose outward charm mirrors her inner grace.

Hollywood-style beaded suit, 1940s. Made from sturdy wool gabardine, the suit has a prominent shoulder line that is softened by the full cut of the jacket, which is elaborately embellished with appliquéd soutache and bronze metallic beads. The compelling curvilinear design intimates the ancient Persian Tree of Life motif. The mesmerising design emphasises the centripetal motif, which, like a magnet, draws and holds the viewer’s attention.

Malcolm Starr

Malcolm Starr crystal beaded evening dress, 1960s. The substantial weight of the duchesse satin intimates “high-end luxury.” The effect is enhanced by the crystal beading and fine construction—ideal for a wedding. The shape of the skirt is supported with matching inter-lining. Here is the high end designer look at a great price. This dazzling duchesse dress has a glittering glamour that will turn heads.

Zandra Rhodes “Sparkle” chiffon dress, 1970s-80s. The enigmatic zigzag motif hints at an arcane mystery. She made extensive use of this mesmerising print in her first American fashion show and again in our black and white version. The neckline adapts to the pose of the wearer, draping lower in front or falling off one shoulder. The sleeves are slashed open and outlined with pearls to reveal the wearer’s upper arm underneath. A sophisticated woman understands the discreet, almost intimate, allure of this style.

Mary McFadden

Mary McFadden quilted silk evening coat, c.1980. Printed with a watered silk, abstract design on an ivory ground, the dreamy coat features McFadden’s line quilting. It is lightweight and easy to wear. In McFadden’s fashion, we often see what is apparent in this coat of many colours. It is joyous, fresh, and natural. There is always room in the fashionable wardrobe for a smart coat that can be worn with simple black pants. The stylish coat would also be spectacular over a simple slip dress.

Mary McFadden pleated evening dress, c.1980. The rich cranberry red is intensified by the texture of the pleating. The neckline is accented with a bib panel of multi-coloured beads and sequins. The svelte silhouette and the beaded bib pane showcase the marriage of exoticism to sleek stylishness. McFadden’s “Fortuny pleats” in polyester are permanent and practical for traveling. The thrilling red hue will raise the temperature of the room as you make your entrance.

Bill Blass jewelled silk cocktail dress, 1960s. The jewelled top is lavishly embellished with faux pearls, silver palliates, and glittering rhinestones. The lower edge of the top is bordered with bands of white mink. The dress is actually a versatile two-piece ensemble. Wear the dress casually with your favourite accessories. Add the jewelled top, and the dress is ready for an elegant evening; or wear the top as a separate with a long skirt or pants. Blass’ stunning evening wear was both glamorous and tasteful.

Dorothy Bullitt

Dorothy Bullitt evening dress, 1970s. The large rhinestone-studded bow and side-draped skirt will guarantee every eye is on you as your make your entrance. The graphic design combines the elegance of classical black with striking magenta and rhinestone accents. This is the high-octane glam that we all crave. The sensational debutante-quality evening dress has the Dorothy Bullitt label. A local Mainline girl, Grace Kelly, was a model there before her movie stardom.


Chloé wool crepe halter dress & coat, c.1985. What a splendid example of the luxe, romantic Chloé style! I love the pairing of a classically tailored coat with a sexy, flirty, bias-cut halter dress: refined ladylike styling with a super sexy dress covers all the bases! The wrap-around bias-cut dress is unlined, allowing it to mould to the figure. The surplice-style dress has long ties that wrap around and tie in back. The bohemian, feminine look of the Chloé style has given it currency with chic young women.

Victor Costa

Victor Costa taffeta evening dress, 1970s-80. Sometimes you have to break out of the straitjacket of sophisticated black. This playful plaid take on the evening dress does the trick! The happy plaid hue emphasises the sculptured shape. I love the play of diagonal lines around the peplum. Boned for support, the pleated bodice draws attention to your curves. Costa knew how to give women the look without the mind-boggling price.

Christian Dior

Christian Dior silk evening coat, late 1960s-early 1970s. Made from heavy black silk taffeta overlaid with sheer black silk, the skirt is styled with 3 panels daringly slit to the waist. The billowing sleeves and voluminous skirt are vividly contrasted with the wide obi-style sash, wrapped tightly around the waist. The exceptionally long skirt, which forms a train in back, is perfect for making a grand entrance. The coat intimates the self-assurance of the lady who can afford to be “casual” with a Dior, which has always meant glamorous, luxe design.

Mollie Parnis

Mollie Parnis beaded cocktail dress, 1970s. This classic black-and-gold dress with crisp styling is a real head turner. Made from substantial weight wool crepe, the bodice and sleeves are studded with textured gold tone beads. The front is embellished with a long satin bow. The skirt rises at the centre-front to meet the sexy plunging neckline. Mollie Parnis designed gowns worn by First Ladies from Mamie Eisenhower to Betty Ford.

Randolph Duke

Randolph Duke beaded evening dress, c.2000. This fabulous evening dress from the master of elegant evening wear has two layers. The outer layer is made from black net lavishly decorated with swirling patterns of clear crystal beads and metallic beads. They shift from silver to muted bronze, depending on the light. The centripetal beaded motif subconsciously draws the viewers’ eyes to the wearer. The lining layer is beige lycra stretch knit with a hint of gold sparkle.

Oscar de la Renta

Oscar de la Renta satin evening gown, 1990s. Here is the understated sophistication and superb construction demanded by de la Renta’s A-list clients. The gown pairs a long, fitted black satin bodice with a full striped skirt of olive, black, and café au lait satin. For all its simplicity, the dress is beautifully engineered on the inside with great attention to detail. The bodice is interlined for support and lined with black satin. There is a separate petticoat of khaki taffeta stiffened with horizontal bands of nylon mesh.

Manolo Blahnik

Manolo Blahnik suede stiletto shoes, c.2007. From today’s reigning shoe genius, these fab Edwardian-inspired lace up shoes were featured in the 2/07 Vogue paired with a Victorian-inspired jacket by Alexander McQueen. The two-tone boots are fashioned from pink-and-cream coloured suede. The toe foxing, decorative perforations, and lace up fronts were the last word in Edwardian boot fashion. The stiletto heels and cutout sides give our shoes a modern flavour.

Jean Dessès

Jean Dessès rhinestone studded evening gloves, 1950s. In spite of their luxurious appearance, the elegant gloves are made from washable black cotton. They are embellished with prong-set rhinestones. The stylish, sophisticated gloves offer to the collector a piece of Dessès design history without the high cost of one of his gowns. Who can forget the dramatic yellow Dessès gown worn by Renée Zellweger for the 2001 Oscars!

Chanel Boutique rayon crepe dress, 1980s. Made from dark navy rayon crepe with detachable ivory silk satin collar and cuffs, the smart dress is intricately contoured with seams that gently shape it to the female figure in an ingeniously modern reinterpretation. What a delightfully kittenish “playsuit” for a big girl whom all the big boys will want as their playmates! The almost clerical collar is just right for a garment that seems almost to attach the wearer to some Order—not of religious noviciates, but rather of style sophisticates.


Galanos silk halter & culottes evening set, 1970s. With its vivid floral print and Galanos’ flawless styling, the set has the casual elegance he was known for. The draped style with minimal construction is lightweight and effortless to wear. The halter falls in straight lines from the ruched collar band to the hip. The halter design is both ladylike and sexy, cut to showcase your natural assets! The bold and brilliant floral print is joyous, fresh, and natural: perfect for fall and winter.

Oscar de la Renta silk party dress, 1980s. So fresh and youthful with its sunny colour and jaunty plaid! This beauty combines a fetching, girlish appeal with a woman’s allure—a dynamite combination. The diagonal lines of the bias-cut side panels add visual interest while moulding the dress to the torso. The skirt is interlined with organza to hold the shape, while the bodice is boned for support. The dress closes in back with a nylon coil zipper. The seams are detailed with self-covered corded piping. Boom or bust, de la Renta knows what his ladies like.


Marquesa silk crepe evening dress, c.2004. Made from heavy weight rayon crepe, the fluid shape is achieved by self lining the skirt, giving it substantial body. It features a 1930s-style draped cowl neckline, both in front and back. The cap sleeves and cummerbund are embellished with Victorian style faceted jet beads. The sensual elegance of the silhouette, the epitome of 1930s glamour, reflects the high society seductiveness of the historical Marquesa Maria Luisa.

Scaasi taffeta cocktail dress, late 1950s. Although Scaasi is known as a superb colourist, he shows here that he can do the LBD with equal mastery. The effect is based on his finely honed sense of shape. Made from black silk taffeta, the only adornment is a large velvet rose at the deep “V” of the front neckline. This beauty is intricately constructed with features expected in high end 1950s clothing. With the signature off-the-shoulder neckline, draped torso and sculpted skirt, this stunner makes a sophisticated, dramatic fashion statement.

Bob Mackie

Bob Mackie beaded evening gown, 1990s. The eye-catching couture line gown has all the dramatic flair of the costumes that he designed for Cher. The deep navy satin-back crepe hue could easily be mistaken for black. The Deco-style beaded stripes combine silver, metallic lined crystal, and charcoal grey beads. The straps crisscross in back and attach to each side of the halter bodice with hooks. This fab gown has a ladylike elegance as well as Mackie’s signature sex appeal.

Fox fur coat, 1970s. The wide lapel collar and slightly flared shape make the clutch-style coat comfortable and lightweight to wear. The horizontal pelts alternate with bands of grey leather. The silk lining is brightly patterned. Still soft and supple, the long haired coat was custom designed for a former fashion model. The opulent, luxurious look will be prized by the woman who knows her own worth!

Galanos silk sun dress, 1980s. In this winning sundress, the detailed construction and meticulous attention to detail are comparable to what you will find in haute couture. Fashioned from substantial-weight silk faille, the dress appears effortless on the outside; inside it is totally lined with charmeuse hand stitched along the top. The back zipper is also hand stitched. The brilliant, 5-colour floral print is so pretty and feminine—and will win all hearts! Here is woman’s beauty in bloom.

Frank Starr

Frank Starr sequinned evening dress, 1950s. Frank Starr produced glamorous evening wear from the 1930s until 1966. With superb finishing, his dresses stood out in the crowd. Made from satin-backed black crepe, this classic style is both ladylike and sexy. The torso is covered with black sequins down to the hipline. The bodice is shaped with long princess-line darts. The open neckline, square in front and V-shaped in back, is perfect for displaying your costume jewellery.

Mink fur coat, 1970s. Still soft and supple, the luxe coat came from the estate of a wealthy socialite. The finely shaped coat does not overwhelm the slender figure. Made from fully let out brown/black mink pelts, the plush coat is lined with black satin with a wide decorative hem border. The collar can be buttoned up high to keep your neck warm or buttoned lower to form a lapel. It closes in front with elastic loops and decorative mother-of-pearl buttons. In front are vertical set-in pockets lined with dark brown velvet.

Galanos silk chiffon evening dress with stole, c.1980. I love the casual elegance of this spectacular evening gown. The backless bra halter falls in soft panels at the sides of the skirt. The rest of the skirt is composed of five layers of silk chiffon; the under layers are red in front and black in back. The four under layers, straight-cut with deep side slits, are attached and close in back with a metal zipper. The full outer layer—with larger-than-life printed poppies—floats over the underskirt. The inspired floral motif walks the line between youth and sophistication.

Vera Wang

Vera Wang silk jersey cocktail dress, 1990s. The perfect little black cocktail dress has it all. The torso, made from silk/spandex jersey, will mould to your figure like a Ceil Chapman dress. The shoulder straps and gracefully draped, double-layer skirt are of bias-cut silk chiffon. The unadorned black design, relying solely on cut, conveys a timeless sophistication, epitomising Baudelaire’s dictum that every dress style is beautiful in its own time.

Norma Kamali

OMO/Norma Kamali taffeta cocktail dress, 1980s. The fab dress is an example of Kamali’s lighthearted approach to fashion. I love the open back with bows, so fetching and feminine. It is not surprising that Kamali chose the delightful lilac/mauve colour well ahead of its current vogue. The bodice is self-lined and nicely finished inside. The fullness of the skirt is ingeniously supported with a padded roll just below the hipline so that the skirt will never look flat or wilted, even without a petticoat.

Gianni Versace

Gianni Versace Madame X evening gown, 1980s-90s. Versace captures the spirit of the infamous plunging neckline and decorative straps that might slip off the shoulders at any time. From there, he takes off with a modern interpretation as body-conscious as the original: a thigh-length, body hugging torso of heavy crepe and a bias-cut, circular lower skirt of sheer chiffon, revealing the legs. The decorative straps have Deco-style, silver-tone discs and top stitching. This is the most imaginative “Madame X” dress I have ever seen.


Adrian velvet hat, 1940s. From the most important costume designer in the history of film, the unique, softly sculptured velvet hat is an ingenious takeoff on the beret. Like a traditional beret, the top can be tilted and draped to suit the wearer. Because this distinctive hat is so visually arresting, it lends a romantic aura to the wearer. Like all great fashion, it is memorable as well as collectible. More than any other designer, Adrian created and sustained “Hollywood glamour.”

Fox trimmed velvet evening coat, 1970s. Shaped with princess line seams flaring out below the waist in a full circle skirt, the figure flattering cut adds fullness to the skirt without adding bulk in the hips. The hood and 3/4-length sleeves are trimmed with wide borders of fox fur. The romantic fur trim is reminiscent of the Siberian look made popular by Julie Christie in the movie Dr. Zhivago (1965). A plush velvet coat belongs in the wardrobe of a beautiful and desirable woman, for whom beauty is an acquired habit.

Malcolm Starr evening dress, 1970s. The exquisite dress in demure pink has the superb construction and materials which Starr always delivered. The dress is fashioned from substantial-weight silk shantung with interlining used in the skirt to support the shape. This beauty is completely lined and finished with no visible raw seams and closes in back with a metal zipper stitched by hand. The dress is totally au courant with the current Paris couture season: Starr’s beauty has the refined, A-list look seen on the runways this season.

Beaded silk velvet evening ensemble, c.1940. I love the haunting beauty of the deep rich green hue, which appears almost black. The strapless dress features a softly draped skirt with a provocatively deep slit. The unlined bolero style jacket, open in front, reveals the low-cut neckline of the dress. The jacket and dress bodice are embellished with sparkling bouquets of rhinestones and clear crystal beads. What a dramatic and sophisticated fashion statement!


Eztévez beaded silk cocktail dress, 1980s. The uncluttered silhouette and low cut back are signature Estévez. This is what well dressed, well heeled women of today look for—the refined, best-dressed-list look. Made from soft black silk faille and lined with black China silk, the dress closes in back with a nylon coil zipper. The only embellishment: the over-sized shoulder bows with beaded fringe. The figure flattering cut is shaped with princess line seams.

Chanel Boutique dress & jacket, 1980s. The stylish suit is fashioned from beige wool crepe. Both pieces are lined with matching silk woven with the CC logo. The superb tailoring emphasises the clean lines of the minimalist styling. The dress closes in back with an invisible zipper. The double-breasted jacket has four patch pockets and closes with CC logo buttons. We see in this classical suit everything that Coco Chanel stood for: dignity, restraint, and comfort.

Galanos Hollywood evening gown, c.1951. Made from heavy pink crepe embellished with rows of silver-lined crystal bugle beads. The straight lines are broken only by directional beading in the bust area and a deep slit in the front skirt. The directional beading accentuates the body’s curves. The result is design magic—sexy, svelte, and streamlined. This early Galanos piece has the exquisite workmanship that made him famous. The result is an effortlessly elegant evening gown.

Zandra Rhodes printed silk chiffon dress, 1980s. Made from red silk chiffon, the dazzling dress is printed with her famous Chinese water circle design. The red-black-gold print has a lapidary incandescence. In the water circle design, delicate ruffled layers flutter like butterfly wings. The flaming vermilion red will trigger the right sort of mental vibrations in the male psyche. Like a moth circling a flame, men are drawn to the electric excitement of this thrilling red.


Courreges wool maxi dress, 1970s. Made from navy wool crepe, the dress has fab floral cutouts around the neckline backed with sheer mesh with sequin centres. Courreges is best known for the futuristic space-age designs with mini skirts launched in 1965. Through the late 1960s, his designs remained simple with a lack of nostalgia. He remained a designer who always looked to the future. We once adored Courreges’ brilliant gaiety; still, his joyful legacy is undimmed by time.

Malcolm Starr silk coat and dress ensemble, 1960s. The American manufacturer Malcolm Starr produced impeccable, elegant fashion during the 1960s and 1970s. The dress was made from medium weight, winter white silk shantung, the perfect alternative to the little black dress. Winter white can also be dressed up or down with accessories and never goes out of style. The crisp clean lines of the minimalist styling is totally au courant. As in all Malcolm Starr’s work, the finish is exceptional.

Oscar de la Renta jewelled velvet evening dress, 1990s. The matador-style bolero and the solemn black column show de la Renta’s Spanish cultural roots. The jewelled bolero is actually an attached bodice, richly embellished with Persian-style motifs, rendered in coloured crystals, beads, sequins, and palettes. The brilliant kaleidoscope of colour displays de la Renta’s flair for dazzling design. Nothing could be more au courant than the matador style that has been taken up this season by Giorgio Armani. As usual, de la Renta was ahead of the fashion curve.

Jacqueline de Ribes

Jacqueline de Ribes little black dress, 1980s. The elegant Vicomtesse Jacqueline de Ribes, who had worn haute couture clothing most of her life, in 1983 was voted the “Most Stylish Women in the World” by Town and Country Magazine. In the elegant understatement of black-on-black textured design, the velvet bodice frames a centre-front panel of black beads and sequins on black silk. The skirt is textured black silk/wool. With an urbane black-on-black design, the stylish and ladylike dress sparkles just enough to stand out without being too showy.

Hannah Troy

Hannah Troy watered silk evening gown, c.1960. Made from ivory watered silk taffeta printed with bouquets of romantic roses. I love the draped bodice and huge bow. The crystal pleating at the top of the skirt controls the fullness without adding bulk.The draped bodice and huge bow are so chic! The watered silk print achieves a masterful Impressionist effect: we can almost see the brushstrokes used to emphasise the changing quality of light.

Chantilly lace cocktail dress, 1950s. For centuries Chantilly lace has conveyed a subtle yet unmistakable sexual tension because it both flaunts and covers up the female figure. This sizzler is made from black satin covered with black Chantilly lace. The dress hugs the torso to below the hip, where the dress flares out in a full-circle hem flounce. The dark floral bouquets of Chantilly lace were perfect for the ultra-feminine styles of the 1950s. Chantilly both flaunted and covered the female figure—a combination that has driven men wild for 400 years.

Oscar de La Renta evening dress, 1980s. Known for delicate opulent designs, the designer departs here from his signature, elaborately decorated creations, showing the Spanish influence on his work. The dress is fashioned from an artful combination of sheer silk chiffon and dense silk velvet. The pleated chiffon band that wraps around the bodice draws attention to the form-fitting, velvet torso and fish-tail train. Sexy and ultra-stylish!

Helena Barbieri

Helena Barbieri embroidered silk gown, c.1965. The lovely yellow is accented only by the play of texture. The designer inventively uses appliqués, cut from the embroidered fabric, to add texture and depth to the feminine, ladylike design. The lifelike appliquéd leaves look so delicious and grabbable! The full-on primary yellow is powerful. It is a declaration of confidence; which is why it is often worn by actresses on the red carpet.

Suzy Perette

Suzy Perette evening dress, late 1950s. The signature black velvet and taffeta theme has the sexy yet demure style incredibly popular at the time. The dress features a plain apron-front style of black velvet that opens in back to expose the elaborately draped taffeta skirt. A large red silk rose at the centre-back accents the skirt. Men cannot help themselves: they are drawn to a woman who intimates the seductive sophistication of the evening. This is a dress for such a woman.

Beaded silk organza evening coat, late 1950s. The versatile coat can be worn as an evening coat or as a dress. It was made from champagne coloured silk organza totally covered with a mix of faux pearls, rhinestones, and silver beads. The coat would be fabulous as a wedding accessory; or wear it with skinny black pants. It can be worn closed to the neckline or worn daringly open to the waist. In this case, the provocative silhouette and dazzling decoration evoke the exotic allure of the East.


Bes-Ben wide brim straw hat, 1950s. Whether “fun” or conventionally decorative, Bes-Ben hats appeared fresh and innovative because of Ben’s unerring sense of scale and proportion. Made from ivory nylon straw and trimmed with matching silk organza flowers, our dramatic wide brim hat is an attention grabber with its luscious, larger-than-life flowers. Wear it to Ascot; wear it for a wedding; or wear it just for fun! From the 1960s on, these unique hats have become strong collectibles. One Bes-Ben hat set an auction record of $18,400.


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