'The Skeleton Dress', Elsa Schiaparelli, 1938. Museum no. T.394-1974.An Elsa Schiaparelli "Skeleton" dress. Ms. Schiaparelli frequently collaborated with Salvador Dali, Man Ray, Magritte, Alberto Giacometti and Jean Cocteau. This dress would sell in Luba's Coin du Vintage for thousands.
"At Luba there are no stains, no shiny patches. No pulled threads or split seams. Everything hangs in privileged perfection on a padded ecru peau-de-soie hanger." pp.37, To My Dearest Friends.
1938–39Elsa Schiaparelli (French, born Italy, 1890–1973)
Wool
Cape Apollon de Versailles, 1938. Elsa Schiaparelli. Collection The Costume Institute of the Metropolitan Museum, New York. 
"The collars of this tailored coat by Schiaparelli are held together with a large button. Schiaparelli often used novelty buttons in the shape of swinging acrobats, beetles and womens faces."
1.PAUL POIRET (1879-1944)Paul Poiret (1879-1944) “I had fallen in love with this dress years before when I saw it in a textbook. Poiret is the father of modern fashion, and this was his signature piece.”2. ELSA SCHIAPARELLI (1890-1973)“Elsa was very good friends with Salvador Dali and Jean Cocteau. Cocteau made this witty drawing that was translated onto the dress by the embroidery firm Lesage.” 3. CHARLES JAMES(1906-1978)“James's mother came from a prominent Chicago Family, and he began his career as a milliner on State Street. This gown is maed of 25 yards of peau de soie and nylon netting.”
4. YVES SAINT LAURENT for Christian Dior (1936-2008)“This dress is such a departure from everything Christian Dior did. It’s a precursor for the youth quake that happened in the 1960s.”
Evening jacket
1938Elsa Schiaparelli (French, born Italy, 1890–1973)
Deep magenta rayon crepe embroidered with metallic thread and polychrome sequins with plastic insect buttons.
Dinner Suit
1937–1938 Elsa Schiaparelli
Green silk crepe and green silk velvet embroidered with metallic thread and red and pink rhinestones with half dome shaped plastic buttons inset with flowers.
Schiaparelli's dinner jackets changed the outline of women's fashion from soft to hard, from feminine to masculine during the mid- to late 1930s. The basic silhouette, which comprised wide shoulders and a narrow waist, first appeared in her autumn/winter 1931–32 collection entitled "Wooden Soldiers," which was inspired by the Indo-Chinese costumes featured in the 1931 Exposition Coloniale in Paris.
The extended shoulders, achieved through padding, became hugely influential in Hollywood, helped along by international café society darlings like Lady Mendl (Elsie de Wolfe), Mrs. Reginald (Daisy) Fellowes, and the Duchess of Windsor.
During a trip to America, Schiaparelli commented, "In Hollywood, one special item of popularity had preceded me—that of the padded shoulders. I had started them to give women a slimmer waist. They proved the Mecca of the manufacturers. Joan Crawford had adopted them and molded her silhouette on them for years to come. They became emphasized and monstrous. Adrian took them up with overwhelming enthusiasm."
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