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Oh Jackie

Est. 2013
5* Rated
Rare True Vintage Couture & Fashion. Online & by Appointment. SHOP here! 👇🏻
oh-jackie.com No wonder that both passions passed on me. Jackie.

Lovely Ladies - and Gents, of course,

my fascination with vintage fashion and any kind of antiques began when I was just a young girl. Grown up with a highly fashionable mother and an antiques collecting father I spent almost more time in fashion ateliers and on antique markets than on the playground. I remember as a young woman wearing a little black dress from the early 1960s for a cocktail and

how elegant and special I felt. These days the idea of starting a business for antiques and vintage fashion sometime later began to grow in my mind. Time passed, careers changed, but my obsession of vintage fashion and pre-loved objects became stronger with every passing year. And my dream came true! Welcome to Oh! Your Online Shop for exquisite Authentic Vintage Designer Clothing, Accessories and a small edit of Collectibles. Enjoy shopping! Lots of love,

Elisabeth

PS: If you are looking for a specific item please contact us and we will be happy to search our inventory or keep an eye out as we are always on the hunt for great pieces. We have many items that we simply have not yet had the time to photograph.

22/06/2026

Still obsessed with the Schiaparelli exhibition… ✨

The genius of Elsa Schiaparelli continues to reveal new layers of imagination, symbolism, and surreal beauty. Among the many extraordinary creations on display, her veils remain some of the most fascinating examples of how she transformed a seemingly delicate accessory into a powerful artistic statement.

This extraordinary veil crowned the wedding gown that closed her legendary Circus Collection of 1938. At first glance, its cascading blue embellishments appear decorative; on closer inspection, the shimmering bugle-beaded strands evoke the snakes of Medusa’s hair – a startling and provocative image for a bridal veil.

The symbolism feels unmistakably Schiaparelli. Where traditional bridal attire celebrated romance and purity, she introduced mythology, ambiguity, and a touch of danger. The bride becomes not an object of passive admiration, but a powerful, enigmatic figure whose presence cannot be easily possessed.

Alongside her gilded floral veils and fantastical headpieces of the 1930s, this creation reveals Schiaparelli’s extraordinary ability to turn accessories into narratives. In her world, a veil was never simply an adornment – it was theatre, symbolism, and Surrealism woven into silk.

Nearly a century later, this fascination with concealment and revelation continues at the House of Schiaparelli. In Daniel Roseberry’s Fall 2024 Haute Couture collection, ethereal veils covered the faces of models entirely, creating haunting, dreamlike silhouettes that echoed the mystery and theatricality of Elsa’s original vision.

The dialogue between Elsa and Roseberry is unmistakable. Across generations, the veil remains a symbol of transformation – concealing and revealing, protecting and provoking, inviting us to imagine the woman beneath while celebrating the power of mystery.

A bridal veil, perhaps. But also a statement.

📸 Elsa Schiaparelli, Circus Collection, Paris, 1938.
Daniel Roseberry for Schiaparelli Haute Couture, Fall 2024.

✨ Which Schiaparelli veil captivates you most – the Medusa bride, or Roseberry’s ethereal veiled visions?

15/06/2026

The golden entrance to Schiaparelli: Fashion Becomes Art at the Victoria & Albert Museum felt like stepping through a portal into Elsa Schiaparelli’s extraordinary imagination. 💫

Fittingly, I wore my beloved The Face necklace by Schiaparelli – a contemporary creation that embodies the house’s enduring fascination with surrealism, illusion, and the unexpected. Swipe to the end for a recent photo of me wearing it on an evening out.

Inside, the exhibition traces the remarkable vision of Elsa Schiaparelli, the Italian-born couturière who transformed fashion into a canvas for artistic experimentation. Her collaborations with the leading surrealists of her time remain among the most inventive creations in fashion history: the legendary lobster dress created with Salvador Dalí, the striking evening jacket embroidered with a face designed by Jean Cocteau, where flowing hair and a delicate hand become part of the garment itself.

What struck me most was Schiaparelli’s fearless sense of fantasy. Evening jackets densely embroidered with beads and sequins sparkle with extraordinary craftsmanship, while whimsical buttons – shaped as insects, celestial motifs, and miniature sculptures – turn even the smallest details into works of art.

The exhibition also reveals how powerfully Schiaparelli’s spirit lives on today. Under the creative direction of Daniel Roseberry, the house has re-emerged as one of couture’s most captivating voices. His dramatic evening creations, with their sculptural silhouettes, gilded details, and unmistakable sense of spectacle, honour Elsa’s legacy while speaking unmistakably to our own time.

More than a fashion exhibition, this is a celebration of creativity without boundaries – a reminder that the most memorable fashion does not simply dress the body, but challenges the imagination.

And perhaps that is why Schiaparelli still feels so modern.

✨ Have you visited the exhibition?

11/06/2026

Inside Queen Elizabeth II: Her Life in Style at The King’s Gallery in London – an exhibition that doesn’t just display fashion, but tells the story of a reign through it. From Norman Hartnell’s 1953 Coronation gown, shimmering with silk, pearls, and sequins, to the sculptural beauty of her 1947 wedding dress, every piece reflects extraordinary craftsmanship and a monarch deeply involved in her own image-making.

Alongside jewels like the Garrard aquamarine tiara, jewel-toned tailoring, and iconic evening gowns, the exhibition reveals how Queen Elizabeth II used clothing as a form of quiet power – balancing tradition, diplomacy, and modernity. Her wardrobe unfolds against a shifting landscape of British fashion: from court dressmakers to the rise of London couture and the emergence of modern British design.

What makes it truly remarkable is the intimacy of it all – this was not passive fashion, but collaboration. The Queen worked closely with designers such as Norman Hartnell and Hardy Amies, carefully shaping a visual identity that would travel the world.

Three hours inside this archive of silk, embroidery, and history felt like walking through a century of British craftsmanship, elegance, and cultural transformation. And leaving The King’s Gallery, it was impossible not to carry a sense of quiet awe for a life so precisely, deliberately, and beautifully styled. ✨👑✨

08/06/2026

From the runway to the museum.

In one of my previous posts, I shared that Oh! Jackie had become a patron of a gown from the TIM‘s 150 × 150 initiative. Today, I’d like to introduce the dress itself.

This remarkable design is from Talbot Runhof’s Fall/Winter 2010–2011 collection, named The Red Shoes. 👠

Currently on view in the exhibition Celebrating Fashion – Talbot Runhof in Paris at the tim in Augsburg, the gown is a striking example of the innovation, craftsmanship, and creativity that define Talbot Runhof’s work.

In this carousel:
✨ The gown as it is displayed in the exhibition
✨ A signed photograph of the design on the runway model, personally autographed by Johnny Talbot and Adrian Runhof
✨ Original runway footage capturing the dress in motion

Fashion is more than clothing – it is culture, craftsmanship, and creative expression. Supporting its preservation helps ensure that these stories continue to inspire future generations.

👀 Stay tuned to learn the fascinating story behind the extraordinary fabric that makes this gown so unique.

04/06/2026

What does hair tell us about who we are? 👤

After walking through the exhibition, it becomes hard to think of hair as something merely “personal.” It felt more like a living archive – one that changes with us, but also speaks for us when we don’t say a word.

Across centuries and cultures, hair has carried meanings that go far beyond style. It can signal beauty, identity, power, rebellion, faith, status, and desire. Sometimes it felt like a quiet code: who belongs, who resists, who transforms. Other times it was loud and deliberate – impossible to miss, impossible to ignore.

“Haar macht Lust” [Hair Stories of Power and Passion] makes this visible in a striking way. Moving from extravagant historical hairstyles to contemporary artistic interpretations, the exhibition shows how hair sits at the intersection of intimacy and society. What we think of as deeply personal turns out to be deeply shared – shaped by history, expectation, and imagination.

Leaving the exhibition, it’s difficult not to look at hair differently. Not just as something we have, but as something that carries memory, intention, and change. A small, everyday material – yet one of the most expressive forms of who we are, and who we are becoming. 🌿

A little riddle to end with: What do you think those beautiful porcelain cups that look a bit like sippy cups were actually used for❓

01/06/2026

NOW AVAILABLE 💗🖤💗

Swipe through the story of one of Dolce & Gabbana’s most recognizable Spring/Summer 1995 designs.

Originally presented on the runway by Tricia Helfer, with the black iteration famously worn by Monica Bellucci, this striking pink tuxedo-style jacket exemplifies the house’s signature blend of sharp tailoring and sensual femininity.

The design was subsequently immortalized in a 1995 Vogue UK editorial featuring Yasmeen Ghauri, photographed by Neil Kirk, and continues to resonate today, most recently appearing on Ilana Glazer.

A rare archival piece with exceptional runway, editorial, and celebrity provenance, this jacket represents the enduring appeal of 1990s Dolce & Gabbana at its very best.

Available now in the shop.

28/05/2026

The hunt concludes. 🔍✨

Every archival piece carries a story. Some live on through magazine pages and editorial records; others through the lives and histories intertwined with them. Rarely do these paths converge so completely within a single garment.

For this final chapter, we are sharing two remarkable images from the 1970s of Her Imperial Majesty Farah Diba, then Empress of Iran and Shahbanu of Persia, wearing a twin of this Valentino Haute Couture design in a slightly different hue – its silhouette and movement unmistakably aligned with the house’s language of the era.

The Shahbanu was a close friend of Valentino Garavani and counted among his celebrated „Val’s Gals“ – an exclusive circle of style icons, including figures such as Jackie Kennedy, who regularly wore his designs.

Beyond its presence in editorial documentation, this piece carries a royal provenance of exceptional significance, situating it within a world where couture existed not only as fashion, but as part of a lived cultural and historical reality.

While certain details remain intentionally unspoken, this discretion is part of what defines the sensitivity of such histories.

Perhaps this is what makes archival fashion so compelling: each garment holds more than its craftsmanship—it retains echoes of the worlds it once moved through. 🥻🗝️

Images courtesy of , with sincere thanks.

26/05/2026

The hunt continues. 🔍✨

Archives tell stories far beyond the garment itself. This time, we are stepping back into March 1974 – through the pages of Vogue Italia.

Alongside the original cover, we are sharing the magazine spread in which this extraordinary Valentino Haute Couture design appeared, preserving not only the dress itself, but the editorial language that framed it at the time.

Italian Original:

Alta Moda Roma
Maniche come Ali
Stampato Svanito per gli Abiti di Chiffon
Libera? Ha le Ali la Donna di Valentino

Gli abiti da sera di Valentino, atteso colpo finale di tutte le sfilate, questa volta avrebbero entusiasmato Madame Vionnet, la concorrente di Chanel negli anni Trenta, inventrice dello sbieco e innamorata del toni indefinibili. Maniche flou che finiscono a punta, corpini incrociati a mantellina con fiore su una spalla. E una delicatezza di tessuto che era scomparsa: uno chiffon incolore in evanescenti sfumature seppia.

[About the twin of our dress]:
Rose che affiorano dal fondo color opaline. La mantellina orlata da un volant.
Chiffon di Bises
Pettinature di Alba
Maquillage di John Paul, Roma

English Translation:

“Haute Couture Rome
Sleeves like Wings
Faded Prints for Chiffon Dresses
Free? The Valentino woman has wings

Valentino’s evening gowns, the anticipated final moment of every runway season, would on this occasion have delighted Madame Vionnet, Chanel’s rival in the 1930s and inventor of the bias cut, known for her love of indefinable tones. Flowing sleeves ending in points, crossover bodices shaped like small capes with a flower on one shoulder. And a delicacy of fabric that had all but disappeared: colourless chiffon in evanescent sepia tones.

[About the twin of our dress]:
Roses emerging from an opaline background. A cape edged with a flounce.
Chiffon by Bises
Hair by Alba
Makeup by John Paul, Rome

Swipe through to revisit the cover and its imagery of the Vogue issue, and the dress as it exists today.

Some discoveries do not just answer questions – they bring a story full circle. 🥻🗝️

19/05/2026

The thrill of the hunt. 🔍✨

After teasing the label, it is time for a deeper dive. Following an extensive journey through the archives, the breakthrough finally arrived: Vogue Italia, March 1974, featuring the exact twin of this extraordinary Valentino Haute Couture maxi dress.

This remarkable find allowed us to date the piece precisely to the Spring/Summer 1974 Alta Moda collection, designed by Valentino Garavani himself. One of those rare “lucky me” moments in curation – where research, intuition, and a little archival magic align.

Swipe through to discover the unmistakable details, from its pristine couture label to the original editorial image.

The story isn’t over yet. Stay tuned as we continue uncovering the history behind this archival masterpiece. 🥻🗝️

15/05/2026

If these silk threads could talk, they’d whisper a name that leaves you starstruck. ✨

The Valentino Couture label is more than just a mark of craftsmanship – it’s a passport to a lost era of elegance. This particular piece carries a provenance as illustrious as the House itself, supported by impeccable documentation.

The story is too good to keep hidden. Stay tuned!

Based on what you see, any guesses as to which decade of Valentino Couture we’re looking at? 👇🏻

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Munich

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