San Francisco Vintage / Consign / Directory
Consignment
San Francisco Vintage is first and last a home goods and furniture store. Most of what comes through the door is furniture, lighting, ceramics, glass and decorative objects, and that is where this directory starts. Fashion, jewelry and accessories follow, because we take exceptional pieces and we want you to know which names make us look twice.
Every entry carries a short history and a note on what makes a piece from that maker worth showing us. A name on this list does not guarantee we can take a piece, and a piece whose maker is not listed is still worth sending.
Section 02
We are not a clothing store and we do not intend to become one. We do take exceptional vintage fashion, jewelry and accessories when the design, history, condition or rarity makes the piece right for the shop, and these are the names we watch for.
20 entries
The ultimate surrealist independent, who treated fashion as high art. Her collaborations with artists put wit and shock on a garment long before anyone else did.
What we look forTrompe-l'oeil knits, shocking-pink statements, and surrealist novelty buttons or embroidery.
The visionary who freed women from corsets in the 1910s. His house set the shape of the decade before couture had settled into its modern form.
What we look forCocoon coats, orientalist draping, and lampshade tunics.
Known for the Robe de Style silhouette of the 1920s and exquisite embroidery. Hers was an independent house founded on the relationship between a mother and daughter.
What we look forRobe de Style shapes, fine embroidery, and the house's own blue.
The pioneer of upscale sportswear in the 1920s. He dressed the modern athletic woman when nobody else was designing for her.
What we look forEarly geometric knits, art-deco tennis dresses, and monogrammed sportswear.
The undisputed queen of the bias cut. Her gowns drape and close without fastenings because the cutting does the work.
What we look forBias-cut gowns, architectural draping, and garments that fall correctly with no closures.
Hollywood's premier costume designer, who became an independent couturier. He gave the 1940s its shoulder.
What we look forDramatic sharp-shouldered 1940s suits, and gowns with film provenance.
America's first true couturier. He worked independently and treated a ballgown as a mathematical, structural problem.
What we look forSculptural ballgowns, complex seaming, and internal structure that holds its own shape.
The independent mother of the American Look. She made casual, functional luxury respectable.
What we look forDenim wrap dresses, popover silhouettes, and practical closures on fine cloth.
Hollywood's favorite mid-century cocktail dress designer. Her shapes are recognizable across a room.
What we look forIntricate draping, ruching, and atomic-era bombshell cocktail shapes.
A fiercely independent French-born American designer. She cut her patterns directly on live models.
What we look forStructural capes, outerwear, and the house's turtle motif.
With Dior and Balmain, he dominated the 1950s New Look fantasy. His cutting was the most inventive of the three.
What we look forAsymmetric collars, glamorous 1950s silhouettes, and dramatic necklines.
The elite independent American couturier who designed Wallis Simpson's wedding dress. His work is quiet where his contemporaries were loud.
What we look forQuiet luxury, impeccable tailoring, and exceptional fabrications.
A trailblazer in global resort wear. She brought textiles home from her travels and built collections around them.
What we look forHand-painted textiles, 1950s play-suits, and resort separates.
An uncompromising independent master who rejected mass production. His ready-to-wear was made to couture standards.
What we look forMeticulous hand-work, beaded evening pieces, and interiors finished as carefully as the outside.
The king of Space Age minimalism. His 1964 collection reset what modern could mean.
What we look forStructural vinyl jackets, white go-go boots, and geometric shift dresses.
The independent mind behind Coach's original aesthetic. She designed for how women actually moved and carried things.
What we look forCanvas and leather-bound coats, industrial brass toggle hardware, and layered separates.
A radical independent avant-gardist. He pushed at what clothing was allowed to do.
What we look forGraphic knit mod mini dresses, unisex pieces, and bold color blocking.
Famous for chainmail and plastic link dresses. He built garments rather than sewing them.
What we look forEarly space-age link dresses, metal discs, and moulded plastic components.
The face of the London Youthquake. She made young clothes for young people at a moment when that was new.
What we look forMiniskirts, playful mod coordinates, and the daisy mark.
The ultimate cult independent label of 1960s London. Its shop was as much the point as its clothes.
What we look forArt-nouveau romanticism, dark berry palettes, and the Biba logo.
16 entries
The psychedelic artist whose cosmic imagery defined late-1960s American graphics. His licensed prints reached clothing, scarves and accessories.
What we look forBold cosmic and rainbow prints, signed artwork on cloth, and licensed 1960s and 1970s novelty garments.
A San Francisco house founded in 1933 by Adolph Schuman. It became known nationally for dramatic post-war suits and coats in European cloth.
What we look forSculptural 1940s and 1950s suits and swing coats, and the Lilli Ann label.
The house whose 1947 New Look reset post-war fashion. Its early couture and licensed lines are both collected, for different reasons.
What we look forNew Look silhouettes, numbered couture labels, and early licensed accessories.
Gabrielle Chanel's house made jersey, the cardigan suit and costume jewelry serious. Its codes have stayed legible for a century.
What we look forBraid-trimmed suits, chain-weighted jackets, and clearly marked hardware and jewelry.
An American designer whose early work ran through the Alley Cat label in the 1970s. Her clothes were young, loud and made to be worn hard.
What we look forAlley Cat labels, printed knit dresses, and slinky 1970s separates.
The American artist who signed her textiles “Vera,” often beside her signature ladybug. She transformed original artwork into scarves, blouses and other wearable pieces.
What we look forThe Vera signature and ladybug mark, printed silk scarves, and bold 1960s and 1970s blouses.
The Finnish house founded in 1951 that made large-scale printed cotton a design statement. Its prints are named and documented.
What we look forNamed prints such as Unikko, bold scale, and the Marimekko selvedge mark.
The Florentine designer whose kaleidoscopic silk prints became shorthand for 1960s resort glamour. His signature is printed into the cloth itself.
What we look forSigned prints in the pattern, silk jersey dresses, and resort separates.
A mid-century American dress house known for eveningwear. Its pieces turn up with strong construction and period-correct detail.
What we look forStructured cocktail and evening dresses, and the Seymour Fox label.
An American knitwear company founded in New York in 1928 by Gertrude Goldworm. The family-run label became known for sophisticated patterned and printed knitwear.
What we look forMid-century knit dresses and separates, distinctive patterns, and clearly identifiable Goldworm labels.
Suzy Perette was an American dress label that made Paris-influenced silhouettes accessible to the American ready-to-wear market during the 1950s and 1960s. It became especially known for fitted waists, full skirts and polished cocktail dresses.
What we look forNew Look-inspired cocktail dresses, sculptural details, strong internal construction, and clearly marked Suzy Perette labels.
The American-born artist and designer became known in Italy for exuberant color and large-scale botanical prints. His painterly textiles brought flowers, fruit and bold natural forms into fashion and interiors.
What we look forLarge painterly florals, identifiable Ken Scott prints, and colorful 1960s and 1970s dresses, jersey and separates.
Oleg Cassini was a major contributor to Jacqueline Kennedy’s official wardrobe during the White House years. His work helped define the clean, polished line associated with early-1960s American style.
What we look forEarly-1960s sheaths, coats and eveningwear, refined construction, and clearly documented Cassini labels.
An American designer known for finely pleated columns inspired by historical dress. Her work sits between garment and artifact.
What we look forMarii pleating, quilted jackets, and column gowns.
The American designer who dressed television and stage at their most theatrical. His beadwork is the identifying feature.
What we look forHeavy beadwork and sequins, illusion netting, and documented stage or screen pieces.
A British designer whose restraint set her apart from her contemporaries. Her jersey and suede pieces are quietly exacting.
What we look forMatte jersey dresses, punched suede, and precise minimal detailing.
6 entries
The defining independent name of 1970s London. His cutting flattered a body in motion.
What we look forMoss-crepe maxi dresses, and prints by Celia Birtwell.
An independent champion of upscale bohemian glamour. She brought Middle Eastern textiles into London evening wear.
What we look forRich textiles, kaftans, and liquid velvet jackets.
He defined the disco era with effortless minimalism. Roy Halston Frowick made simplicity look expensive.
What we look forJersey wrap dresses, ultrasuede shirtdresses, and fluid one-shoulder evening shapes.
A legendary independent Black designer of the 1970s. His color sense is unmistakable.
What we look forLettuce-hem stitching, vibrant color-blocked jersey knits, and matte jersey evening pieces.
A boundary-pushing independent visionary. She invented garments rather than restyling them.
What we look forThe sleeping bag coat, parachute dresses, and structural 1980s swimwear.
An independent textile genius who rejected zippers and structure. His clothes wrap rather than fasten.
What we look forBody-conscious wrapped fabrics, stretch pieces, and vivid color.
10 entries
Renowned for dramatic, structural, hyper-feminine tailoring. His independent golden era is the collectible one.
What we look forSci-fi tailoring, exaggerated shoulders and waists, and metallic or moulded detail.
The undisputed master of the massive 1980s shoulder. His leather work is the benchmark.
What we look forArchitectural leather jackets and coats, and bold shoulder lines.
An independent revolutionary in textile technology. The cloth is the innovation.
What we look forPleats Please, lightweight permanent pleating, and A-POC construction.
A master of avant-garde deconstruction. His black is a position, not a color choice.
What we look forOversized asymmetric drapery, deconstructed tailoring, and layered black.
Rei Kawakubo's house is the blueprint for a successful independent luxury brand. Its garments are treated as sculpture.
What we look forArchitectural anti-fashion pieces, bumps and padding, and early 1980s black.
The queen of punk and historical subversion. She took tailoring apart and put it back wrong on purpose.
What we look for1980s and 1990s corsets, asymmetric tailoring, and the orb mark.
The King of Cling, who worked entirely outside the fashion calendar. His knitwear fits like a glove because it was engineered to.
What we look forSculpted knitwear, laced and zippered body-conscious dresses, and perforated leather.
The master of playful provocation. His 1990s work is the most recognizable of the decade.
What we look forMesh tattoo prints, cone silhouettes, and cyber-inspired coordinates.
A bright light of 1990s optimism. His independent label was unafraid of color.
What we look forMosaic embroidery, intensely colorful matching sets, and pop-art energy.
A British designer whose own label and later house work defined 1990s romantic spectacle. His cutting is historically literate.
What we look forBias-cut gowns, historically referenced tailoring, and documented runway pieces.
9 entries
The king of modern independent goth-glamour. His silhouette has barely moved in twenty years and did not need to.
What we look forAsymmetrical leather jackets, bias-cut jersey maxi skirts, and brutalist footwear.
A member of the Antwerp Six who ran his house independently for decades. His prints are the signature.
What we look forRich unexpected textile mixes, artisanal prints, and embellished outerwear.
An independent, queer, Black-owned brand that disrupted luxury. Telfar Clemens built a community rather than a customer list.
What we look forThe Shopping Bag in its recognizable sizes and colorways.
A modern darling of the vintage world. Her independent label is built from antique cloth.
What we look forAntique quilts, deadstock textiles, and lace tablecloths made into modern garments.
A contemporary independent designer whose signature is already collectible. Her upcycling is structural, not decorative.
What we look forCrescent-moon print mesh, and upcycled silk-scarf dresses.
The French house was founded in 1854 and introduced its Monogram canvas in 1896. Its trunks, handbags and artist collaborations remain important parts of modern design history.
What we look forArchival trunks and bags, documented collaborations, period-correct construction, and date codes only where appropriate to the item’s production era.
A Swedish house that grew from a denim project into a full collection. Its shapes are recognizable without loud branding.
What we look forSignature denim, oversized knitwear, and the face-motif pieces.
A British designer whose house has refused leather and fur since it opened. That constraint is part of what makes the work identifiable.
What we look forSharp tailoring, alternative materials in place of leather, and clearly marked labelling.
The Spanish house was founded in Madrid in 1846 and has a long history of leather craftsmanship. Its archival leather goods and more recent design-led collections are considered for their construction and distinctive forms.
What we look forAnagram-marked leather goods, Amazona and Puzzle bags, unusual construction, and craft-led garments and accessories.
Authenticity and acceptance require review. Inclusion in this directory is not an offer to buy or consign, and a maker who is not listed here is still worth showing us. Tell us what you have.
Nothing in the directory matches that. The list is a guide, not a gate: a maker who is not on it is still worth showing us. Tell us what you have.