My mom drove me all over LA to TJ Max in 1988 after Stephen Sprouse went out of business and all the warehouse got distributed to the discount powerhouse.
I also went to the shop in the Beverly Center a few days before they closed so it could be from either. two tiny flaws shown in last picture but crisp and barely worn.

::: … and carried through by Sprouse – that of reflecting what was going on in the street in your clothes but refracting it, elevating it, designing it. Sprouse’s clothes were the perfect foil for their time – their closest contemporaries were the clothes created by Vivienne Westwood and Malcolm McLaren. Incidentally, Sprouse originally wanted Haring to design his graffiti prints, but the artist was under contract to Westwood and McLaren’s ‘World’s End’. (Haring created the graphics for the Winter 1983 ‘Witches’ collection.) Arguing that Westwood and McLaren were a mirror to Sprouse is easy, because it’s accurate – he even had his own version of the Sex Pistols: Debbie Harry, who he dressed in a one-shouldered dress printed with television static for her band Blondie’s Heart of Glass video in 1978, and garnered immediate international recognition. While Westwood and McLaren were impaling the Queen on safety pins and dressing young Londoners as pirates and savages, Sprouse was lifting street graffiti and printing it onto Italian Agnona cashmere. Both approaches were quintessentially punk. It’s that attitude – of questioning establishment values, of rebellion, of innovations – that is Sprouse’s strongest legacy. And exactly what designers should, and hopefully will, be mimicking today. ::::

(The Great American Fashion Designer Who Never Quite Was, Alexander Fury for AnOthermag.com)

Stephen Sprouse's women’s purple and yellow, cotton skirt.

Excellent condition, size M (6 - 8).

Detailed measurements:

Waist - 28 inches
Length - 19.5 inches
Hip - 39.5 inches

This item is sold from an excellent, highly rated vintage boutique in Portland, Or.