Page 1


Kerry Taylor

Kate osborn

Lucy Bishop



Kerry Taylor assistants: Kate osborn and Lucy Bishop Tel: 00 44 (0)208 676 4600 fax: 00 44 (0)203 137 0112 Email:

Purchasers will be charged a premium rate of 25% up to £50,000 on the hammer price and 20% above. The premium is subject to VaT at the prevailing rate. see page 85 for details.

sale number: KT023

There is an additional 3% charge for purchases made by online bidding.

front cover: Celia Birtwell’s sketch of the Tulip dress, see lot 217 ©Celia Birtwell frontispiece: Lot 361 Back cover: Portrait of Jordan ©simon Barker

for multiple images of every lot please see

online Bidding

storage, Collection and shipping Logistics see inside back cover for details and a map.

This auction is conducted by Kerry Taylor auctions Ltd in accordance with our Conditions of Business printed in this catalogue.

Kerry Taylor auctions Ltd incorporated in England

registered no oC7173571

VaT no 835506036

Passion for Fashion Including the important fashion archives of Celia Birtwell and Jordan Auction Tuesday 23rd June 2015 at 11am Session 1: 11am lots 1 to 220 Session 2: 3pm lots 221 to end of sale Venue 249-253 Long Lane London SE1 4PR See map on inside back cover

Exhibition Sunday 21st June 12 noon to 4pm Monday 22nd June 9am to 5.30pm Tuesday 23rd June by appointment only


LUXURY BRANDS Please note all lots bearing ∆ symbol require a CITES licence for export outside of the EU, which we are happy to assist with. See page 85 for more information. 1 A Chanel black quilted leather bag, 1990s, stamped to interior, with leather threaded chain strap, authenticity card, 17cm, 6 ¾in long £500 - 900 4

2 A Chanel ‘byzantine’ pendant necklace, 2004, marked to reverse of pendant, the pendant with green and red cabochon stones, 47cm, 18 ½in long £400 - 600 3 A Chanel mottled silver leather 2.55 re-issue bag, 2008, stamped to interior, with double chain strap, ‘Mademoiselle’ clasp, 31cm, 12 ¼in long £600 - 800 4 A Chanel black caviar leather double flap bag, 2008, numbered to the interior, without authentication card but with copy of original receipt, with silvered CC clasp, leather threaded chain shoulder strap, 25cm, 9 ¾in long £1000 - 1500


5 An Hermès tan leather Birkin, 2007, blind stamp K, with gold plated hardware, with keys, fob and padlock, with orange flannel storage bag, 35cm, 14 in long £4000 - 6000 6 An Hermès black Fjord leather Kelly bag, 1993, blind stamp W, with gold plated hardware, padlock, fob with keys, shoulder strap, 35cm, 14in long £1500 - 2500 7 Two near-matching Louis Vuitton monogrammed semi-rigid suitcases, with leather closure straps and bindings, address tags for Prince Loewenstein, with cream cotton satin linings, 52 by 79 by 25cm; 53 by 78 by 25cm (2)

Provenance: the late HSH Prince Rupert Loewenstein £400 - 600 6


8 An Hermès black togo leather Birkin II bag, 2005, blind stamp E, with silver palladium hardware, padlock fob with key and dust bag, 42cm,16 ½in long £2500 - 3500 9 A Louis Vuitton monogrammed hard-sided suitcase, with gilt brass combination lock, zip fastener, leather bindings and address tag for Prince Loewenstein, with dark-brown leather interior, 46 by 70 by 22cm; with a Louis Vuitton monogrammed hard-sided briefcase with gilt brass combination lock, 44 by 33 by 11cm, and a quantity of Concorde stationary (qty)

Provenance: the late HSH Prince Rupert Loewenstein £300 - 500 10 A Fendi black alligator handbag, circa 2004, alligator mississippiensis, with metal Fendi plaque to the satin interior, double F closure buckle, 26cm, 10in long


£600 - 800

Please note this lot cannot be exported outside the EU. 11 ∆ An Hermès grey crocodile Kelly bag, circa 1965, crocodylus porosus, stamped to interior ‘Hermès Paris’, with gilt hardware, lined in grey leather, 33cm, 13in long £600 - 1000 12 Three Louis Vuitton monogrammed softsided suitcases, all zip-fastened with leather trim and handles, taupe canvas linings, two with leather luggage tags, 49 by 60, 46 by 64, 40 by 52cm (3)

Provenance: the late HSH Prince Rupert Loewenstein £400 - 600


13 ∆ An Hermès black crocodile Kelly, late 1960s, crocodylus porosus, the gilt hardware signed ‘Hermès, Paris’, 28cm, 11in long, in beige storage bag (2) £5000 - 9000

13 3

14 A Chanel quilted black leather 2.55 bag, 1985, interior stamp well worn, lined in wine leather, chain strap threaded with leather, 25 ½cm, 10in long £700 - 1000 15 An Yves Saint Laurent chunky Maltese cross and thistle coin necklace, 1980s, signed to the heart shaped clasp and stamped ‘Rive Gauche’, the irregular coin discs interspersed with enamelled crosses, 39cm, 15in long


£500 - 800 16 An Yves Saint Laurent gilt filigree and enamelled bauble necklace, 1980s, signed on the heart-shaped clasp, 34cm long, 13in long £500 - 700 17 An Hermès soft black leather Kelly, 1999, blind stamp C, with gold plated hardware, keys, fob and padlock, detachable webbing shoulder strap, with herringbone weave cotton storage bag, 35cm, 13 ¾in long (2) £1500 - 2000 18 A fine Chanel triple strand chain linked and blister pearl necklace, probably 1980s, with large central droplet pendant, 64cm, 25in long, neck chain 38cm, 15in wide £1000 - 1500 17

18 4


ROYALTY RELATED FASHION 19 King Edward VII’s infant gown and accessories (1841-1910), circa 1841-5, comprising: fine lawn infant dress with drawnthreadwork panels edged with whiteworked blossom and shamrock; a cap with Ayreshire worked back and Bucks lace edging; a pair of finely knitted silk stockings embroidered with Prince of Wales plumes and patterned knit to the top border ‘AE, HON I SOIT QUI MAL Y PENSE’; together with a pair of Honiton bobbin lace baby boots lined in pink satin; a copy of the original auction catalogue for the contents of ‘The Grange, Calne’, lot 1097, 1944; and a letter enclosing a card stating ‘Dress worn by King Edward VII, presented by his mother Queen Victoria to one of her ladies in waiting. Handkerchief which belonged to Queen Victoria’ (qty) £600 - 900 19

20 Two pairs of Queen Victoria’s black silk stockings and a pair of shoes also believed to have belonged to her, late 19th century, the stockings with ivory tops and toes, the upper edges knitted with large imperial crowns and VR; the grosgrain silk flat pumps with bows and jet adornments, 25cm, 10in long; together with a label stating that they had been sold by the V&A to raise money for the war effort! (6) £400 - 600 21 A Robert Heath mourning bonnet, believed to have belonged to Queen Victoria, the satin lining printed with royal appointment mark ‘To Her Majesty the Queen and the Royal Family, Robert Heath, 25 St George’s Place, Hyde Park Corner, Established 1849’, of black straw covered with ruffled contrasting bands of mourning crêpe, with black chiffon face veil, 31cm, 12in long

19 detail

An almost identical hat was recently sold by Hanson’s Auctioneers in June 2012 as part of a complete ensemble which had belonged to Queen Victoria, which was also made by Robert Heath. merges-sale—including-skirt-43-waistmonogrammed-silk-bloomers.html £600 - 900




22 Queen Victoria’s Honiton lace handkerchief, stockings and a damask napkin, mid-late 19th century, the lawn handkerchief with deep Honiton borders; the white cotton stockings knitted to the tops with large crowns and ‘VR6’; the damask napkin worked in blue with an Imperial crown and ‘V 72 45’; together with photocopies of the original catalogue cover and entry (qty)

25 The Duke of Windsor’s Hawes & Curtis woven blue and white cotton shirt, 1950s, labelled ‘by appointment to the late King George VI’, the breast embroidered with E below a crown, chest 117cm, 46in

Provenance: auction of the contents of ‘The Grange, Calne’ 1944, lot 1098. £150 - 250

26 The Duke of Windsor’s straw boater, midlate 1940s, labelled to the interior ‘John Cavanagh Ltd, Park Avenue, at 47th Street, New York’, trimmed with black grosgrain ribbon, size 6 ⅞

23 A pair of Queen Victoria’s finely knitted ivory cotton stockings, late 19th century, with striped lacey patterns to the foot sections, large crown and VR to the upper edges, the feet 8in, 20cm long (2) £250 - 350 24 Queen Victoria’s split-drawers, late 19th century, of fine linen, the waistband embroidered in fine blue cross stitch ‘VR 32’ below an Imperial crown, waist 107cm, 42in £300 - 500

Provenance: Sotheby’s New York Duke & Duchess of Windsor Auction, February, 1998, part lot 2857. £300 - 500

Provenance: Sotheby’s New York Duke & Duchess of Windsor Auction, February, 1998, part lot 2857. In 1948 the Duke of Windsor was photographed in Havana, Cuba wearing an identical straw boater, accompanied by the Duchess. He liked to wear boaters though they had fallen out of fashion generally. He was to wear them all his life. In a ‘Family Album’ he described how he tried without success to launch a fashion for boater hats in the 1920s, which he hoped might raise the flagging fortunes of the Luton straw hat industry. An advertisement of the period read: ‘BOATERS AHOY’! Two boaters afloat in Leicester Square God Bless the Prince of Wales! Now you bright young things who always swear Whatever the task entails To follow his lead - your duty indeed Is clear and simple, Tis that No matter what urgent claims may plead You purchase a new boater hat. £1200 - 1800


26 detail


27 detail

27 A fine blue silk and gold thread reticule bearing the cypher of Queen Caroline, circa 1820-21, with finely cast gilt metal frame with fruits and dolphins, large gilt thread fuchsia blossom tassels, gilt metal chain strap, lined in pale blue silk, 24cm, 9 ½in long overall

Princess Caroline of Brunswick (1768-1821) was the estranged wife of King George IV. In 1820 he acceded to the throne, but detested her so much that he refused to allow her to attend his coronation. However, she was hugely popular with the British public who despised the profligate King. She fell ill soon after and died in London in 1821. The cause of her death was never properly established. £600 - 800

FASHION AND ACCESSORIES 1600s-2010s 28 A fine and rare blue watered silk cape, English, 1660s, of simple semi-circular construction formed from two almost invisible horizontally joined loom widths, edged in silver bobbin lace worked with tulip repeats, cast white metal clasp (probably silver but un-marked), lined in ivory silk, 226cm, 89in long; with two handwritten notes stating that the cape belonged to Mary Grove of Zeals House, a gift of King Charles II, the other that it had belonged to King Charles I (3)

It is unclear whether this cape was intended for wear by a woman or man. The delicate clasp is suggestive of a female wearer, as is the narrow diameter of the neck. However it could have been worn by a young man as the the semi-circular cape was de rigueur as part of the gentleman’s outfit of the time consisting of doublet, breeches and the curve of a cape to finish the silhouette. Blue was a colour often worn for celebrations or christenings. Provenance: Waddon House, Dorset, the home of the Chaffyn-Grove (Troyte Bullock) family since 1226. Records lodged in the Wiltshire Record Office with reference to other properties include Zeals and Mere (1226-1786), Edgehill (1657-1786), Chisenbury in Enford 1682 and 1739. This family was closely linked with the reigns of Kings Charles I and Charles II via Hugh Grove, who fought on the Royalist side and was beheaded in 1655 and also via Colonel Bullen Reymes (1613-72), who served under the corrupt 2nd Duke of Buckingham, George Villiers, who was Gentleman of the Bedchamber between 1631 and 1634. Bullen Reymes, a famed lute player and consummate gentleman was known as the ‘Conscientious Cavalier’ and is recorded in the diaries of Samuel Pepys. He was made Surveyor of the Great Wardrobe in 1667 at an annual salary of £300 and was acclaimed at court for his good management. Samuel Pepys wrote that he ‘...has already saved a great deal of money in the King’s liveries and buy linens so cheap that he will have them by the next cloth he hath for shirts.’ Pepys’ diaries January 29th 1668. There is a record of a marriage settlement between Harry Chafin of Zeals to Anne Reymes (the wealthy widow of Bullen Reymes, the Colonel’s son) dated 1697, 1698 and 1699. Waddon is recorded as coming into the Chaffyn-Grove family in 1700. In addition Thomas Fuller (1608-1661) married Hugh Grove’s daughter Eleanor of Chisenbury c.1640. She died in 1641. He became chaplain to King Charles II.


During the civil war Hugh Grove fought on the Royalist side and took up arms with Penruddock in the abortive insurrection of 1655. With about two hundred followers they occupied Salisbury. They then marched into Dorset and proclaimed for Charles II at Blandford, but not finding themselves joined by the country people as they expected, endeavoured to make their way into Cornwall where they believed they would find support for the King. At South Molton in North Devon they were surprised in their quarters on the night of March 14th by Captain Unton Croke of Colonel Berry’s regiment. Penruddock and Grove were captured and sent for trial at Exeter and despite their pleas against the charge of treason, both were executed on the 16th May 1655. Mary Grove (d.1724) was Hugh Grove’s daughter in law, being married to his son John in 1686 (d.1699). She was heiress to William Chafin of Zeals. £6000 - 10000

28 detail

28 detail 7

31 detail


29 A sprigged mustard velvet gentleman’s suit, late 1760s, comprising coat which buttons to the waist, sleeved waistcoat and breeches of mustard silk with striped velvet bands sprigged with buds; together with a cloth of silver waistcoat edged with silver braid, linen backing and sleeves, with a note stating that it belonged to William Chaffyn-Grove (5)

31 An ice-blue figured silk pelisse robe, circa 1820, the bodice with hussar-style frogging, trimmed with fringed passementerie and silk covered buttons, the puffed mancherons and cuffs en tablier with satin piping and buttons, the hem with deep border of blue plush and flecked fringing which gives the effect of feathers, bust approx 76cm, 30in £800 - 1200

32 A gentleman’s printed cotton banyan, French, late 1830s-mid 1840s, of red, white and blue foliate stripes, cord edged diagonal pockets and button loops, lined in striped cotton, gathered band to rear waist, star embroidered buttons, chest approx 107cm, 42in £700 - 1000 33 Two damask linen cloths, comprising: Stories from the Apocrypha, Baal (Bel) and the Dragon at Babylon, Haarlem, Dutch, early 17th century, with motifs including Daniel in the lion’s den, Cherubim carrying Habakkuk, King Astyages crowned flanked by Bel and the Dragon, 239 by 210 cm; and ‘Konig in England’, Saxon early 18th century, depicting the King (probably King George I, Elector of Hanover 1714-27) on horseback with small scale repeats of a boar and bear hunts overall, 200 by 194cm (2)

Provenance: Waddon House, Dorset, the home of the Chaffyn-Grove (Troyte Bullock) family since 1226. £700 - 1000 30 A satin pin cushion and quilted layette or work basket lining, traditionally believed to have belonged to Mary Grove, English, 1660s, the cushion initialled and dated in pins WG MC (or G as one pin is missing), 1661, bordered by deep band of silver braid, 18 by 26cm, 7 by 10in; the ivory satin basket lining quilted with flower-heads, 39 by 44cm, 15 by 17in; together with a pair of joined infant coif panels; and two notes stating these pieces belonged to Mary Grove and were the gifts of King Charles I in 1661 (5)

Provenance: Waddon House, Dorset, the home of the Chaffyn-Grove (Troyte Bullock) family since 1226. Ref. ‘White Figurated Linen Damask’, Dr G.T. van Yffelsteyn, p91, no 108. £400 - 600

Provenance: Waddon House, Dorset, the home of the Chaffyn-Grove (Troyte Bullock) family since 1226.

34 A pair of men’s doeskin breeches, circa 1790, with self covered buttons, fall-front with three pockets

The initials on the cushion may relate to the heiress Mary Grove née Chafin of the Zeals estate, who married John Grove in 1686, died in 1724. They had a son, William who became the Rector of Manston, Dorset and Wotton Rivers. He died in 1768. £300 - 500

Provenance: The late Harry Matthews collection. £600 - 1000 31



35 A fine striped brocaded silk robe à la Française, 1770s, of blue and white striped, figured and rose-sprigged satin, the open robe with ‘sack-back’, engageants, pleated and ruffled robings edged in silk fly braid, the matching petticoat with ruched furbelows and a stomacher made from the same fabric, bust approx 86cm, 34in (3) £3000 - 5000 36 A gentleman’s finely striped indigo and white cotton summer jacket, mid 19th century, with self-covered buttons, cotton lining, narrow cuffs, single vented breast pocket and two large pockets at the hips, chest 97cm, 38in; together with an altered piqué cotton waistcoat woven with large botehs (2) £600 - 800 37 A gentleman’s dark green facecloth dress tailcoat, circa 1840, the gilt buttons by G&W Boggett & co of 50 St Martin’s Lane, London, with ivory silk grosgrain lapels and black velvet collar, the buttons bearing the arms of the ‘Ancient and Most Benevolent Order of Friendly Brothers of St. Patrick’ friendly society, lined in tan silk, chest approx 92cm, 36in £600 - 800 38 A yellow silk jacket trimmed with metal lace, possibly for a monkey or an effigy, Italian, late 18th century, linen lined, the centreback fastened by hooks and eyes, single fastening to front waist, wide sleeves, trimmed with gold bobbin lace, ribbon fringed hem, chest approx 36cm, 14in


£400 - 600 39 A gentleman’s navy wool tailcoat, 1850s, with M-notched lapels, double row of black silk covered buttons, curved back seams, narrow curved cuffs with small button closures to match, heavily padded hips and lower back areas, pocket to inside chest and also concealed within the brown chintz lined tails, chest approx 81cm, 32in £800 - 1000 40 A gentleman’s brocaded silk waistcoat, circa 1770, formed from joined panels of pink silk woven with stripes and flower sprays, plain linen backing, chest 92cm, 36in £400 - 600 41 A fine linen gentleman’s shirt, 18th century, of voluminous cut, with two buttonholes to collar, flounce to neck opening £400 - 600


39 9

50 An embroidered satin papal purse, Italian, late 18th century, with large embroidered armorial in gilt threads and silks, 16cm, 6in long £200 - 300 51 A pair of woven vegetable fibre summer shoes, probably French colonial, circa 1830, together with a red leather Regency purse with plated mounts, 8cm, 3in long (5) £250 - 400 52 A pair of wooden pattens, probably English, 18th century, with nailed leather latchets, circular iron supports attached to the shaped wooden soles, 27cm, 10 ½in long (2) £400 - 600

42 detail


42 An old-rose silk robe à la Française, 1770s, the bodice with diagonal openings, the side slits, pleated silk cuffs and edges trimmed with pleated bands of matching silk edged in beige fly braid, and two panels of matching fabric, probably taken from the missing petticoat, one edged with fly braid (3) £1200 - 2000 43 A pair of gentlemen’s green self-striped wool trousers, mid 19th century, the deep waistband with horn braces-buttons, single self-covered button to the waist and side pockets, watch pocket to the waistband, japanned metal button flies, short backbelt, buttoned tabs inside the hems for attaching to gaiters £600 - 900 44 A needlerun-lace dress, 1820s, with overall sprigged repeats, the hem with more complex bouquets using two densities of thread, variously patterned centres, the puff sleeves with gathered tulle insertions and satin piping, bust approx 81cm, 32in; with an ivory satin petticoat (2) £500 - 900 45 A printed silk dress, circa 1836, with gigot sleeves, pleated mancherons, padded hem, bust approx 81cm, 32in

Provenance: The late Harry Matthews collection. £400 - 600 10

46 A block printed woven muslin open-robe, circa 1800, with fine trellis weave printed in blue, red and brown with delicate floral trails, empire-line bodice with linen inner panels and lining, bust approx 81cm, 32in

Provenance: The late Harry Matthews collection. £500 - 700 47 A boy’s Eton Montem jacket, early 19th century, of red facecloth edged in black wool with tall stand collar, high set sleeves and trimmed hussar-style in gold braid and brass buttons; with a hand written note stating it was worn by Harry Grove who was born in 1803 (2)

Provenance: Waddon House, Dorset, the home of the Chaffyn-Grove (Troyte Bullock ) family since 1226. See website for extended footnote. £400 - 600 48 A large black silk calèche bonnet, circa 1770, with baleen struts, edged in black silk bobbin lace and lined in ivory silk, 64cm, 25in tall £400 - 600 49 An embroidered Kashmir dolman cape with Worth label, circa 1885 but later altered, Worth waist stay label has been re-sewn in at the neck, formed from petrol blue velvet and intricately embroidered Kashmir shawl panels, lined in plum satin and edged with chenille fringing £800 - 1200

53 A pair of black satin ankle boots, circa 1840-50, with side laces, flat and straight, patent leather toes and satin rosettes, 26cm, 10in long (2)

Provenance: The late Harry Matthews collection. £450 - 600 54 A pair of midnight blue morocco leather women’s shoes, circa 1785, trimmed with navy ribbons, low ‘Italian’ heel, 24cm, 9 ½in long (2)

Provenance: The late Harry Matthews collection. £600 - 900 55 Two pairs of glacé leather pumps, circa 1865, the sole of the blue trimmed pair stamped ‘Mayer, Paris’, both trimmed with silk ruffles and fine chain stitch embroidery, the pink pair with silk covered low wedge heels, the longest 26cm, 10in (4)

Provenance: The late Harry Matthews collection. £400 - 600 56 Three pairs of satin dance pumps, circa 183040, including ivory satin pair with ‘Mme Lagnier-Soubise of Boulogne’ trade label, the soles signed in biro ‘ballet shoes of Catharine Georgiana Turing, nee Davidson’; another pair by Melnotte, of Rue de la Paix, Paris and Regent St, London; and a black satin pair, average size 26cm, 10in long (6)

Provenance: The late Harry Matthews collection. £350 - 500 57 A brown glazed cotton calèche bonnet, circa 1800, lined in pink glazed cotton, with six curved struts, 51cm, 20in high £350 - 500

58 A good group of purses, 1810s-1890s, nine including reticule of knitted silk with gilt filigree basket-base c.1820; concertina silk example with note dating it to 1837; pale blue wool miser’s purse embroidered with silver oak leaves and acorns 1800-20; five miser’s purses with carved ivory and mother of pearl rings and finials, others of pleated silk, crochet one with the name ‘A.W. Campbell’; another of satin embossed in gold ‘handed to the Princess of Wales by the Hackney and East Middlesex Band of Hope, 1895’ (8)

Provenance: The late Harry Matthews collection. £450 - 600 60

59 A pair of gentlemen’s purple morocco leather slippers, mid 19th century, lined in brown cotton, straights, 26cm, 10in long; together with a pair of embroidered black canvas braces backed in crimson and black satin with leather straps (4) £400 - 600 60 A pair of green leather mules, circa 1750-60, with white kid covered low curved heels, wide spoon-shaped insoles, the upper edged in white linen braid, 23cm, 9in long (2) £1000 - 1500 61 A rare and early Jeanne Lanvin walking suit, circa 1911-13, with narrow woven label ‘Jeanne Lanvin, 22 Faubourg St Honoré, Paris’, of black cotton velvet, the jacket cut higher at the back than the front, with large single frogging fastener with silk covered bauble button, angular black satin lapels, with seven self-covered buttons to the lower sleeves, a button each side of the rear belt at the raised waist level, a button row also repeated down one side of the skirt, with broad inner boned webbing waistband, velvet ruffles to the hem; with matching silk cummerbund sash with peacock blue-green tassels, bust 86cm, 34in, waist 71cm, 28in (3)

This is an extremely early example of Lanvin’s work as she only became registered with the Syndicat de la Couture in 1909. £4000 - 6000

61 label

61 11




62 An Aleeks of Paris pink chiffon, beaded and ribbon-worked evening dress, circa 1910, labelled to the waist stay ‘28 Bvd Haussmann, Paris’, the waistband and front panel adorned with ribbon-work roses, and fine silver beaded sprigs, bust approx 81cm, 32in

64 A Doeuillet blue and gold brocaded satin evening gown, circa 1913, large woven label within waist stay ‘Doeuillet, 18 Place Vendôme Paris’, with gold embroidered nude lace to bodice, large golden beads, pointed, trained hem, bust 81cm, 32in

65 A Farquharson & Wheelock pink and gold brocaded satin evening gown, 1910-12, labelled to the waist stay ‘3 East 47th Street, New York’, with boned inner silk corset, wrap-over bodice panel with tulle infill, and diagonal drape to the trained skirt, the fabric woven with large floral palmettes, bust approx 81cm, 32in, waist 56cm, 22in

£700 - 1000

£600 - 1000 63 A G & E Spitzer of Vienna pink satin directoire style gown, circa 1908-11, labelled to the waist stay, with black velvet ribbons, paste inset buckles to the raised waist and ruffled sleeves, self covered satin button adorn the front skirt, bust approx 81cm, 32in; together with a black silk coat trimmed with mourning crêpe and chemical lace, by Maison Grober of Vienna (2)

Provenance: Sotheby’s November 28, 2002 part of a Princely Collection, a group of clothing which came from a trunk which had belonged to Princess Maria Maximilanova Romanovska, and also garments which had belonged to Duchess Thyra of Cumberland, Princess of Denmark (1853-1933) and her daughters Princesses Marie Luise (1879-1948) and Alexandra (1882-1963). £250 - 350 12

Provenance: The Estate of Frances Carroll Brown, granddaughter of American copper magnate Marcus Daly. £800 - 1200 66 An Anna Weber of Karlsruhe, Germany embroidered pink muslin dress, circa 191011, labelled to the waist-stay, the bodice and hem edges with soutache braid and French knots, floss silk edges and faux Alençon lace, satin waist sash, bust approx 92cm, 36in

Provenance: See lot 63. £400 - 600

62 detail

67 ‘Les Robes de Paul Poiret’, 1908, no.36 of 250 copies, featuring 10 colour plates by Paul Iribe, 32 by 29 ½cm £700 - 1000 68 Three Lucile studio fashion sketches, circa 1916, two signed, comprising two robe-destyle designs in grey chiffon and pale blue silk, and a be-jewelled empire-line costume with fur trimmed train, 37 by 20cm, 14 ½ by 8in (3) £1200 - 1800 69 Four Lucile studio sketches, early 1920s, numbered in pencil 32, 33, 40, 42, elegant evening wear sometimes accessorised with Spanish hair combs, including a pink silk gown with fur neck edging, black trained satin gown with beaded fringes and others, 35 by 25cm, 13 ¾ by 10in (4)



£800 - 1200 70 Four Lucile studio sketches, for two evening ensembles, early 1920s, numbered in pencil 45, 45A, 46, 46A, comprising brown dinner dress edged in fringing, and a matching coat with pink turban; a blue evening dress with wide chiffon sleeves, fringes and matching cape, 35 by 25cm, 13 ¾ by 10in (4) £800 - 1200 71 A rare Doeuillet orientalist silver lamé and blue tulle dance gown, circa 1919, large woven satin label to the waist stay, the blue tulle over-dress with wide, loose, short sleeves, cross over ties edged in embroidered silver lace, shaped embroidered panel between the shoulders, bust approx 81cm, 32in, waist 56cm, 22in £1200 - 1800 72 A rare Lucile black satin evening cape, circa 1914, with narrow green on white label ‘Lucile Ltd, 23 Hanover Sq.W’, embroidered in white angora with Indian inspired foliate boteh motifs, with square sailor-collar, embroidered single button to fasten, lined in contrasting peacock blue satin £800 - 1200 71


71 label

72 label 13

77 A woman’s brown leather motoring coat, circa 1910, fur-lined, double breasted with brown velvet collar, ‘sword-make’ studs to the rear neck, bust 92cm, 36in

The coat was possibly made by Wilkinson Sword, a British company founded in 1772, that specialised in steel blades but that also went into motorcycle production in 1903. £400 - 600 78 A rare ‘Au Bon Marché’ midnight blue taffeta day ensemble, circa 1916, with large woven label with ‘TZ 78509’, the jacket with broad box pleats and pendant bauble silk covered buttons, integral belt, the skirt with shirring to waist, broad petersham waistband, bust 97cm, 38in, waist 74cm, 29in (2) 75

74 A G & E Spitzer of Vienna embroidered pink chiffon and ivory satin gown with day and evening bodices, circa 1910, labelled to the waist stay, comprising: high waisted lownecked evening bodice; the day bodice with high neck and lace chemisette, lower pointed waistline, the pink chiffon embroidered overall with floss silk roundels and leaves in shades of pink, bust approx 86cm, 34in

Provenance: See lot 63. £600 - 1000 75 A black and silver lamé opera coat, mid 1920s, worn by Jenny Agutter when she accepted her Bafta for ‘Equus’ in 1978, with deep ruffled collar and cuffs, cocoonshaped with batwing sleeves, chest approx 92cm, 36in


73 label

73 A Paul Poiret beaded black silk flapper dress, circa 1925, large woven label reapplied to the rear neck area, the V-neckline and hem edged in large silver blister beads, the hem with clear bugle beaded vertical plume motifs, a looped drape of satin falls from the shoulders to the rear waist with short train, bust 112cm, 44in

The proceeds of this lot are being donated by Jenny Agutter to the Cystic Fibrosis Trust. £400 - 600 76 A Liberty & Co ivory satin and silk crêpe bridal gown, circa 1911, with large printed label to the waist stay ‘Liberty & Co Ltd, London & Paris’, with raised waist-line, the plastron with scrolling Art & Crafts style pearl beaded scrolling carnations, also to under-sleeves and rear back detail, long trained skirt trimmed with ribbons, bust approx 81cm, 32in £350 - 550

£1000 - 1500

79 label 14

Smart department store day-dinner wear of this period is very hard to find. £400 - 600 79 A rare and early Madeleine Vionnet couture beaded gown, Spring-Summer 1918, the narrow ivory satin label embroidered in green chain stitch, the front with three beaded strand straps, the back with multiple beaded strands, the neckband studded with large facetted jet-like beads, the crêpe embroidered with large stylised roses in bugle and seed beads, the waistband cut low at the back, curving upwards across the front, side fastening, bust approx 92cm, 36in, inner waistband 71cm, 28in

See ‘Madeleine Vionnet’ edited by Pamela Golbin, p60 for an archive photograph of this dress being worn below a velvet cape with rose collar. See also ‘Vionnet’ by Jacqueline Demornex p33 for another Vionnet archive registration photograph which is mis-dated 1921 and shows a different angle of the same session. This is the earliest Madeleine Vionnet dress ever to come onto the open market. £4000 - 6000


ŠLes Arts DÊcoratifs, Paris

79 back

79 detail 15



80 label

83 label

80 A Jeanne Lanvin couture quilted and embroidered ivory satin evening cape, Summer, 1925, with fragile label bearing date stamp and indistinctly numbered to the reverse 60788, embroidered and quilted in fine chain stitch in metal thread with large ‘feathered’ wings, self-lined

83 A Chanel couture blue velvet jacket, circa 1930, labelled and numbered 4866, with wide, round collar, flounced capelet-like bands to the sleeves, lined in blue satin, bust approx 92cm, 36in £700 - 1000

£700 - 1000 81 A Callot Soeurs embroidered acid-green velvet over-dress or tunic, circa 1925-6, gold on ivory ribbon label, with oriental inspired pattern of birds and cloud scrolls worked in gold thread, floss silks and pearl beads, bust 92cm, 36in £400 - 600


82 British Vogue magazines, 1930s, comprising 13 issues 1930 plus 2 pattern books, 7 issues 1934 and 7 issues 1937, in 3 bound volumes (3) £2000 - 3000 84 detail


Mrs Carol Dugdale

84 A rare and important Schiaparelli midnight blue silk jersey ‘Rococo’ scroll appliqué evening ensemble, Summer, 1937, with white petersham ‘Schiaparelli London’ label to the jacket only, numbered 4749, boldly adorned with cream patent leather scrolls hand painted in oils with spots and lines, two small pockets are concealed within the strapwork at the front, large off white shaped leather Dali-esque stylised lips buckle at the waist; the matching dress with integral pockets at the raised waistband, large plastic zip to fasten, shaped fold-over band to bodice top, the matching belt with matching white leather buckle, bust, 92cm, 36in (3)


84 dress

Provenance: Mrs Carol Dugdale (neé Timmis), a stylish British socialite. For an similar Schiaparelli jacket see KTA 24.6.2014 lot 98. Wallis Warfield Simpson (later the Duchess of Windsor) chose this ensemble for part of her wedding trousseau. She was photographed by Beaton wearing a similar jacket with matching dress the day before her wedding to the Duke of Windsor at the Chateau de Cande, France in May 1937. In the photographs, which were later reproduced in Vogue, (and which also included the Dali lobster print organdy dress in the same session), the willowy Duchess, coiffed to perfection and with stern expression, was the epitome of refined elegance. Beaton photographed her again in a more formal studio setting wearing the jacket in June 1937. £20000 - 30000

84 label

84 17

85 A Schiaparelli ‘shocking pink’ crêpe evening gown, probably Summer, 1937, labelled to the matching waist slip ‘Schiaparelli London’ and numbered 5556, the shirred purple velvet bodice with ‘sweetheart’ neckline, red plastic zip fastening centre-back, bust 92cm, 36in (2)

Provenance: Mrs Carol Dugdale (nee Timmis), a stylish British socialite. £4000 - 6000


87 detail


86 A rare Schiaparelli painted straw hat, ‘Pagan’ collection, Autumn, 1938, black on white grosgrain label with remains of ‘Place Vendôme Paris’ label, dated ‘Automne 1938’, painted dark grey and interwoven or embroidered in dark blue wool overall, the shallow crown adorned with two wired clusters of painted composition mushrooms, 43cm, 17in diam

87 A rare Schiaparelli black Linton tweed coat, Winter 1936-37, labelled ‘Schiaparelli, London’, the angular lapels with revers edged in green and blue rick-rack wool braid and tiny blue and green sequins, invisibly fastened at the waist by hook and loop, beautifully cut to gently flare from the waist, lined in purple/blue silk taffeta with internal zip-pocket with buttonhole stitched pull, bust 86cm, 34in

£700 - 1000

Provenance: Lady Clark of Saltwood, President of the Incorporated Society of London Fashion designers during the 1930s. Literature:`Shocking!’, Dilys E. Blum p107 for a coat from the same collection. She writes that these coats `were enthusiastically received by the press, trade and private clients’. £4000 - 6000 85 detail 86

85 label 18

87 label

88 A Schiaparelli printed silk day dress, probably Summer, 1937, labelled ‘Schiaparelli London’ and numbered 4749, with squiggle print in red and brown with green highlights, plastic zip fasteners at the wrists and left side closure, ties to neck, pleated points to shoulders and waist, bust approx 92-97cm, 36-38in

91 A Chanel couture bias-cut lace ‘little black’ dress, circa 1929-30, labelled and numbered 12803, the front neck flounce forming a capelet over the scooped back, with criss-cross arching bands at the waist, integral belt, bust 92cm, 36in £2000 - 3000

Provenance: Mrs Carol Dugdale (née Timmis), a stylish British socialite. £600 - 800



89 detail

89 A rare cruise/beach ensemble, late 1930s, comprising: Henry à la Pensée navy wool wide legged matelot trousers, the cotton rope belt with brass harpoon-shaped spinner adornment, stamped ‘Henry à la Pensée, made in France’, waist 66cm, 26in; and a striped knitted top, bust 81cm, 32in (2)


91 label

£800 - 1200 90 A Jeanne Lanvin pale blue shirred silk evening gown, circa 1935-8, woven label pencil numbered to the back 22612, with ties to neck, figure-hugging with skirt formed from crin stiffened circle skirt, bust approx 86cm, 34in

92 A ‘Snow Snug’ by Shawmut ski suit, American, late 1930s-early 1940s, labelled and also with ‘H.M. Voorhees & Bro Trenton N.J., Paris New York’ label, of navy felted wool with red cotton stockinette collar, Talon zip, navy, green and blue striped belt and facings (2)

£600 - 900

£400 - 600

90 19




93 label

94 label

95 label

95 A rare and early Balenciaga couture black wool and satin dinner dress, probably Autumn-Winter 1937, white on black Paris label indistinctly numbered but probably ‘84’, the satin bodice with bow-tie neckband, curved bias-cut black wool band to the bodice and matching cuffs, large plastic zips to one shoulder and side fastening, long slim skirt with front kick pleat, bust approx 81m, 32in

93 A Lucien Lelong black satin halter-neck evening gown, late 1930s, labelled, the front bodice with pin tucks and radiating pleats, tie to centre-front waist, bust approx 81cm, 34in £600 - 1000 94 A Jeanne Lanvin couture beaded ivory rayon satin evening gown, circa 1944, large woven label, with large puff sleeves, the front adorned with blue glass beads, small silver and textured gold sequin curleques, two pockets concealed within the motif, bust approx 97cm, 38in

Cristobal Balenciaga opened his Paris fashion house on Avenue George V in August 1937. This highly skilled little black dress is one of his earliest Paris creations to have survived. The two digit numbering on the bolduc also suggests that this was an early order. £4000 - 6000

£800 - 1200

95 detail 20

96 detail

96 label

96 A Schiaparelli figured ivory satin evening jacket, circa 1940-42, printed silk grosgrain label ‘21 Place Vendôme, Paris’ label, numbered 83267, with pronounced padded shoulders, elaborately beaded and embroidered Indian inspired motifs, with turquoise beads within boteh-shaped gilt mounts, white seed bead florets with garnet and sapphire coloured stones, raised gold metal strip scalloped borders, the three gilt-wire disc buttons with ivory satin centres, lined in ivory chiffon, chest 86cm, 34in


£6000 - 10000 97 A Schiaparelli black wool damask dinner dress, circa 1938-40, with remains of printed silk grosgrain label ‘21 Place Vendôme, Paris’ label with indistinct date, woven with clover-leaf repeats, with padded shoulders, curved pleat defining the yoke, three more graduated pleats to the waist and hips, large plastic Eclair zip to centre-back, bust 86cm, 34in, waist 66cm, 26in £1500 - 2500

96 detail


97 label 21



98 A Schiaparelli tri-colour linen summer jacket, circa 1940-45, lacking label, in turquoise, lavender and yellow linen, with wide padded shoulders, short sleeves with turned up cuffs, pockets along the upper blue linen chest edge and yellow linen waist edge, the six faux horn buttons carved and gilded with fern shapes, lined in transparent white organza, bust 86cm, 34in

99 A Chanel couture classic green wool suit, 1959, labelled and numbered 11495, the jacket adorned with tabs applied with coiled gilt wire buttons, gilt chain to hem, matching skirt, the silk blouse with pussy cat bow, chest 102cm, 40in, waist 74cm, 29in (3)

£3000 - 5000

100 A Christian Dior black soutache lace ball gown, circa 1957-9, with black on white ‘Christian Dior Paris’ label, numbered 13817, with integral tulle corset, the black soutache lace backed in tulle over white organza and layered tulle petticoats, wide boat neckline, satin bow to bodice and elbow length sleeves, broad waistband over tightly gathered skirt, bust approx 86cm, 34in, waist 56cm, 22in

£800 - 1200

£1000 - 1500

98 detail 22



104 A Dior London black soutache lace and velvet evening gown, circa 1962, labelled and numbered 40768, with integral boned tulle under-bodice, the lace skirt adorned with black lurex florets, the over-bodice of black velvet, cross-over back with bow, bust 86cm, 34in, waist 66cm, 26in (2) 101


101 A Lanvin couture silver-grey damask satin gown, Summer, 1948, large woven label printed with the date, numbered 27777, the strapless bodice with integral corset, sweetheart neckline defined by pleats, full skirt falling from a dropped waist, the fabric woven with stylised carnation repeats, bust 92-97cm, 36-38in, waist 71cm, 28in

£700 - 1000 105 A rare collection of Frederic L. Milton’s ‘Confidential Reports of Paris Collections’, 1954 to 1960, twenty two folios containing printed reproductions of pen and ink sketches showing the highlights of the major couture house seasonal collections including Dior, Ricci, Gres, Balenciaga, Givenchy, de Rauche, Griffe, Patou, Fath, Chanel, Balmain, Desses, Cardin, Heim, Manguin, Patou, Schiaparelli, each with approx 20-25 pages covered with around ten designs per page, 31 by 46cm (22)

£1000 - 1500 102 A Christian Dior London cinnamon taffeta dinner gown, circa 1953-5, labelled and numbered 09436 and size 14, with integral tulle corset, cross-over panels to bodice and side buttons, zip to the back, narrow belt, full pleated skirt, bust 92cm, 36in, waist 72cm, 28in

Frederic Milton ran a subscription service for the American fashion industry. His drawings were accurate line-for-line copies of the couture originals. He achieved this by paying a network of in-house spies and then charging each client initially $1000 per season. When this finally came to light, each couturier identified his/her own designs and a prolonged lawsuit ensued.

£350 - 500 103 A Pedro Rodriguez couture magenta cannelé satin evening gown, late 1950s, Madrid, Barcelona and San Sebastian label, with ruched and draped ballooning back panel above columnar, trained skirt, bust approx 86cm, 34in

See ‘Balenciaga’, Marie Andree Jouve and Jacqueline Demornex, 1989, p63. £800 - 1200

£600 - 1000 103 23

111 A Chanel couture ivory slubbed silk suit, circa 1962, labelled and numbered 16626, the jacket edged in ivory petersham, reversing to navy, with bows to neck and four pockets, weighted hem, with matching sleeveless dress, chest 92cm, 36in, skirt waist 56cm, 22in (2)

106 A Pierre Balmain couture beaded ivory silk evening gown, Spring-Summer, 1967, labelled and numbered 138705, the bodice encrusted with embossed silver florets, rhinestones and trefoil glass beads, the neckline with ridged band of golden discs, silver braid and beads, pale green silk waistband with tie-bow, matching hem band, bust 86cm, 34in

A similar suit was photographed in Harper’s Bazaar, March 1962 p153. £400 - 600

£700 - 1000 107 A Carven couture beaded coral-orange silk crêpe evening gown, early 1960s, labelled, the bodice with V-panel of broderie anglaise smothered in coral coloured beads, bust 92cm, 36in

112 A Madame Grès couture aubergine velvet and pleated ivory silk evening gown, circa 1975, woven Grès label and also handwritten défilé label ‘131 sur Chrystel’, a plume-shaped jersey panel diagonally crosses one breast and connects to a single spaghetti shoulder strap at the low open back, bias cut trained skirt, bust approx 76cm, 30in, waist 63cm, 25in

£350 - 500 108 A Carven couture ochre crêpe cocktail dress, early 1960s, labelled, the bodice and collar adorned with gilt florets, yellow beads, crystal and rhinestones, bust 8692cm, 34-36in

This dress came from the personal archive of Madame Grès which was acquired by the seller after her death. £1500 - 2500

£250 - 350


109 A Madame Grès printed chiffon evening gown, 1970s, boutique label ‘1 Rue de la Paix’, bias-cut with graduated hem, formed from four panels of fabric descending from the neck-band, bust approx 86cm, 34in

An identical dress forms part of the Jacques Esterel collection and was illustrated in the 2005 exhibition catalogue ‘Madame GrèsEntre Ombre et Lumière’ Musée de Bourgoin Jallieu p25. This dress came from the personal archive of Madame Grès which was acquired by the seller after her death. £1200 - 1800 110 An Yves Saint Laurent couture navy herringbone woven satin coat, circa 1966, labelled and numbered 18176, with four patch pockets, waistband, with gilt bauble buttons, chest 92cm, 36in £600 - 1000

106 24


113 A fine Thea Porter abaya/kaftan dress, 1974, Couture label, of ivory chiffon edged in orange satin ribbons, ivory knotted braid sleeve edgings, the hem inset with broad patchwork of ikat and printed silks, Persian style brocades, with matching petticoat, bust 86cm, 34in; together with copies of correspondence, invoices, sketch ideas by Thea Porter when the gown was commissioned as a bridal gown. It cost £213 in 1974 (qty)

118 A Pierre Balmain couture black gazar and velvet edged evening gown, circa 1969, labelled and numbered 47315, the stiff silk falling in origami-like folds, centre-front split to graduated hem, bust approx 89cm, 35in £450 - 600 119 A Madame Grès black silk bias cut dinner dress, probably late 1970s, labelled, with zip fastenings to left side and shoulder, a triangular godet panel cascades from the neck and zig-zags to the kick pleat at the front hem, bust approx 92cm, 36in

£1000 - 1500 114 A Thea Porter Gipsy dress of Sheila Hudson butterfly-printed chiffon, 1969, labelled Thea Porter, London, the bodice inset with Persian brocade satin edged with turquoise velvet ribbons, bust 86cm, 34in

£500 - 700 120 A Thea Porter Gipsy dress, 1969, woven green and yellow lily label, size 10, of contrasting black and red floral muslin edged in gold braid, bust 81cm, 32in

This gown was worn in 1969 as a wedding dress at Paddington Registry Office. The bride completed the look by going barefoot. £800 - 1200

£600 - 1000


115 An Yves Saint Laurent crushed velvet Saharienne ensemble, 1970s, Rive Gauche labelled and size 38, the tunic with cord lacing, matching trousers, bust 92cm, 36in, waist 66cm, 26in (2) £300 - 500 116 A Madame Grès couture navy jersey dinner dress, 1970s, black on white satin label, the bodice with vertical pleats to one side only, long tie belt, bust approx 86-92cm, 34-36in £500 - 700 117 A Pierre Cardin sapphire blue silk crêpe evening gown with jewelled collar, 1970s, Paris labelled, adorned with massive cushion-shaped clear stones, bugle beads and silver baubles, low cowl back and shirred gathers to rear waist, bust approx 86-92cm, 34-36in £400 - 600


120 25

123 A Thea Porter printed black chiffon smock dress, 1969, labelled ‘Thea Porter London’ and size 10, the fabric designed by Michael Szell, with foliate Paisley style repeats, edged in white velvet ribbon, bust 86cm, 34in

Included in the ‘Thea Porter, Bohemian Chic’ exhibition, Fashion & Textiles Museum, London, 6th February - 3rd May 2015. £500 - 900 124 A Thea Porter printed pink muslin smock dress, 1969, labelled ‘Thea Porter London’ and size 10, with swirling psychedelic print in shades of cream, pink and mauve, fuchsia velvet ribbon trim, bust 86cm, 34in

Included in the ‘Thea Porter, Bohemian Chic’ exhibition, Fashion & Textiles Museum, London, 6th February - 3rd May 2015. £350 - 500



121 A fine Zandra Rhodes printed satin ensemble, 1970, worn by Jenny Agutter for the premiere of the film ‘The Railway Children’, bearing both Zandra Rhodes and Fortnum & Mason labels, the bodice formed from ‘Wiggle and Check’, and ‘Tasselled Circle’ prints with oyster-pink spotted damask yoke, slightly quilted full sleeves, matching pleated skirt, bust approx 86cm, 34in, waist 56cm, 22in (2)

126 A Thea Porter gilt thread embroidered and printed Indian silk dress, 1970, labelled ‘Thea Porter London’ and size 10, with smocking to front waist, full sleeves, bust 86cm, 34in

Included in the ‘Thea Porter, Bohemian Chic’ exhibition, Fashion & Textiles Museum, London, 6th February - 3rd May 2015. £600 - 1000

Penelope Tree was photographed by David Bailey for Vogue in a similar ensemble, see ‘The Art of Zandra Rhodes’ by O’Mara Publications, p50.

127 A good Pierre Cardin blue and yellow hound’s tooth checked wool suit, 1966, labelled ‘Exclusively designed by Pierre Cardin, Paris’ and size 14, the jacket with large brass zip, single pocket, matching skirt, chest 92cm, 36in, waist 66cm, 26in (2)

The proceeds of this lot are being donated by Jenny Agutter to the Cystic Fibrosis Trust. £1500 - 2000 122 A Zandra Rhodes Lily print evening gown and matching coat, circa 1972, labelled, comprising pleated silk chemise-style dress edged in ruffles and bows, the voluminous coat with vibrant lily motifs to the shoulders and sleeves, bust approx 86cm, 34in (2) £400 - 600


125 A Butsch for Pierre Cardin pendant necklace, 1960s, signed to the reverse of the pendant ‘Butsch’, the curved collar with elliptical disc chain and large polished steel domed pendant, 46cm, 18in long £1200 - 1800


A similar suit in plain tweed is illustrated in ‘L’Officiel’, No. 533-534, 1966, p309. el-de-la-mode-recherche-13.html £600 - 800


131 A Pierre Cardin polished chrome necklace, 1960s, signed ‘Pierre Cardin’, with torque formed from three curved plates, shaped tri-angular pierced pendant, 18 ½cm, 7 ¼in long 128


132 A Mr Freedom black and red velvet baseball suit, designed by Diana Crawford, 1971, pink and blue label and size 12, comprising: jacket appliquéd with roundels, with eyelets and broad yellow boot-laces to fasten, the matching trousers with diamond shaped pockets, chaps-style red panels, bust approx 86-92cm, waist 66cm, 26in; and a Mr Freedom crimson velvet pinafore dress, similarly labelled (3)

128 A Pierre Cardin necklace, 1960s, un-signed, the torque collar formed from three shaped platelets, with large pierced disc pendant, 28cm, 11in long £800 - 1200 129 A Pierre Cardin leather and herring bone weave tweed mini-dress, 1968, un-labelled, of soft black leather with button detailing to shoulders, bust 86cm 34in; together with a Pierre Cardin black patent leather jacket, c.1968-9, Paris labelled, chest 92cm, 36in (2)

£600 - 800 133 A Courrèges couture white satin and gold sequined mini-dress, 1968, Paris label, the hem, neck and waist outlined in gold sequins, bust 81cm, 32in

For contemporary fashion photographs of this dress see ‘Pierre Cardin, Past Present Future’, Dirk Nishen Publishing, London, 1990, p58, and ‘Marie-Claire’, September 1968 issue, photographed by Jean-Pierre Grabet. £600 - 1000

£400 - 600 134 A Pierre Cardin for Miss Selfridge futuristic maxi coat, 1969, labelled, of heavy cream wool with black vinyl plastron and hem, chest 92cm, 36in

130 A Pierre Cardin couture silk crêpe ‘Target’ dress, 1966, bearing défilé label only ‘613 Angela’, with integral scarf collar, bold abstract diamond motif in silk crêpe colour blocks, bust 92cm, 36in £500 - 900

£2000 - 3000

Literature: This Cardin coat is photographed being modelled in 1969, see ‘Decades of Fashion’ by Harriet Worsley published by Konemann p577. £600 - 800 132 27



135 A rare Biba man’s futuristic brown tweed suit, circa 1969-70, woven label, the long jacket with zip fasteners, patch pockets, feature waistband, the trousers with slight flares, chest 102cm, 40in, waist 76cm, 30in (2)

138 A Granny Takes a Trip man’s velvet suit, 1970-71, with black and red mushroom label, the single breasted jacket with sharp lapels edged in satin piping, three diagonal pockets, with matching purple and black velvet high waisted flares; and a Mr Freedom purple cotton vest top printed with angry Minnie Mouse motif, chest 92cm, 36in, waist 72cm, 28in (3)

£700 - 1000 136 A pair of Terry de Havilland yellow and green snakeskin platform shoes, 1970s, lycodonomorphus rufulus, size 6½, 24cm, 9 ¼in long (2)

£600 - 900 139 A rare Biba man’s navy and white striped wool jacket, circa 1968-70, woven label, cut with long, slim Edwardian lines with high angular collar, three pockets, the stripes running horizontally down the sleeves, chest 97cm, 38in

£250 - 350 137 A pair of Terry de Havilland snakeskin platform shoes, 1970s, lycodonomorphus rufulus, in shades of brown with ankle straps, size 6 ½-7, 23cm, 9in long (2)

£600 - 800

£200 - 300 139 28

140 A Biba panelled 30s-inspired satin ensemble, circa 1970, with woven art-deco label, the jacket and midi skirt in wine, steel-grey brown and dark peach satin, the wrap-over jacket with wide flared sleeves, bust approx 81cm, 32in, waist 56cm, 22in; together with Biba gold lurex flecked hacking jacket c.1973, printed satin label, bust 92cm, 36in (3) £400 - 600 141 A Roberta di Camerino trompe l’oeil dress, circa 1970, labelled, printed in red and black with cardigan and check-effect skirt, bust 92cm, 36in £400 - 600 142 A Roberta di Camerino trompe l’oeil print ‘shirtwaister’ jersey dress, circa 1970, labelled, printed with ruffles and waistband in shades of blue, bust 92-97cm, 36-38in

146 label

149 A rare Belstaff woman’s wine-leatherette scooter suit, mid 1960s, labelled ‘Scooterjak, Guaranteed windproof, waterproof, weatherproof’, the press stud fastened jacket with zipped pockets and waist belt, matching trousers, chest 97cm, 38in, waist 77cm, 30in (2)

£350 - 500 143 A Roberta di Camerino trompe l’oeil printed cotton jersey dress, circa 1970, labelled and size 44, with pink bolero and skirt, chequered shirt design, bust 92-97cm, 36-38in £300 - 500 144 A Biba purple jacquard knit ensemble, Autumn-Winter, 1971, labelled, comprising: jacket, midi skirt and flares, all woven with art-deco style motifs of figures on horseback; together with a sequined Biba vest and blush-pink canvas Biba boots, bust approx 81cm, 32in, waist 66cm, 26in (qty) £300 - 400 145 Two Biba men’s tops, circa 1973, both with printed satin Derry & Tom’s men’s department labels, comprising: lavender denim jacket with patch pockets and feature zips, chest 92cm, 36in; the other a black and cream velveteen top, with wide raglan sleeves (2) £400 - 600


146 A Granny Takes A Trip man’s ivory wool trouser suit, circa 1974, large printed black and red mushroom label, with wide, curved lapels, wide flares, with rodeo-style beadwork down the sleeves, and trouser sides, chest 92cm, 36in, waist 61cm, 24in (2)

Provenance: Tony Stevens, a founder member of the Foghat rock band which achieved considerable success in the 1970s, and sold over 20,000,000 albums and CDs. He writes ‘I can put a lot of this down to the way we looked on stage. No blue jeans and T-shirts. Just stylish, and sometimes outrageous clothes from ‘Granny’s’. £800 - 1000 147 A pair of Terry de Havilland multi-coloured snakeskin wedge shoes, 1970s, lycodonomorphus rufulus, size 7, 24cm, 9 ¼in long (2) £250 - 350 148 A Courrèges reversible orange faux sheepskin and gingham coat, circa 1970, un-labelled but with large Courrèges logos to each side, bust 86cm, 34in

Belstaff produced scooter and motorbike clothing for the Mods and Rockers market in the 60s, catering not only for the more traditional man but increasingly for women too. £600 - 900 150 A Campbell’s ‘Souper’ paper dress, American, 1968, printed boldly with the iconic Andy Warhol design, bust 92cm, 36in £400 - 600 151 A pair of Granny Takes a Trip faux leopard fur platforms, circa 1973, with pink magic mushroom label, black patent leather ankle straps, approx UK size 5, 21cm, 8 ¼in long (2) £200 - 300 152 A Mr Freedom crêpe colour-block kaftanstyle dress, 1970, un-labelled, the bold odeonesque panels outlined in blue petersham braid, bust 92cm, 36in

Jenny Dugan Chapman (the partner of Freddie Hornik, the London fashion entrepeneur who acquired Mr Freedom) was photographed standing outside the changing room of the Mr Freedom shop wearing an identical dress in 1970. £400 - 600

£400 - 600 29


153 An Ossie Clark black wool gabardine jacket, circa 1973-4, un-labelled, but with ‘Ossie Clark’ damask lining, zip fronted with pointed collar, deep waistband with points, back buckle, chest 86cm, 34in; together with a faded ‘Bakst’ print shirt, printed label; and a black moss crêpe skirt with shaped pockets, woven label size 12 (3)

©David Hockney

Celia was sketched by Hockney wearing this jacket in ‘Celia in a Black Dress with White Flowers’. £250 - 400

154 Celia wearing lot 153 At the unusually early age of 13, Celia passed the exam to go to Salford Art School, where she studied textiles, lithography and pottery and learned to make and print her own fabrics. She decided that textile design was to be her future career. It was in Manchester in 1959 that she first met her husband to be – Ossie Clark who was studying fashion at the Regional College of Art. Celia moved to London in 1961 and Ossie followed her to study fashion at the Royal College of Art in 1962. In Vogue’s August 1965, whilst still at the college, he was featured as a rising star. Ossie and Celia’s first commercial design collaboration began in 1965 at ‘Quorum’ - Alice Pollock’s trendy boutique in Chelsea. Ossie joined Quorum as designer and partner and Alice commissioned Celia to design a fabric collection for them. The combination of Ossie’s cutting skills with Celia’s colourful prints were an instant success. Celia became his muse and in 1969 they were married Celia’s collection charts their career together and apart and range from one of Ossie Clark’s earliest pop-art influenced mini dresses (made for Celia just after he graduated from the Royal College of Art in 1965), through to a spikey black leather ‘biker’ girl ensemble he made in 1996 just before his untimely and tragic death. Celia appears in numerous paintings, sketches and photographs by her close friend David Hockney wearing the clothes included in this sale – the most famous of all being ‘Mr & Mrs Clark & Percy’. Undoubtedly the most beautiful and mesmerising designs are those of the late 60s and 70s which combine the skills and virtuosity of the pair at their best, especially those made from printed chiffons.

In 2003, the Victoria & Albert Museum organized a major retrospective exhibition of Ossie Clark and Celia Birtwell’s work. Many of the garments in this auction were featured in that exhibition and were also reproduced in Judith Clark’s book ‘Ossie Clark 1965-74’ and Celia’s own book ‘Celia Birtwell’ published by Quadrille. 30

154 A rare and early Ossie Clark ‘Hoopla’ jersey mini-dress, circa 1965, labelled both Ossie Clark and Quorum, with yellow and white inserts and bands to bust and hem, bust 86cm, 34in

This dress was influenced by the work of Ossie’s friend, the American designer John Kloss. The original sketch for the dress is reproduced in ‘Ossie Clark, 1965-74’ by Judith Watt, V&A Publications, p55. £400 - 600 155 An early Ossie Clark/Celia Birtwell printed oyster-satin jacket, circa 1965, printed satin label, with art-deco inspired design of tulips and foliage in lime and peach, short flounced sleeves, bust 92cm, 36in

Celia remembers that this jacket was made soon after she and Ossie graduated from college in 1965. £350 - 500

156 An Ossie Clark/Celia Birtwell ‘Ziggy Stardust’ printed chiffon dress, 1973-4, labelled and size 10, with pink and green ‘Vita’ print, a spiralling flounce of chiffon runs from neck to hem encircling the body, bust approx 86cm, 34in

Celia was photographed by Peter Schlesinger wearing this dress at Glyndebourne in 1970 whilst attending an opera with David Hockney. See ‘Celia Birtwell’ published by Quadrille p133 for a reproduction of the image. Literature: ‘Ossie Clark 1965-74’, by Judith Watt, V&A publications, p14. £2000 - 3000 157 An Ossie Clark ivory raw-silk bolero/bodice, wide legged trousers and dress, exclusively made for Celia Birtwell, circa 1971, woven label, the bolero top with ruched and gathered sleeves, waist tie, wrap-around dress with glass buttons to cuffs, all with top-stitched detailing, bust approx 86cm, 34in, waist 61cm, 24in (3) £400 - 600 158 An Ossie Clark/Celia Birtwell printed voile summer dress, early 1970s, un-labelled, glass bauble-button-fronted with pastel ‘Paloma’ floral bouquet and swag print, bust 92cm, 36in

©Peter Schlesinger




£350 - 500 159 An Ossie Clark black wool jersey ‘Ophelia’ gown, early 1970s, printed satin label and Quorum label, size 8, with low V-neck, waist ties, full sleeves, bust approx 86cm, 34in £250 - 400 160 An Ossie Clark/Celia Birtwell strawberry embroidered black crêpe ensemble, 1971, labelled and size 10, the halter-neck dress with tiered side panels to the skirt; the jacket edged in red crêpe and green rickrack braid, bust approx 86cm, 34in, waist 66m, 26in (2) £1000 - 1500

154 label


161 A fine Ossie Clark/Celia Birtwell chiffon dress and matching evening coat, 1976, Quorum label to coat, in red, green and blue ‘Pointillist’ print, the dress with spaghetti straps and criss-cross lacing to front bodice, the matching coat with ruffled trim to collar, tie belt, bust approx 8692cm, 34-36in (3) £2000 - 3000 162 A pair of Ossie Clark/Celia Birtwell ‘Petit Palm’ printed crêpe trousers, 1972, printed label, with shirred gathers to the upper legs, waist 66cm, 26in; together with a white crêpe blouse, woven label; and a white crêpe maxi dress, printed satin label, bust 81-86cm, 32-34in (3)

This palm tree design was inspired by a holiday in Spain with Ossie in the late 1960s. Celia said of it ‘This print had a very hippie vibe’, Literature: ‘Celia Birtwell’ by Celia Birtwell, Quadrille publishing, pp36-7.


163 An Ossie Clark/Celia Birtwell cream wool trouser suit, circa 1973-4, woven label and size 10, the double-breasted jacket with three pockets, lined and faced in ‘Vita’ print, with rear belt; the matching trousers with turn-ups, chest 86cm, 34in, waist 56cm, 22in (2)

Cathy McGowan was photographed wearing an identical pair of trousers in 1972. £350 - 500

£500 - 800 161


©David Hockney

164 An Ossie Clark/Celia Birtwell printed chiffon blouse, 1969-70, printed label, size 10, with pussy-cat bow, shirred cuffs and waist; together with a charcoal-grey ‘Pop Check’ printed chiffon blouse similar, labelled, busts approx 86cm, 34in (2)

Celia wearing a ‘Pop Check’ blouse 32

Celia was sketched by Hockney wearing a ‘Pop Check’ blouse in 1973, ‘Celia wearing checkered sleeves’. See ‘Celia Birtwell’ by Celia Birtwell p133 for a photograph by Peter Schlesinger of Celia at Glyndebourne in 1970 wearing the blue and white printed blouse. £200 - 400

165 An Ossie Clark ‘Heavenly Twins’ black and scarlet moss crêpe dress, 1970, unlabelled, a spiral of scarlet crêpe descends from the shoulders to the cuffs, streamerlike red and black ties to the neck, bust approx 86cm, 34in

This is one of the most famous and iconic of all Ossie’s designs. Celia chose to wear this dress in David Hockney’s famous double portrait of the couple ‘Mr & Mrs Clark & Percy’. The white cat seated on Ossie’s knee was actually called ‘Blanche’ but Hockney decided to re-name it as he felt it had a ‘better ring’. Painted in their Linden Garden’s home, Celia stands whilst Ossie slouches in a chair, his bare feet buried in the white shag-pile carpet. Literature: illustrated in ‘Ossie Clark, 196574’ by Judith Watt, V&A Publications, pp.114-5; ‘Celia Birtwell’ by Celia Birtwell pp.127-131 for David Hockney’s preparatory photographs and photographs of him working on the canvas of the large double portrait. £6000 - 8000


165 back

© Tate, London 2015 33



166 An Ossie Clark snakeskin rocker jacket, circa 1966-7, lycodonomorphus rufulus, unlabelled, zippered front side fastening, zips also to cuffs and front pocket, un-lined, bust 86cm, 34in

169 An Ossie Clark/Celia Birtwell printed black satin jump-suit, circa 1974, un-labelled, with ‘One Step, Two Step’ print in green mauve and blue, plunging V-neck, wide trouser legs with French pleats, rear waist belt with buckle, concealed zip fastening to front, deep hip pockets, bust approx 86cm, 34in

£600 - 1000 167 An Ossie Clark black suede and snakeskin jacket, circa 1967, lycodonomorphus rufulus, printed satin label, zip fastened with angular buckle to waist, faced and trimmed in snakeskin, bust 81cm, 32in

£600 - 1000 170 A fine Ossie Clark striped snakeskin ‘Rocker’ jacket, 1966-67, printed satin label, lycodonomorphus rufulus, of diagonally banded leather, zip fastened lined in brown satin, bust 81-86cm, 32-34in

£600 - 1000 168 An Ossie Clark/Celia Birtwell printed morocain bias-cut dress, 1970, un-labelled, with ‘Brigitte’ small floral repeat print, ties to neck and long narrow sleeves, bust approx 107cm, 42in


This was made for Celia as a maternity dress. £200 - 300

‘The Ossie Clark Diaries’ edited by Henrietta Rous describes how Ossie discovered a stash of rolled un-used snakeskins in a warehouse. Ossie bought them cheaply and used them to make full length coats and tight little ‘Rocker’ jackets. He wrote: ‘They were exotic, with added glamour attached to wearing part of a dangerous animal and the association with fetish in clothing oneself in another creature’s skin’. Twiggy, Britt Ekland and Verushka all wore them. Literature: illustrated full page in ‘Ossie Clark, 1965-74’ by Judith Watt, V&A Publications, p64. £700 - 1000 171 An Ossie Clark/Celia Birtwell printed morocain dress, mid 1970s, Radley labelled and size 10, with overall red, white and black leaf print, full elbow length sleeves, three self covered buttons to front waist with side ties, bust approx 101cm, 40in

169 detail 34


£300 - 500

172 A fine Ossie Clark/Celia Birtwell sequined black crêpe evening suit, 1971, labelled and size 10, comprising: bias-cut halter-neck dress with sequined tulip motif to one breast, the matching jacket with lightly padded shoulders, appliquéd with green satin and scarlet sequined tulips overall, lined in damask woven with ‘Ossie Clark’ repeats, bust approx 92cm, 36in (2)

This ensemble is illustrated in ‘Ossie Clark, 1965-74’ by Judith Watt, V&A Publications, p 121. This design was modelled in ‘Harpers and Queen’, December 1971. This ensemble could only be purchased as a special order from Quorum and cost £60 in 1974. £2000 - 3000 173 An Ossie Clark/Celia Birtwell ivory cloqué satin trouser suit, circa 1973, labelled and size 10, in ‘Tartan Hearts’ print, the short jacket with pleats gathered into the yoke, red satin piping and lining, zip fastened, the wide-legged trousers with trellis quilting overall, bust approx 81-86cm, 32-34in, waist 66cm, 26in (2)

172 detail

175 An Ossie Clark cream and scarlet felted wool swing jacket and maxi skirt, circa 1973, the jacket with no fastenings, slanted front pockets, bold scarlet banding to shoulders, cuff and hem, un-labelled, the matching maxi-skirt, with woven label size 10, waist 56cm, 22in (2)

£600 - 900

£400 - 600


173 detail

174 An Ossie Clark/Celia Birtwell printed chiffon evening gown, 1973, labelled and size 10, with scarlet and green ‘Vita’ and ‘Tartan Hearts’ print, with lightly padded satin panels to the shoulders and floral appliqué to the centre front bodice, wide sleeves, bust approx 86cm, 34in


Vogue illustrated an almost identical dress in April 1973, Quorum price £80. £700 - 1000

174 35

©David Hockney Celia wearing the pink blouse in lot 176

176 A large group of Ossie Clark lingerie and blouses, designed for Charnos, early 1980s, eleven pieces including pink silk lace edged blouse, two other blouses, assorted slips and a nightdress (qty)

178 An Ossie Clark/Celia Birtwell printed muslin dress, 1972, printed satin label and size 10, with flounced sleeves, button-fronted with triangular opening to bodice, sprigged with red posies and edged in red stripes, bust 86cm, 34in

David Hockney produced a photographic collage picture of Celia wearing the pink blouse entitled ‘Celia Los Angeles April 10th 1982’, see p157 of Hockney’s ‘Portraits and People’. £150 - 250

Celia was sketched by David Hockney wearing this dress in Marrakesh in 1972 and is reproduced as the frontispiece in her book ‘Celia Birtwell’ published by Quadrille. £600 - 1000

177 An Ossie Clark/Celia Birtwell ensemble, circa 1970-74, comprising: black gabardine wool cropped jacket, zip fastened, buttons, points to front, back belt; a pair of black wide-legged moss crêpe trousers, both with woven labels, size 10; a blue pop-check printed blouse with ties to neck, printed label, chest 86cm, 34in, waist 61cm, 24in (3)

179 An Ossie Clark bottle-green gabardine 40sinspired suit, early 1970s, un-labelled, the jacket with padded angular shoulders, pointed turn-back cuffs, belt, the slim fitting skirt with kick pleats, chest 92cm, 36in, waist 61cm, 22in (2)

This was one of Celia’s favourite ensembles which she used to wear with strappy platform shoes. £400 - 500

See ‘Celia Birtwell’ by Celia Birtwell p142 for a photograph of Celia wearing this jacket in San Francisco in 1973 where she went on holiday with Hockney and Ossie. £250 - 400

178 36




180 An Ossie Clark/Celia Birtwell printed summer cocktail dress, 1971, unlabelled, but made exclusively for Quorum, with ‘Marie Antoinette’ print, with lightly padded yoke, a gathered panel of fabric cascading from the décolletée, flounced cuffs, bust approx 86cm, 34in £500 - 700

184 An Ossie Clark/Celia Birtwell printed chiffon cocktail dress, late 1970s-early 1980s, unlabelled, with nude and leaf print, cowl neck, empire-line, the skirt falling in deep flounces, bust 86-92cm, 34-36in

182 label

This dress was made as a sample. £450 - 600

182 An Ossie Clark/Celia Birtwell tulip-printed grey silk dress, circa 1972, labelled and size 10, with drawstring to neck, keyhole décolletée, purple suede butterfly-shaped appliqué to waist front and shoulders, bust approx 86-92cm, 34-36in £600 - 800

180 detail

181 An Ossie Clark/Celia Birtwell woven jacket, circa 1971, unlabelled, with overall small bird repeats in rainbow tones against a black ground, embroidered satin collar and bodice front, side ties, bust 86cm, 34in

183 An Ossie Clark black velvet bias cut dress, circa 1984, labelled, with diamond-shaped panels front and back, lace collar and cuffs with velvet draw-string ties, bust approx 92cm, 36in; together with a black velvet jump-suit with shield-shaped pressed card Ossie Clark label still attached, c.1980, bust 92cm, 36in (2)

Celia wore the velvet dress when she sat for a cubist style portrait by David Hockney in 1984 which appeared on the front cover of French Vogue, December 1985. £400 - 600

184 detail

185 An Ossie Clark black velvet coat, circa 196970, printed satin label and size 10, button-fronted with peter-pan collar, rear belt, chest 81-86cm, 34-36in £250 - 350

£200 - 300


188 A Ossie Clark black wool gabardine skirtsuit, circa 1970, printed satin label and size 10, the cropped jacket with linked buttons to fasten, pointed hem, angular lapels; slim fitting skirt with flare to hem, chest 96cm, 34in, waist 66cm, 26in; together with a black satin and ‘Vita’ printed cotton jersey skirt, waist 61cm, 24in (3) £400 - 600 189 A good Ossie Clark/Celia Birtwell ‘Dolly Mixture’ printed pale pink chiffon blouse, circa 1976, unlabelled, with shirred flounces to short sleeves and waist, bust approx 86cm, 34in £200 - 300 190 An Ossie Clark/Celia Birtwell printed chiffon and morocain dress, circa 1973, unlabelled, the black ground with pink, blue and green floral garlands and posies, morocain bodice and long sleeves above pleated chiffon skirt falling in graduated double tiers, ties to the back waist, bust 86cm, 34in £800 - 1200



186 An Ossie Clark/Celia Birtwell printed black wool jersey evening dress, 1973, unlabelled, with ‘African Violet’ and ‘Pineapple’ print combination in orange, green and lilac, the back slashed to just above the derriere, bust 86cm, 34in

191 An Ossie Clark/Celia Birtwell printed chiffon and crêpe evening gown, circa 1974, labelled but also with original Quorum shop tag, style OCQ402, the bodice of silk crêpe with large floral repeats in shades of mauve green and blue, satin shoulder panels, the chiffon skirt with ‘One Step, Two Step’ print, low, deep back with buttons below, bust approx 86cm, 34in

£1000 - 1500

£700 - 1000

186 detail

187 A pair of Ossie Clark/Celia Birtwell ‘Pointillist’ printed chiffon harem pants, 1976, labelled, with green, red and blue squiggles, trimmed with ruffled bands

191 detail

192 An Ossie Clark mustard suede ‘Rocker’ jacket, late 1960s, printed satin label, with diagonally pin-tucked bands, zip with large ring-pull, chest 86cm, 34in

£150 - 250

£350 - 500 190 38

193 An Ossie Clark/Celia Birtwell tulip appliquéd black crêpe evening suit, 1971, labelled and size 10, comprising moss crêpe jacket with lightly padded interlining, the lapels with tulip motifs and dark green snakeskin and satin leaves, the matching skirt with tulips appliquéd down one side, ties to the rear waistband, bust approx 86-92cm, 34-36in (2)

This design was modelled in ‘Harpers and Queen’, December 1971. £1000 - 1500 194 An Ossie Clark/Celia Birtwell cream felted wool cropped jacket, circa 1969, unlabelled, the satin lining and lapels printed with ‘Kimono’ print in peach, green and blue on a black ground, with points to the front hem, high rear waist with belt, bust 86cm, 34in; together with a pair of wide-legged gros grain trousers, un-labelled, waist 66cm, 26in (2) £400 - 600 195 An Ossie Clark 40s-inspired black gabardine coat, Autumn-Winter 1971, un-labelled, with bauble side-buttoning, buckle to front waist, turned back cuffs, the back panels with double mehrab seams, knife pleated godet to rear skirt, bust 81cm, 32in

193 detail

196 An Ossie Clark black moss crêpe jacket, circa 1973-4, woven label, size 10, with pin-tucked bodice detailing, chest 8692cm, 34-36in; together with a pale pink printed chiffon blouse with palm-print, neck ties, printed label, size 10, c.1969; and a pair of moss crêpe trousers with printed satin label c.1970 with French pleats, waist 56cm, 22in (3) £300 - 500

Literature: illustrated full page in ‘Ossie Clark, 1965-74’ by Judith Watt, V&A Publications, p108.


197 An early Ossie Clark/Celia Birtwell printed ivory satin jacket, circa 1967, printed satin label and size 10, with ‘Greek Symphony’ print, bust 86cm, 34in

This coat reflects the self-assuredness and mastery of Clark’s tailoring and construction skills. In 1971 Ossie collaborated with the French textile magnate Didier Grumbach, spending two months in Paris sourcing fabrics and working on designs which were then made up (by his company Mendes) and distributed throughout France and the US. At the time Mendes was manufacturing the high quality ready to wear collections for Yves Saint Laurent, Courrèges, Givenchy and Ungaro. His show at the Louvre, April 1971 met with great acclaim. Ossie immodestly proclaimed to the press, ‘I wanted to show the French where fashion is these days - I think I made my point’. £400 - 600

Model Pattie Boyd was photographed wearing an identical jacket with her then boyfriend George Harrison. The print was inspired by Leon Bakst’s costumes for the Ballets Russes. See ‘Celia Birtwell’ by Celia Birtwell p28 for a photograph of Pattie wearing the jacket in the company of George Harrison. £250 - 400 198 An Ossie Clark/Celia Birtwell black Hurelle jersey and printed chiffon ‘pierrot’ ensemble, circa 1977, un-labelled, the loose top with printed floral chiffon collar, cuffs and drawstring ties, matching drawstring trousers similarly trimmed; and a pair of similar Hurelle jersey trousers with contrasting pink green and purple inserts to hems (3) £350 - 500 195


202 An Ossie Clark/Celia Birtwell printed velvet suit, circa 1970, with printed Ossie Clark and narrow Quorum labels, size 8, with ‘Lily Marlene’ print, the cropped jacket with offcentre button closure, large buckle to waist, and an A-line maxi skirt with large kick-split to the front bust 86cm, 34in, waist 61cm, 24in (2)

A similar ensemble is photographed being modelled in the early 70s in ‘Celia Birtwell’, by Celia Birtwell p76. £400 - 600 203 An Ossie Clark/Celia Birtwell pale pink satin evening ensemble, circa 1973, labelled and size 10, with ‘Maison Marigold’ print in tangerine and grey, the lightly quilted jacket with sharp pink satin lapels, matching wide legged trousers, bust 86cm, 34in, waist 61cm, 24in (2) £800 - 1200



199 An Ossie Clark/Celia Birtwell bottle-green wool bum-freezer jacket and printed chiffon skirt, 1974, woven label and size 10, the jacket with ‘Vita’ printed satin lapels, chunky red buttons to the waist; the ‘Vita’ printed skirt of ivory satin and chiffon panels, bust 86cm, 34in, waist 61cm, 24in (2)

204 An Ossie Clark/Celia Birtwell printed cottonviscose sun-dress, 1972, un-labelled, with printed pink, jade green and chartreuse lattice and flower patterns, low neck, wraparound skirt with ties, bust approx 86cm, 34in

This print was named after the great gardener Vita Sackville West. £500 - 700

205 An Ossie Clark/Celia Birtwell printed morocain dress, mid 1970s, Radley label and size 14, with ‘Snakes and Ladders’ print against a dark blue ground, contrasting black white and red floral printed centre panel, yoke and trim, integral tie belt, bust 86-92cm, 34-36in

£400 - 600

200 An Ossie Clark brick-red gabardine wool jacket, circa 1970, un-labelled, zip fronted with pointed collar, vertical oval centrefront insertion, deep peplum with points, chest 86cm, 34in; together with a heavy black wool skirt, woven label, size 10, waist 56cm, 22in (2)

£450 - 650 206 A group of Ossie Clark/Celia Birtwell separates, comprising: printed satinbacked crêpe wide legged trousers 1973-4, woven label, size 10, with foliate palmette print, ‘Radish’ print turn-ups, waist 56cm, 22in; an ivory rippled crêpe and satin jacket with gathered pockets and no fastenings, un-labelled; a cream wool jacket with zip front, pointed front hem, un-labelled, chest 86cm, 34in; and a cream wool waistcoat, woven narrow Paris label (4)

£250 - 400 201 An Ossie Clark black wool jersey ‘Cuddly’ wrap-over dress, circa 1970, un-labelled, with deep low V neckline and open back, full sleeves, waist ties, bust approx 8186cm, 32-34in £300 - 500 203


£400 - 600

207 An Ossie Clark/Celia Birtwell black silk twill dress, circa 1970, printed satin label and size 10, with ‘Peachy Pie’ floral print in green and pink with flounces to bodice and pointed collar, tie belt, bust 86cm, 34in

Literature: ‘Celia Birtwell’ by Celia Birtwell, p72 for an original sketch and a detail of this dress and p73 for a dress made from the print which appeared in US Vogue in 1970. £450 - 600

210 detail

210 detail


208 An Ossie Clark/Celia Birtwell ‘Soviet Rose’ printed chiffon gown, mid 1970s, Radley labelled and size 12, with cream blooms on a black ground, V-neckline, front and back and ties to rear neck, the skirt falling in three broad gathered flounces, bust 86cm, 34in £650 - 1000 209 An Ossie Clark/Celia Birtwell black wool jersey jacket, circa 1974, woven label and size 10, the satin lapels with green, orange and grey ‘Pineapple’ print, with pleated skirts, no fastenings, chest 81cm, 32in; together with a black moss crêpe maxi-skirt with tie to the back, un-labelled; a green knitted sweater with ribbed waist, size S, woven label; and a plain black jersey swing jacket with no fastenings, un-labelled but with ‘Ossie Clark’ damask lining, chest 97cm, 38in (4) £250 - 350

210 An Ossie Clark black leather ‘biker chick’ ensemble, circa 1996, un-labelled, the calico jacket lining inscribed in biro ‘Celia’, the jacket with corset-like boning, zig-zag seam finishes, adorned with metal spikes and studs, glass droplet beads, satin ribbons, front rings for laced closure; matching pencil skirt, bust approx 81cm, 32in, waist 61cm, 24in (2)


This is one of the last pieces Ossie Clark made and illustrates his skill with construction and corsetry. £800 - 1200 211 Ossie Clark’s own satin shirt, circa 1984, un-labelled, the front with three pockets forming a mouth and pair of eyes, part lined in tartan flannel, chest 117cm, 46in; together with an Ossie Clark metallic leather jacket, printed label, c.1968, zip fastened, chest 102cm, 40in (2) £400 - 600 211 41


VARIOUS OWNERS 212 An Ossie Clark/Celia Birtwell printed pink chiffon dress and cape, circa 1976, unlabelled, the dress with empire line bodice, criss-cross ties, bust approx 86cm, 34in; together with an image of the vendor Debbie Ash (of Hot Gossip) wearing the ensemble (3) £600 - 1000



213 An unusual Ossie Clark printed and pleated bias-cut chiffon dress, early 1970s, Quorum labelled, with mauve and white ruffled bands traversing the bodice which is cut in one with the sleeves, the dropped waistline with sunray-pleated skirt printed with mauve tiger-stripes, bust approx 86-92cm, 34-36in

216 An Ossie Clark/Celia Birtwell printed chiffon dress, circa 1973, labelled and size 10, with wrap-over skirt, tie belt, glorious carnation and tulip print on a black ground, bust 8186cm, 32-34in £700 - 1000

£700 - 1000 214 An Ossie Clark/Celia Birtwell embroidered black crêpe bias-cut dress, circa 1971, printed satin label, embroidered overall with stylised posies in red and green, keyhole bust opening, drawstring to neck, bust approx 81cm, 32in

Provenance: Kathleen Coleman, Ossie Clark’s machinist at Quorum. £600 - 1000 215 A rare and early Ossie Clark mini-dress, circa 1965, printed ‘Ossie Clark, Quorum’ label, of simple modernist pale pink and lilac wool/mohair colour blocks, bust 81cm, 32in

214 42

Provenance: Kathleen Coleman, Ossie Clark’s machinist at Quorum. £400 - 600


217 A fine and rare Ossie Clark/Celia Birtwell printed chiffon ‘Tulip’ dress, 1972, unlabelled, the figure-hugging bias cut dress with button fastening to neck, slightly flared sleeves, bust approx 86-92cm, 34-36in

Provenance: Nicky Samuels. This is one of the most rare and famous of Ossie and Celia’s creations which Nicky wore for a 1972 Norman Parkinson photographic session at her Chelsea home. Languorously draped over a table covered in antique textiles, a vase of lilies and a book entitled ‘Babylon’ to her side, with her auburn tresses she was the personification of bohemian chic. The tulip print of the dress contrasted with the late 17th century embroidered table cover and the woven Indian rug to produce a riot of pattern and colour.

217 detail

Literature: ‘Ossie Clark 1965-74’ by Judith Watt p117 for the Norman Parkinson photograph, for Vogue December 1972 and p118 for a full page illustration of the dress. ‘Celia Birtwell’ by Celia Birtwell, Quadrille Publishing p98 for a detail of the fabric and p99 for a picture of Nicky wearing the dress. £800 - 1200

220 An Ossie Clark ‘Lamborghini’ suit, 1968, labelled, comprising: button-fronted oyster satin jacket and matching trousers with Celia Birtwell Japanese lacquer print design, bust 81cm, 32in, waist 61cm, 24in (2)

Twiggy was photographed wearing an identical ensemble in 1968. Provenance: Kathleen Coleman, Ossie Clark’s machinist at Quorum. £300 - 500


218 An Ossie Clark/Celia Birtwell printed scarlet chiffon bias cut dress, 1972, un-labelled, with ties to the shoulders, pink blue and green floral print, the skirt falling in three tiers, bust approx 86cm, 34in (2)

Provenance: Nicky Samuels. Literature: ‘Ossie Clark 1965-74’ by Judith Watt, V&A Publications p110 for a picture of Nicky wearing this dress. £700 - 1000 219 An Ossie Clark orange ‘Marisa’ suede ensemble, circa 1969, black on white printed label and size 12, the shirt with laced sleeves and neck opening, pointed collar and deep fringed hem, the matching trousers with double tiers of fringes, chest 92cm, 36in, waist 72cm, 28in (2)

This ensemble was purchased by the vendor’s father as a gift from a Quorum fashion show in 1969. £800 - 1200



218 43

SESSION 2 STARTING AT 3PM THE PROPERTY OF JORDAN (PAMELA ROOKE b.1955), ‘HIGH PRIESTESS OF PUNK’ - LOTS 221 TO 237 Jordan’s non-compromising personal style with spiked tinted hair, cubist face paint, wearing her overtly sexy bondage or fetish gear - made her the living embodiment of Punk, more so than even Vivienne Westwood herself. She was admired and imitated by a whole tranche of discontented teenagers living in a Britain plagued by power cuts, miner’s strikes, IRA bombs and streets filled with rubbish. It was Anarchy in the UK. In Jon Savage's book 'England's Dreaming', Jordan is described as the 'first Sex Pistol'. However, she was already a walking art form before she met Malcolm McLaren Aged fourteen, growing up in Seaford East Sussex, Pamela decided to change her name to Jordan - liking the idea of having just a single name instead of two. She took the name from ‘Jordan Baker’ of F.Scott Fitzgerald's ‘The Great Gatsby’ - a strong modern female character, who is described as having ‘that cool, insolent smile turned to the world’. Her first job after leaving school was at the ‘Way In’ boutique at Harrods. Her typical ‘look’ at the time was green-tinged white face foundation, back-combed peroxide bee-hive hairstyle, black leotard and dance tights (she loved ballet), teamed with a Teddy Tinling tennis skirt. In the Autumn of 1974 she started work for McLaren and Westwood at SEX, 430 Kings Road. The shop specialised in fetish wear made from rubber and leather. Jordan remembers the large pink vinyl ‘SEX’ lettering going up on the shop-front and an old hospital bed with rubber sheet being placed inside. As Jordan’s work-wear became more brazenly overt, so her train journey to work became something of an adventure in itself. After abuse and threats from fellow (mainly female) passengers she was advised by British Rail to travel first class at no extra cost to herself, in the interests of her own safety and the tranquillity of other passengers. Jordan’s clothing collection charts her career with Westwood and McLaren at King’s Road between 1974 and 1982 In 1976 ‘SEX’ was re-launched as ‘Seditionaries - Clothes for Heroes’. In 1977 Jordan is photographed for Vogue wearing her black cotton bondage jacket. The beehive has gone, the hair has become shorter and spiked. She states that she only perfected her facepaint later that same year which was a ‘combination of Mondrian and the Kau tribe of Northern Sudan’. In addition to working in the shop, Jordan appeared as ‘Amyl Nitrate’ in Jarman’s 1978 film ‘Jubilee’ and also managed Adam & the Ants 1977-78, often appearing with them on stage to sing ‘Lou’ in her Venus tshirt. By 1978, the Sex Pistols had disbanded Jordan, Westwood and McLaren became increasingly disillusioned with ‘Punk’ as it had by now been embraced by the mainstream. The Kings Road was thronged every Saturday with people in bondage gear sporting towering Mohican hairstyles. Vivienne desired new 44

Jordan outside the Nashville Club, Shepherd's Bush in the company of two police officers challenges above and beyond a new t-shirt design. Jordan changed her look again piling up her hair in deep red curls, which she teamed with red contact lenses and a demure shirt with Peter-Pan collar. Her style had moved on and so too did the shop. In 1979 the shop is again re-launched as ‘World’s End’. Vivienne’s first major collection was ‘Pirate’, A/W 1981-2. Jordan got married in a complete Pirate ensemble in June 1981 including a pair of Platypus shoes (see lot 234). In March 1982 ‘Nostalgia of Mud’ was opened but closed the same year. Jordan’s collection includes ‘Buffalo’ ensembles and also pieces from Westwood/McLaren’s final ‘Witches’ collection. Around the same time that the partnership dissolved, Jordan also left London. She left the whole scene without a backward glance and has enigmatically lived out her life very privately ever since. Jordan states: ‘This collection represents the very essence of me and reflects a very rare

occurrence - that of two parallel forces coming together to become something unique. I see it now, that these clothes and myself were meant for each other and because of this I regard them as dear old friends that are to be loved and admired. Never before have I contemplated parting with my 'old friends' and it has been a difficult decision for me to make but the overriding feeling is that after 40 years I feel I need them to see the light of day and be treasured by someone else’. It is Jordan’s hope that museums and collectors will acquire, display, preserve and appreciate them. Through the clothes we get a glimpse into a very special period of Jordan’s life and also arguably one of the most anarchic, influential and ground-breaking periods of fashion of the late 20th century – all so cleverly devised by Miss Westwood and Mr McLaren. Coincidentally, the auction takes place on Jordan’s 60th birthday – a good omen surely?

221 Jordan's fine and rare Westwood/McLaren Let It Rock 'Venus' t-shirt, 1975, with remains of Let it Rock label, of black cotton jersey, the armholes edged with studded rubber tyre bands with black horsehair fringes, two diagonal zips placed over the breasts, adorned with chains and assorted badges including a 1977 Royal Jubilee badge, another with hand-drawn image of Jerry Nolan of the New York Dolls, another with cropped image of Jordan wearing the Anarchy shirt (lot 222); a metal skull and crossbones, an embroidered Norton motorbike badge, and the legend 'Venus' written in metal studs, bust approx 86cm, 34in; together with a photograph of the t-shirt worn with a pair of 'Let it Rock' knickers, taken outside the Nashville Club, Shepherd's Bush in the company of two police officers (2)

A very small number of these customised t-shirts were produced as each was hand made by Vivienne on her kitchen table and no two are alike. McLaren opened the 'Let it Rock' shop at 430 King's Road in 1971 and Vivienne is photographed outside the shop in 1972 wearing a similarly adorned waistcoat. McLaren describes the making of these garments in 1972: 'Then we came up with the idea of studding the t-shirts. We became more inventive and started to stud the t-shirts with the names of certain brands of fifties motorbikes that also had sexual connotations like Triumph and Norton and Dominator...Then we went further: really mad and bike-ish. The nearest thing I could think of was getting an actual tyre: I had an image of a tyre round your armpit. So we got hold of old two-wheel bicycle tyres and started to cut them in half: you'd place them round your armpit and stud them. They were called bike-tyre T-shirts; they were very special.' 'England's Dreaming by Jon Savage p53. Laborious and time-consuming to make it seems that Vivienne made perhaps only one or two a year. The t-shirts were dyed black and customised by Vivienne using rubber tyres, horsehair, zips, chains and studs. Jordan added the badges herself. The British Venus motorcycle was produced between 1920-22 but course the use of the word 'Venus' on Jordan's shirt was entirely appropriate and sardonic as her own ideals of beauty and that of mainstream Britain in the 70s were radically different, which of course was the whole point.


ŠSimon Barker

Photographs of the interiors of Seditionaries as late as 1977 show a similar t-shirt hanging on the wall but this may have been for display rather than for sale. The fact that Jordan's example bears a 'Let it Rock' label indicates that it was made from old left-over shop stock from the 'Let it Rock' (1971-2) or 'Too Fast to Live Too Young to Die' (1972-Autumn 1974) incarnations of the shop. Between 1972-4 (the TFTLTYTD period) McLaren just carried on using the 'Let it Rock' label. Jordan began work at the shop in the Autumn of 1974 when the large pink padded vinyl 'SEX' shop signage was just being erected. It took about six months before the shop was fully operational. She acquired this shirt in this change-over period between late 1974 and 1975 when 'SEX' was finally launched. Jordan is photographed extensively wearing this shirt including the cover of Simon Barker's 'Punk's Dead', and pp9,12 & 13 in the company of Siousie Sioux, singing on stage with Adam Ant pp19,21. She wore it when she attended the premiere of 'Grease' in 1978 accompanied by Adam Ant and the press clamoured for her to dance with John Travolta. The last time Jordan wore the shirt was backstage at 'Live Aid' in 1985 when David Bowie kissed her! We would like to than Simon Barker for allowing us to reproduce his exceptional photographs of Jordan for this catalogue ÂŁ6000 - 10000

221 label

221 detail 45

222 Jordan's fine and rare Westwood/McLaren 'Anarchist' shirt, 1975, the customised green cotton shirt bearing 'Circle-Bar, Empire made' label below 'SEX Original 430 Kings Road' label, with Chinese jacquard woven Karl Marx panel to one breast, crudely red stencilled 'Dangerously Close to Love' over both front panels, appliquĂŠd, embroidered felt Nazi eagle motif, red cotton arm-band with printed felt Nazi swastika, chest 97cm, 38in

Jordan states that this was one of the first Anarchist shirts ever made and pre-dates those made for the Sex Pistols. In the 1975 David Dagley photoshoot for 'Forum' magazine, Vivienne wears a white shirt with stencilled lettering and no other adornments. Jordan lent the shirt to her friend Simon Barker to wear for the Sex Pistol's notorious first ever TV interview on BBC's 'Today' programme, December 1st, 1976. Jordan was ill and unable to go herself. The group and their entourage were interviewed by Bill Grundy, but unfortunately for him it was broadcast live. The foul-mouthed Sex Pistols were abusive, offensive and generally misbehaved and the BBC switchboard was jammed with complaints. Jordan wore this shirt in the first ever live TV performance by the Sex Pistols on Granada TV's 'So It Goes' programme hosted by the impresario and journalist - the late Tony Wilson, 28th August, 1976. She recalls that Malcolm McLaren encouraged the group and its supporters to behave outrageously. Accordingly she appears on screen wearing this shirt with a leather skirt (lot 224 or 226) making a stage invasion and hurling chairs at the band! The clip went on to be included in McLaren's 'Great Rock n' Roll Swindle'. When asked by Tony Wilson why she dressed so outrageously she replied sweetly, 'why did Picasso paint pictures?'. Granada TV were extremely unhappy about the swastika arm-band in particular.


Link to 1976 Tony Wilson interview with Jordan and live recording of the Sex Pistols in performance 'So it Goes' Granada TV: Link to Bill Grundy interviewing the Sex Pistols on the Today programme in 1976: Link to image of Jordan wearing this shirt with knickers and suspenders:

222 detail

Link to Vivienne wearing a white shirt with stencilled lettering: Link to Jordan in this shirt with DeeDee Ramone: 957855/deedee-ramone-pamela-rooke ÂŁ5000 - 9000 46

222 detail

222 label

223 Jordan’s Westwood/McLaren customised ‘Let it Rock’ sleeveless t-shirt, 1974-5, customised 1977, with black on pink ‘Let it Rock’ label, the front applied with a machine knitted pale pink panel with heavily outlined (Jordan style) eyes and the name ‘Jordan’ in shocking pink below edged with irregular black woollen fringes, bust 86cm, 34in

The knitted panel was given to Jordan by a fan which she sewed herself to the t-shirt.

©Simon Barker

She is photographed wearing this shirt in Simon Barker’s ‘Punk’s Dead’, pp12-13, and with Derek Jarman p27 and with friends relaxing p29. £2500 - 3500


223 label

223A Jordan's horsehair and silver ear-ring, purchased from Ian's in Greenwich Village, New York in 1975, the long, tapering horsehair plait finished with an un-marked silver skull, a cobweb with spider and fly pendant to one side, 36cm, 14in long

Jordan wore this ear-ring the night she was publicly undressed on stage by the Sex Pistols at Andrew Logan's Valentine's party in 1976. See lot 240. See link to Jordan at the party - the long ear-ring can just be seen: Jordan purchased this ear-ring on a trip to New York by herself in 1976 when she met Andy Warhol, see lot 224. £400 - 600

223 detail 47

224 Jordan's Westwood/McLaren SEX Original black leather fetish capelet and skirt, 1975, the skirt with blue on pink woven Sex Original label, with side zip fastening, notched waistband, metal bondage loops to the left hip and rear of skirt, short kick pleat; the capelet with double-buckled straps to the neck and two small internal curved pockets, waist 66cm, 26in

226 Jordan's Westwood/McLaren SEX Original black mohair sweater and leather skirt, 1975, both with blue on pink woven SEX Original labels, the lacey knit black mohair sweater with studded black vinyl dog collar, zip to one side, mitten like zippered vinyl sleeves with thumb sections; the black leather skirt with side zip fastening, notched waistband, metal bondage loops to the left hip and rear of skirt, short kick pleat, bust approx 86cm, 34in, waist 66cm, 26in (2)

Fetish garments from SEX are incredibly rare, as they were either made of rubber and perished or were purchased by people who wished to keep their fetishism a secret. Jordan loved to wear these provocative pieces of clothing as everyday wear. She recalls that in 1975 on her first trip to New York she wore this ensemble when she met Andy Warhol at the Factory. He photographed her wearing it surrounded by stuffed penguins! She often wore the long horsehair ear-ring with this ensemble (see lot 223A). Alan Jones, another 'SEX' employee remembering his 9 months working alongside Jordan reminisced, 'I posed. That was the way I had fun. People used to stop at the zebra crossing and we'd walk out and they'd go mad. That was the first time I realized how people must be noticing it. Jordan was amazing, she pushed it to the limit, and got away with it'. 'England's Dreaming' by Jon Savage p95. £3000 - 5000

Jordan was photographed wearing a short sleeved version of this sweater and this skirt for the notorious 'SEX' photoshoot taken by David Dagley for 'Forum' magazine in 1975. One of the photographs also shows Chrissie Hynde, Jordan and Vivienne Westwood baring their bottoms, with 'S E X' spelled out on them in red lipstick. Link to image: 1/01/memories-of-sex.html £3000 - 5000


224 label

225 Jordan’s Westwood/McLaren SEX Original turquoise mohair sweater, 1975, blue on pink woven label, with V neck, elongated with broad ribbed waist, bust approx 92cm, 36in

Jordan states that only two of these sweaters were made with V-necks as the outworkers found them problematic to make this one and another in yellow for Vivienne. The sweater was originally made with satin breast pads but Jordan removed them as the additions added to her own natural proportions looked ridiculous. However, she recommended Vivienne kept hers!


For an image of Jordan wearing a mohair sweater outside ‘SEX’ see: feeling/files/2007/09/nyongo2.pdf

224 48

For an image of Vivienne wearing the yellow mohair example complete with pads: 256299990/ £1500 - 2000

226 detail

227 Jordan's Westwood/McLaren Seditionaries black cotton blackout fabric bondage jacket, 1977, with black Seditionaries ribbon label to the breast pocket, the two straps at the front linked to the sleeves, one strap traverses the chest and back, with zip and press stud fasteners, chest 107cm, 42in

and another shop girl on the Kings Road near the shop on April 12th, 1977 for Vogue. Jordan comments that she had not quite perfected her Mondrian inspired make-up at this point. 987570264/ Jordan lent the jacket for Adam Ant to wear when he performed the song 'Plastic Surgery' in Derek Jarman's 1978 Film 'Jubilee' in which Jordan also played the role of Amyl Nitrate. Unfortunately his performance was so energetic that he made a small tear in it above the front hem. 5YT1Q0 £3000 - 5000


228 Jordan’s Westwood/McLaren Seditionaries ‘Destroy’ t-shirt, 1977, with Personal Collection label, printed in red, green and blue with a swastika, upside down crucifix and a Royal Mail stamp, bust 102cm, 40in £1000 - 1500


229 Jordan’s rare Westwood/McLaren printed silk test square with a scene of the Gordon Riots, circa 1979, after an engraving of the 1780 London scene of insurrection, with hand print to one corner ‘Friends of Vicious’ and ‘Seditionaries’ signature within the print, 95 by 61cm, 37 ½ by 24in

Jordan remembers that these silk squares were worn poking out of pockets. £600 - 800

228 label

229 49

231 Jordan’s Westwood/McLaren `Pirate’ collection shirt and trousers, AutumnWinter, 1981-82, World’s End labelled, comprising: voluminous white shirt and red damask trousers woven with clover leaves, the waist 71cm, 28in £800 - 1200


230 Jordan’s Westwood/McLaren Seditionaries peter-pan shirt, 1978, with black Seditionaries ribbon loop label to the left shoulder, of brown and white hound’s tooth checked brushed cotton, bust 106cm, 42in

Jordan was photographed wearing this shirt with a pair of black bondage trousers in 1978. Her trademark face paint and tall spiked hair have gone and instead she has curling red hair and red contact lenses. She says that at this time she was beginning to tire of the whole punk scene which had spawned numerous bad imitations and was sick of seeing people with Mohican haircuts strutting down the King’s Road. All spontaneity and innovation it seemed had gone - punk had become mainstream. She is photographed looking rather glum wearing this shirt. See link £800 - 1200



232 Jordan's Westwood/McLaren 'Punkature' wrap around skirts, Spring-Summer, 1983, World’s End labelled, one in purple and gold with 'Bladerunner' print, the other of dark grey cotton (2) £400 - 600

233 Jordan's Westwood/McLaren 'Buffalo' or 'Nostalgia of Mud' ensemble, AutumnWinter, 1982-3, World’s End labelled, comprising: double breasted sheepskin 'Cheeko' jacket, size 1; skirt of dark red wool, the hem trimmed with carved shells and leather ribbons, and a pair of brown and bleached pink leather bag boots, chest 106cm, 42in, boots UK size 4 (4) £1200 - 1800 234 Jordan’s Westwood/McLaren buff leather Platypus boots, ‘Pirate’ collection, AutumnWinter, 1981-82, with World’s End label to the insoles, trimmed with gold fringes, UK size 4 (2)

Jordan wore these boots on her wedding day with a broderie anglaise ‘Pirate’ ensemble, 23rd June 1981. £600 - 900 235 Jordan’s Westwood/McLaren ‘Savages’ collection striped cotton trousers, SpringSummer, 1982, World’s End label and size S, waist 76cm, 30in 230 label 50


£450 - 500


236 Jordan’s Westwood/McLaren Keith Haringpatterned knitted ensemble, ‘Witches’ collection, Autumn-Winter, 1983-84, World’s End label of brown and neon pink knit, the cropped top with smiley face repeats, the tubular skirt with dogs, figures and snakes, bust 86cm, 34in, waist 76cm, 30in (2) £1000 - 1500


237 Jordan’s Westwood/McLaren ‘Witches’ collection brown flecked and striped wool skirt suit, Autumn-Winter, 1983-84, World’s End label, size M, the loose jacket with grey wool points to the shoulders, single grey wool lapel, double-breasted with antler buttons, lined in white drabbet; the matching pleated skirt with long stockinette waistband which can be pulled up to wear as a bodice also, chest 112cm, 44in, waist approx 71cm, 28in (2) £2500 - 3500

Jordan wearing lot 236

237 label 51

VARIOUS OWNERS 238 A rare pair of Westwood/McLaren ‘SEX’ stilettos, circa 1976, the insoles stamped ‘Especially for SEX, 430 Kings Road, Chelsea, Made in England’, with rounded toes, metal spikes protruding from the heels, UK size 3 (2)

Provenance: Debbie Ash, a member of the Top of the Pops Hot Gossip dance group, who was given the shoes to dance in, which she recalls proved rather difficult due to the 12cm high heels. She wore them for just that one performance. £1000 - 1500

239 label 238

239 A pair of Westwood/McLaren Seditionaries black leather boots, circa 1977, un-labelled, adorned with metal spikes and plaques, with rubber soles, UK size 10 (2) £600 - 900 240 A rare Westwood/McLaren 'Let it Rock/Sex Original' customised t-shirt, 1972-5, un-labelled but printed with 'Let it Rock, 430 Kings Road, Wembley 72' across the front, of grey cotton jersey inset with zips with slashed openings and holes to the side and shoulders, painted in black and pink, edged in feathers, applied with yellow plastic pockets containing pin-ups, the sleeves with black horsehair fringes, chest 86cm, 34in

Provenance: the artist and sculptor Andrew Logan. It was at Andrew Logan's Valentine's Day party that the Sex Pistols first came to the attention of the press. McLaren had persuaded Andrew Logan to let them perform. Malcolm was really excited when he learned that someone from the New Musical Express was attending. Jordan recalled Malcolm saying: 'The NME are actually here! Do something Jords!'. He wanted to get them a bit of outrageous publicity. He said, 'Take your clothes off, girl!'. 'Naw I'm not going to'. 'Go on, we haven't got much time'. 'I'll do it if John (Lydon) knows it's some sort of act.' I jumped onstage and John ripped my clothes off. The photos were used everywhere'. (see lot 223A).


For the performance at the party filmed live by Derek Jarman see: It's probable that the t-shirt bearing the 1972 Wembley lettering was unsold stock from their failed attempt to sell shirts at the 1972 Rock n' Roll Festival at the Wembley Arena. Most of them were afterwards turned into knickers but others were customised. In 'Vivienne Westwood: An Unfashionable Life' p58 Jane Mulvagh writes: 'Clearly the t-shirts needed to be stronger. Vivienne began to customise them, adding tarty marabou feathers and tiny see-through plastic windows, into which a cigarette card of a pin-up girl or a rock idol was slipped. Into others she sewed zippers which when opened allowed the nipples to peep through'. £700 - 1000 241 A rare Westwood/McLaren ‘Sex Original’ customised t-shirt, circa 1975, woven pink label, stencilled with Chuck Berry and tyre tread patterns, four zips, clear and yellow plastic pockets, trimmed with black feathers, intentional holes for decoration, bust approx 81cm, 32in

Provenance: the artist and sculptor Andrew Logan £600 - 800 52




LOTS 243 - 249

242 A rare Westwood/McLaren Sex/Seditionaries sleeveless cotton blackout fabric unisex trench coat, circa 1976, with both ‘Sex Original’ and ‘Seditionaries Exclusive Collection’ labels, doublebreasted with bondage strap traversing the chest and linked by D loops to the shoulders, chest 107cm, 42in; together with a pair of Seds black suede jodhpur boots with white patent straps, the insoles indistinctly marked ‘George Cox Footwear’, size 7 (3)

243 A rare Westwood/McLaren Seditionaries knitted mohair ‘No Future’ sweater, circa 1976, un-labelled, of black lacey knit, velcro to the shoulder tabs and D rings, appliqued scarlet wool skull and cross bones to the front with printed silk ‘No Future’, chest 127cm, 50in

245 A Westwood/McLaren Seditionaries pale blue towelling jacket, circa 1977, black ribbon label above breast pocket, with blue denim facings and rubber buttons, chest 97cm, 38in

£800 - 1200


Provenance: an ex Seditionaries employee. £1200 - 1800

244 Two Westwood/McLaren Seditionaries tshirts, circa 1977, both un-labelled, comprising: pale pink inside-out cotton tshirt with ‘Destroy’ motif and swastika in shades of blue; the other with ‘Fuck Your Mother...’ motif and signed in the print ‘Seditionaries’, chests approx 92cm, 36in (2)

£400 - 600

No lot 247 No lot

£500 - 700

242 part




250 A Westwood/McLaren navy cotton sweatshirt, with Keith Haring print, ‘Witches’ collection, Autumn Winter, 1983-4, with grey rubberised ‘Buffalo Girl’ motif, World’s End label, with ivory stockinette sides, chest 132cm, 52in 248 label

£600 - 900

248 A Westwood/McLaren Seditionaries ‘Cambridge Rapist’ printed muslin bondage shirt, circa 1977, with ‘Personal Collection’ label inset to the waist, with velcro shoulder tabs, dog-clips to the cuffs and shoulders, chest 92cm, 36in

251 A pair of Westwood/McLaren ‘Pirate’ collection trousers, Autumn-Winter, 198182, World’s End labelled, of black cotton damask woven with trailing leaves, waist 77cm, 30in £400 - 600

£600 - 1000 249 A Westwood/McLaren printed cotton ensemble, ‘Pirate’ collection, AutumnWinter, 1981-82, World’s End labelled, with Navajo-inspired print, comprising: loose tunic dress in red, white and blue; matching printed flannelette culotte skirt; together with a printed cotton jersey shirt with Navajo, gingham and spotted prints; and an embossed copper World’s End brooch (4) £500 - 900 54

252 A Westwood/McLaren navy cotton tubular skirt, with Richard Hambleton ‘Shadow Man’ rubberised print, ‘Witches’ collection, Autumn-Winter, 1983-4, World’s End label, with ivory stockinette sides and expandable waistband £400 - 600

253 A rare Westwood/McLaren grey wool tunic ‘Koo’ dress with Keith Haring print, ‘Witches’ collection, Autumn-Winter, 19834, World’s End label, the large neon-orange rubberised medallion with double headed snakes enclosing motifs including native worshipper, TV-set, crawling baby, dog, the side panels fold back for closure by outsized zip fastener, edged in ivory silken stockinette, bust when zip is closed approx 81cm, 32in

Vivienne Westwood was photographed wearing a similar tunic at the end of the ‘Hypnos’ collection Paris catwalk show, October 17, 1983. Soon after this the dissolution of the Westwood/McLaren partnership was announced. £1000 - 1500 254 A Westwood/McLaren navy wool gym-slip style skirt with long stockinette bodice/waistband, ‘Witches’ collection, Autumn Winter, 1983-4, World’s End label £350 - 500

255 detail

255 A rare Westwood/McLaren white cotton ‘Mauvaise’ empire-style dress, Pirate collection, Autumn-Winter, 1981-82, World’s End but unlabelled, with button fastenings to the high bodice sides, ties to rear waist, long trained skirt, bust approx 81cm, 32in

From a construction standpoint this dress is a fairly accurate copy of a dress c.1800 with its high narrow bodice and long trained skirt. Westwood researched antique dress in the Victoria & Albert museum and this dress reflects that. The very early ‘Mauvaise’ dresses were un-labelled as is this one. In the catwalk show it was accessorised with a golden helmet and a green stole. £800 - 1200 256 A Westwood/McLaren muslin vest top, with Keith Haring print, ‘Witches’ collection, Autumn Winter, 1983-4, World’s End label, with barking dog ‘Diavolo’ print £400 - 600 257 A John Galliano knitwear design, ‘Mary Quant Project’, 1982, comprising: pencil sketch of a figure with a dove, a handwritten poem to one side taken from Catherine Sinclair, Shetland & the Shetlanders, 1840, signed down one edge ‘J. Galliano’ St Martins ‘82, with attached colour tests; separate sheets of colour tests and grid patterns for Shetland knits; together with an invoice for £50 dated 26th February 1982 from John-Charles Galliano (qty) £400 - 600





258 A John Galliano original fashion sketch, ‘Princely Magnificence’, circa 1982, unsigned, worked in green and black gouache, over-sketched in pencil, 30 by 41cm, 12 by 16in

263 Two John Galliano fashion sketches, circa 1982, un-signed, worked in gouache and pencil, each showing sun-tanned figures in red and brown casual-wear, 30 by 41cm, 12 by 16in (2)

£600 - 800

£400 - 600

259 A rare John Galliano plaid cotton bustled dress, Autumn-Winter, 1987, John Galliano, London label, with pleats of fabric framing the neck opening, multiple darts to the waist above broad pleats of the skirt with stiffened hem, the fabric caught into a bustle at the back, bust 97cm, 38in; together with a promotional printed cotton scarf for the collection which includes an image of a similar dress (2)

264 Two John Galliano fashion sketches, circa 1982, un-signed, in gouache, ink and pencil, skilfully drawn showing green and red trouser suits with pencil details and notes, 30 by 41cm, 12 by 16in (2) £500 - 900 265 Three John Galliano fashion sketches ‘Winter Collection’, circa 1982, un-signed, worked in pencil, crayon and gouache, mainly in green and black including matador jackets and frilled blouses, one with fabric swatches, 30 by 41cm, 12 by 16in (3)

£1000 - 1500 260 A Thea Porter Chinese brocade jacket, early 1980s, couture labelled and size 10, gathered across front waist, lightly padded shoulders, bust 92cm, 36in

£600 - 800

£450 - 600 261 A Thierry Mugler gold sequinned strapless cocktail dress, 1986, woven blue label and size 40, with star-shaped breast cups, lined in gold satin, bust approx 86cm, 34in, waist 61cm, 24in


Madonna wore an identical dress for the cover of Life magazine, December, 1986. £450 - 600 262 Two John Galliano original fashion sketches, circa 1982, un-signed, each worked with black bustle dresses with contrasting sashes, pencil over-sketching to give details, 30 by 41cm, 12 by 16in (2) £700 - 1000 259 56

266 Two John Galliano fashion sketches ‘Summer Collection’, circa 1982, un-signed, worked in pencil, crayon and gouache, each with two neo-classical figures in draped and loose flowing garments, some highlighted with gold, 30 by 41cm, 12 by 16in (2) £1000 - 1500 267 Two John Galliano fashion sketches ‘Summer Collection’, circa 1982, un-signed, worked in pencil, crayon and gouache, each with two neo-classical figures in draped and loose flowing garments, some highlighted with gold, 30 by 41cm, 12 by 16in (2) £1000 - 1500 268 Three John Galliano fashion sketches ‘Summer Collection’, circa 1982, un-signed, worked in pencil, crayon and gouache, the neo-classical figures in draped and loose flowing garments, 30 by 41cm, 12 by 16in (3) £1200 - 1800 269 Three John Galliano fashion sketches ‘Winter Collection’, circa 1982, un-signed, worked in pencil, crayon and gouache, mainly brown and blue co-ordinated separates with typed notes and fabric swatches, 30 by 41cm, 12 by 16in (3) £600 - 800 270 An Elisabeth de Senneville armchair print coat and skirt ‘No 11’, 1982, labelled, of grey cotton jersey with large colourful chair repeats, chest 127cm, 50in, waist 61cm, 24in (2) £450 - 600


271 A Jean-Paul Gaultier knitted jewelled cardigan and breeches, 1980s, Maille labelled, chest 102cm, 40in, waist 61cm, 24in (2) £300 - 500 272 A Jean-Charles de Castelbajac unique teddy bear jacket, 1989, made to celebrate 100 years of the Lee Cooper denim jeans company, the denim jacket covered with approximately twenty teddy bears with blue glass eyes, formed from different Lee Cooper denims, chest approx 97cm, 38in £1500 - 2500 273 Three John Galliano fashion sketches ‘Knitwear Collection’, circa 1982, un-signed, worked in pencil, crayon and gouache, mainly in lilac and ivory, including fabric swatches, 30 by 41cm, 12 by 16in (3) £600 - 800

273 57


274 Two garments originally belonging to AnniFrid Lyngstad (Frida) of Abba, late 1970s, comprising: a 1920s inspired black devoré velvet cocktail dress, probably by Janice Wainwright, of voluminous cut; the other a Norma Kamali draped red cotton jersey jump-suit, labelled and petite size, with velcro panels for attaching shoulder pads, tight lower legs (2)


275 A fine Christian Lacroix for Jean Patou couture shot-green taffeta evening gown, Autumn-Winter, 1986-87, labelled, ruched and pleated overall, with trailing brown velvet bows to the rear collar and below the bouffant flounce to the trained skirt, wide key-hole back-opening, bust 86cm, 34in, waist 61cm, 24in

Please see our website for an online link to a photo of Anni-Frid wearing the black dress, published in the Belgian magazine ‘Joepie’ in 1978. Clothing belonging to Abba group members during their hey day (197282) are scarce and rarely come onto the open market.

£1500 - 2500 276 A good Jean Paul Gaultier ‘Russian Constructivist’ collection dress, AutumnWinter, 1986-87, Gibo label size 42, of black wool with acid green patent arrow, sage green wool and black velvet facings, the collar dated 1986, lined in striped satin, bust 92cm, 36in

Provenance: Given as a gift to Terry Neill, the Arsenal football manager. Terry and the band had become close friends, swapping tickets for football matches and rock concerts - Abba were keen Arsenal supporters! After the break up of the group Frida vacated her Mayfair flat and gave these outfits to Terry as presents for his two teenage daughters.

£600 - 1000

A letter of authenticity from Terry Neill will be given to the purchaser. £800 - 1200 276 58

277 A Thierry Mugler ‘Optisaurus’ yellow suede jacket with turquoise and blue ‘scales’, Spring-Summer, 1989, blue label and size 36, with points to the waistline and collar, fins to the shoulder and cuffs, chest approx 86cm, 34in

Literature: ‘Thierry Mugler: Fashion, Fetish, Fantasy’, edited by Claude Deloffre, p127 for a catwalk photograph of a similar jacket in yellow. This model is shown in the catwalk show which can be viewed at: LSlM&feature=related, it appears at 1 minute 10 seconds. For a similar jacket in black and purple from the same collection see KTA archive, 26.6.2012, lot 226. £1000 - 1500 278 A Thierry Mugler ice blue stretch lycra and rainbow chiffon dress with matching cape, 1980-85, un-labelled, the skirt falling in dégradé handkerchief panels, with matching hooded cape, bust approx 81cm, 32in (2) £600 - 1000 279 A Thierry Mugler green and red satin evening dress with integral cape, probably a prototype, 1980s, un-labelled, with single long sleeve with padded shoulder, long scarlet cape with high collar to one side only, green cummerbund-like wrap around waist sash, over draped red and green satin columnar skirt, bust approx 86cm, 34in, waist 66cm, 26in


£500 - 700 280 A Thierry Mugler rainbow chiffon sequined ‘butterfly’ dress, 1980-85, un-labelled, empire-line, with flounced sleeves and two trains entirely covered with iridescent sequins and tulle butterflies, bust approx 86cm, 34in £500 - 900 281 A fine Thierry Mugler pleated gold lurex and wool jersey ‘Siren’ gown, circa 1980, blue label, size 36, with fan-shaped panel to neck, cuffs, ancient Egyptian style pleats to hips and centre skirt, bust 86cm, 34in £1500 - 2000




285 An Azzedine Alaïa knitted leopard-spot wool-viscose dress, Autumn-Winter, 199192, labelled and size S, figure-hugging with broad bateau neckline, with zip to rear kick split, bust approx 81cm, 32in

Literature: ‘Memoire de la Mode, Alaia’ by Francois Baudot, Published by Assouline, pp56-57. £700 - 1000


286 282

282 An Yves Saint Laurent couture black velvet sheath, circa 1980, labelled and numbered 55328, the boned bodice with central graduated lace, insertion, the waist with large central bow, kick split to slightly trained skirt, bust 81cm, 32in, waist 61cm, 24in £1000 - 1500 283 An Oscar de la Renta navy velvet evening gown, mid 1980s, labelled, the shoulders, neckline and cuffs embroidered with gilt metal strip and beads, bust 92cm, 36in £400 - 600 284 An Yves Saint Laurent couture ivory slubbed silk cocktail suit, early 1980s, labelled and numbered 07041?, comprising jacket with large pearlised buttons, matching skirt with button detailing and satin bodice, bust 92cm, 36in, waist 66cm, 26in (3) £350 - 500

286 A Paco Rabanne neon orange and clear perspex mini dress, 2004, the roundels linked by silver leatherette straps and press studs which are stamped ‘Paco Rabanne’, with clear plastic halter collar and silver shoulder straps, bust approx 76cm, 30in

289 A classic Yves Saint Laurent couture black wool crêpe and satin ‘Le Smoking’ cocktail dress, Autumn-Winter, 1988-89, labelled and numbered 64260, with gently pleated asymmetric drape to front of skirt, satin belt, bust 86cm, 34in, waist 61cm, 24in £600 - 1000

£600 - 1000 287 An Yves Saint Laurent couture black velvet cocktail dress, mid 1980s, labelled and numbered 53464, with wide neckline, leg o’mutton sleeves, cross-over closure with bow to one hip, bust approx 92cm, 36in £450 - 600 288 A Marc Bohan for Christian Dior couture evening ensemble, Autumn-Winter, 1984, labelled and numbered 18586, comprising black velvet sheath with integral corset, spaghetti straps, the black velvet jacket with printed yellow and black front panels adorned with large clear and black droplet beads, sequins and plaques, bust 92cm, 36in, waist 71cm, 28in (2) £400 - 600 289


292 A Philip Treacy painted feather ‘butterfly’ hat, 2003, labelled, the black straw topper entirely covered by trembling wired polychrome butterflies, crown diameter 63cm, 25in; together with a copy of Tatler with Naomi Campbell on the cover (2)

Naomi Campbell was photographed for the cover of Tatler, May 2003 wearing a butterfly headdress similar. Alexander McQueen commissioned similar red feather butterfly headresses from Treacy for his 2008 ‘La Dame Bleue’ collection. £1000 - 1500


290 label

290 An Yves Saint Laurent couture black velvet cocktail dress, Autumn-Winter, 1984-85, labelled and numbered 57411, with softly draped high collar, pleated diagonal sash with satin backed ends to one hip, vertical split opening to back bodice, bust approx 81cm, 32in, waist 66cm, 26in £700 - 1000 291 A Gianni Versace black silk crêpe cocktail dress, Autumn-Winter, 1992-93, couture labelled and size 38, the low back outlined with top-stitched pastel satin bands adorned with rhinestone medallions, bust 81cm, 32in £300 - 500



293 A Chanel couture flecked tan tweed suit, circa 1993, labelled and numbered 77699, with hook fastening to neck, self-fringed trim, chain weighted jacket and pleated skirt, chest 92cm, 36in, waist 69cm, 27in (2)

295 An Yves Saint Laurent couture black velvet and beaded cocktail ensemble, circa 1980, narrow satin label to organza bodice, covered in a shimmer of bugle beads in leaf motifs, over pencil skirt with matching beaded belt, bust 76cm, 30in, waist 63cm, 25in (3)

£400 - 600

£700 - 1000

294 A John Galliano for Givenchy couture black tuxedo coat/dress, Autumn-Winter, 1996, labelled and numbered 84247, beautifully tailored, double-breasted with satin lapels, satin lining, internal opening for a single leg, accentuated shoulders, bust 86cm, 34in

296 A Christian Lacroix couture embroidered and beaded pink tulle bodice and jacket, 1990s, un-labelled but with original watercolour fashion sketch, the bodice with large flower-heads worked with pink tulle raised-work blooms, the jacket lavishly embroidered overall with metal thread, sequins, crystals and beads, bust 81cm, 32in (3)

This design was modelled by Nadja Auermann in the catwalk show. £450 - 600

£400 - 600 297 A Christian Lacroix poppy-printed silk cocktail dress, probably 1990s, woven gold couture label, with black celluloid floral corsage to one shoulder, the skirt with appliqued embroidered lace petals and florets, similarly adorned red organza petticoat below, bust approx 92cm, 36in £300 - 500 61

300 A fine John Galliano hound’s tooth checked ‘Dior-esque’ suit, Spring-Summer, 1995, with purple satin Galliano Paris label, the jacket with bust darts which continue to form lapels, cord wrapped buttons, the sleeves with leather piped openings at the inner elbows edged with three small black satin buttons, matching slim pencil skirt, bust approx 92cm, 36in, waist 66cm 26in (2)

Galliano was appointed creative director briefly for Maison Givenchy in July 1995 - his couture collection being presented in January 1996 (A/W 96/97). The ‘New Look’ hourglass silhouette of this suit presaged Galliano’s move to Maison Dior in October 1996 - his first couture show for them taking place in January 1997. Bernard Arnault must have noticed the numerous Dior references in Galliano’s own label s/s 1995 collection. £400 - 600 301 Designer swim-wear, 1990s, comprising: three Moschino swim-suits, one with rubberised sunglasses breast-cups and mouth, another with an appliquéd face; and a jewelled Gianfranco Ferré example (4) £400 - 600 302 An unusual Thierry Mugler black vinyl and white satin sheath, early 1990s, blue label and size 40, with strapless boned bodice, back lacing, padded hips, outsized satin bow with swallow-tail train, bust approx 8692cm, 35-36in £400 - 600 303 A Maison Martin Margiela mottled silvergrey stretch-velvet evening gown, Spring-Summer, 2011, blank label and size 40, the side and shoulder seams applied with wide stiffened fin-like borders, the skirt cut with train to the front, bust approx 81cm, 32in


298 A fine Gianni Versace Atelier studded leather gladiator style suit, Autumn-Winter, 1991-92, labelled and size 42, the soft black leather entirely covered with gold and silver beads, the loose blouson-style jacket with large bull’s eye target to the back, the panelled black chiffon skirt with leather floating panels adorned with Greek key patterns, shells and engine-turned roundels, chest 107cm, 42in, waist 66cm, 26in (2)

£500 - 800 304 A Paco Rabanne couture black perspex cocktail dress, circa 1998, with embossed ‘Paco Rabanne’ metal perforated tab to the back closure, formed from graduated panels with smaller squares outlining the empire line bust, bust approx 81cm, 32in

£2500 - 3500 299 An Azzedine Alaïa white fagotted cotton dress, circa 2011, labelled, formed from graduated cotton gores which widen into flounces at the hem, bust 81cm, 32in; and a cropped cotton blouse with drawstring to waist (2)

£800 - 1000

£300 - 500 304 62


307 & 308

305 A Maison Martin Margiela feather and leather ensemble, Spring-Summer, 2010, the skirt with blank label, size 40, the bodice with no 1 label, size 42, comprising backless cockerel feather bodice edged in black leather, the matching black leather skirt/chaps zip fastened to the front and/or to each leg, the long trained skirt edged in metal chain (2)

307 A rare Maison Martin Margiela medical bandage dress, Autumn-Winter, 2005 collection, ‘0’ Artisanal label and size M, formed from a patchwork of elasticated bandages in white, beige and pink, bust approx 86-92cm, 34-36in £1500 - 2500 308 A rare Maison Martin Margiela medical bandage covered jacket, Autumn-Winter, 2005 collection, ‘0’ Artisanal label, size S, the brown tweed jacket entirely overlaid with intersecting patchworked bandages in shades of taupe and pink and decorated with elasticated closures, chest 92-97cm, 36-38in

£800 - 1200 306 A Maison Martin Margiela printed cotton jersey body suit and matching boots, Spring-Summer, 2010, blank label, with photographic print of blossom in a landscape, the front applied with torn paper patches similarly printed, poppers to crotch, the high-heeled matching suede boots, size 37 (3)

£750 - 1000

£600 - 1000

306 63



309 An Issey Miyake curved and pleated polyester ensemble, circa 1989-90, black on white label, in midnight-blue and bluegrey crêpe, the over-dress with curved, angular sleeves and pannier-shaped hips, the skirt with six bi-colour lobed panels, size M (2) £1500 - 1800 309

310 A group of Issey Miyake garments, 1983, comprising: a striped seer-sucker wool funnel-necked dress and a grey wool ‘dreadlocks’ hat, both with grey and black labels; a knitted ‘sand-dune’ sweater and cowl, Autumn-Winter, 1983, brown on brown Issey Miyake by All Style label; together with a black and grey sweater with grey mohair tufted bands, identically labelled (5)

The hat is illustrated in ‘Issey Miyake & Miyake Design Studio 1970-1985’ published by Obunsha, p32 and 34. The funnelnecked dress was photographed in US Vogue, 1983. £800 - 1200


Los Angeles, CA, Los Angeles County Museum of Art, September 17, 2006-January 7, 2007 Indianapolis, IN, Indianapolis Museum of Art, March 16, 2008-June 1, 2008 Literature: Cai Guo-Qiang: ‘I Want to Believe’, Guggenheim Museum, New York, 2008, colour illustration, p167. £4000 - 6000


311 An Issey Miyake/Cai Guo-Qiang printed ‘Dragon or Rainbow Serpent’ dress, Guest Artist, Series 4, 1999, labelled, of pleated polyester with sinuous snaking pattern to front and back in shades of brown, blue and mauve, fin-like point to one shoulder and diagonal slope to the other, points to hem, bust approx 86-92cm, 34-36in

This Chinese artist produces these prints/designs by means of detonating gunpowder charges on paper which leaves a residue of scorch marks and ash, reminiscent of traditional Chinese calligraphic ink drawings. The undulating lines are suggestive of serpents, Chinese dragons or snaking river paths. An identical dress was included in the following exhibitions:



313 An Issey Miyake Guest Artists Series no 3 pleated polyester dress, the design by Tim Hawkinson, 1998, Pleats Please label, printed to the front with a black trellis enclosing a stylised nude male figure in shades of grey, the back of silver pleated fabric, elongated hem length sleeves, bust approx 86-92cm, 34-36in £2000 - 3000

312 A good Issey Miyake ‘Staircase Pleats’ dress, Autumn-Winter, 1994-95, black on white woven label, of tightly pleated black polyester with silver banding, reversing to silver, the skirt formed from four stepped panels, vestigial ruff collar, matching angular sleeves, bust approx 102cm, 40in

314 A Kansai Yamamoto striped lurex jacket, circa 1985, printed label, with black velvet shoulder fins and edgings, chest 107cm, 42in £400 - 600

£1500 - 2500

Breaking the Mode: Contemporary Fashion from the Permanent Collection, Florence, ITA, Palazzo Strozzi, October 12, 2007January 20, 2008 65


315 An early Issey Miyake printed silk ensemble, early 1970s, with blue on white Paris label, comprising: short sleeved crêpe de chine dress and kosode-like jacket printed with hands caressing a censor in shades of pink, red and green, the wide kimono sleeves with chevron banding, bust 97cm, 38in (2) £600 - 1000


317 A Yohji Yamamoto black jersey dress with pinstriped frills, Spring-Summer 1999, labelled and size M, the graduated him dips to the rear

315 label

316 A pair of Issey Miyake combination trousers/trainers, circa 2000, black on white label, with front lacing, waist 74cm, 29in, trainers 27cm, 10 ½in long £500 - 800

See for the catwalk show where this dress can be seen at approx 1:24. £400 - 600 318 A Yohji Yamamoto brushed grey flannel pinafore dress, 1990s, labelled, the skirt formed from five tiers with cagoule-style thong drawstring edges with notched tails to the back £500 - 900


319 A Yohji Yamamoto black crêpe ruffled and bustled gown and hat, circa 2003 labelled and size 2, the crêpe bodice with oriental cheung-sam type frogging fasteners, the skirt front covered with vertical cascades of gauze, crêpe and crin ruffles; the large tulle and crin bustle with broad waistband and press stud fasteners; complete with black straw picture hat, bust approx 86-92cm, 3436in (3) £2000 - 3000 320 A Yohji Yamamoto black wool cape, in homage to Pierre Cardin, Autumn-Winter, 1989, labelled and size M, with wide circular cut-outs for the arms, two disc buttons to fasten £600 - 800



321 A Yohji Yamamoto black gabardine ‘Adidas’ striped dress, circa 2003, labelled, with one arm hole, a slit for the other with draped toga like panel with elasticated cuff, the skirt with side slit and pocket; together with a pair of elevated Adidas Japanese sandals (3)

324 A Yohji Yamamoto ‘robe de style’ dress, Spring-Summer, 1996, labelled and size S, with integral black mesh upper bodice, sweetheart neckline to the boned overdress, formed from patchworked strips of polyester silk and chiffon with white topstitched edges, with tulle and stiffened crin petticoats, bust approx 86cm, 34in

£1000 - 1500

£800 - 1000 322 A Yohji Yamamoto knitted top and ikat striped satin skirt, Spring-Summer, 1991, labelled and size M, the sweater with S.E. Asian striped fabric sleeves, the ikat striped skirt with drawstring to waist (2)

325 A Yohji Yamamoto black gauze kosode dress and black and white crêpe kimono coat, Autumn-Winter, 1994, labelled and size S, the dress with cross-over bodice, silk facings and sleeve bands, open at the back; the kimono faced and part lined in ivory silk with hook and eye closures (2)

£400 - 600 323 A Yohji Yamamoto olive green wool jacket with integral brown leather shawl, AutumnWinter, 1991, labelled and size M; together with a matching flat cap adorned with silver studs (2)

£600 - 1000

See for the catwalk show where this jacket can be seen at 1:37. £450 - 600 325 67



326 A Yohji Yamamoto black mohair kimono coat, Autumn-Winter, 1994, woven label, lined in traditional floral crêpe, long furisode sleeves, size S


328 A Comme des Garçons white cotton shift dress with stole made from two joined dresses, Spring-Summer 2011, labelled and size S, the sleeveless dress with broad buckled belt, the stole formed from ruffled black chiffon and chequered silken dresses, bust 86cm, 34in (2)

£800 - 1000 327 A Comme des Garçons ‘Broken Bride’ collection ensemble, Autumn-Winter, 2005, woven label and size ‘M’, comprising double-ended cream gazar upside-down jacket with collars at both ends; the skirt printed with trompe l’oeil pleats and shirring, the centre panel of white chiffon with ruffles and bows, bust approx 86cm, 34in, waist 66cm, 26in (2)

£600 - 900 329 A Junya Watanabe/Comme des Garçons distressed denim dress, Spring-Summer, 2002, labelled and size S, the bodice with frayed openwork panels culminating in top stitched seams which traverse the back and descend down the front of the skirt, bust 86-92cm, 34-36in

£600 - 1000

£1000 - 1500

329 68

330 A fine Comme des Garçons layered ivory calico ‘waterfall’ dress, ‘Clustering Beauty’ collection, Spring-Summer, 1998, black and gold label and size M, the separate triplelayered back-less bodice with neck-holes placed one over the other, cascading graduated ruffles falling diagonally down the front, the triple-layered trouser-skirt with large side swag forming curved voluminous godets of fabric, internal compartments with twisted bands of fabric on one side (2)

See link to catwalk photo: This ensemble was exhibited in ‘Skin & Bones’ exhibition at Somerset House, 2008. £2000 - 3000 331 A Comme des Garçons navy gauze dress, the matching dress with integral bumps, ‘Body Meets Dress’ or ‘Bump’ collection, Spring-Summer, 1997, ribbon label and size S, the nylon petticoat with two down-filled pillows over the chest area and three more pillows in two pouches to the stomach area, which can be seen through the polyester mesh over-dress (2)

Literature: ‘Visionaire 20’, edited by Rei Kawakubo, this design is illustrated on pp1013 of booklet ‘Six ¼’ included in this issue. £4000 - 6000 330

331 69

332 A Junya Watanabe/Commes des Garçons black wool damask Dior-esque ‘New Look’ ensemble with transformation jacket, Autumn-Winter, 1999, webbing label and size M, the fabric woven with 19th century style thistle repeats, zip fastened to the front, the back with tubular panel forming a rear peplum, the jacket with neoprene interlining which holds its shape, with zippers inserted into the diagonal front seams, the lining with poppers, the ruffled skirt with hooks and eyes, which allows the jacket to be turned into a clutch bag, bust 81-86cm, 32-34in (2)

336 A Comme des Garçons ‘petticoat’ dress, ‘Ethnic Couture’ collection, Spring-Summer 2002, ribbon label, of cream calico with low scooped neckline in-filled with a massive double-layered stiffened crin and organdy lace-edged ruff which frames and partially obscures the face, held in place with black and white satin ribbon bows, side zip, bust approx 86cm, 34in £1000 - 1500

£600 - 1000

332 jacket as a bag

333 A Comme des Garçons ‘lingerie’ dress, ‘Beyond Taboo’ collection, Autumn-Winter, 2001 collection, ribbon label, the negligée style wrap-over dress with large black elasticated ‘bra’ strap with hooks to fasten, bust approx 86cm, 34in


£2000 - 3000 334 A Comme des Garçons mottled pink and grey felted wool skirt and capelet, ‘Sweeter than Sweet’ collection, Spring-Summer, 1996, printed ribbon label and size M, the capelet with curved inner plastron, buttoned closure with turned up hem; the matching skirt with flamenco-style flounces down the front (2)


£500 - 900 335 A Comme des Garçons blue floral embroidered nylon dress, ‘Sweeter than Sweet’ collection, Spring-Summer, 1996, ribbon label, with low set dolman sleeves to the front £350 - 500

333 70

336 detail


339 A Comme des Garçons black ruffled tulle and mercerised cotton ensemble, AutumnWinter 2004-5, printed ribbon label, size S, the tulle camisole-like bodice hook and eye closures, pleated vertical bands of tulle and taffeta adorn one side, applied with pendant felt balls and massive crystal beads, the skirt with embossed lozenge pattern, cut with lobed curve to one side of hem and applied with irregular ruffle bands, bust approx 81cm, 32in, waist 66cm, 26in (2)


For this collection Rei Kawakubo’s models were mainly dressed in black - the collections inspired by elements of Victorian and Edwardian fashions, their whitened faces painted with off-centre lipstick and Toulouse Lautrec’s prostitute style hair-dos. £500 - 800


337 A Comme des Garçons black satin dress, ‘Broken Bride’ collection, Autumn-Winter, 2005, printed ribbon label, the satin bodice with bell-shaped flounced cuffs, pleated chiffon insertion to the front, the skirt in ruffled tiers above a hem of mourning crêpe, all trimmed with black embroidered florets and lustrous braid to imitate jet, bust 86cm, 34in

340 A Comme des Garçons white chiffon and tulle dress, ‘Broken Bride’ collection, Autumn-Winter, 2005, ribbon label, with padded angular collar with ribbon drawstring below, foam padded and tulle covered cuffs and hem dotted with calico and silken roses, size L

On the catwalk this model was worn with a cloud-like white veil, white shoes and stockings. £800 - 1200

341 A Junya Watanabe/Comme des Garçons ‘trench-coat’ ensemble, Spring-Summer 2006, labelled and size SS and S, the jacket with slightly puffed, padded shoulders, with pocket flaps and buttoned tabs used as decoration, the skirt formed from spiralling buttoned gores with single sleeve adornment to one side (2)

£500 - 900

338 A Comme des Garçons ‘Transformed Glamour’ collection ensemble, AutumnWinter 1999-2000, labelled, comprising iridescent silver sequined shift dress worn under a long multi-coloured patchwork gilet with wide collar; and a pair of multicoloured pointed shoes with top-stitched detailing and cut outs, bust 86cm, 34in (4)

£1000 - 1500

£600 - 1000 341 71

342 A good Comme des Garçons tartan and floral ensemble, Spring-Summer, 2006, labelled and size L, comprising red tartan halter-neck dress with contrasting blue tartan bustle, the jacket formed from a diagonal spiral of fruit-print pink calico with single white-ground plaid sleeve, zip fastened (2)

344 A Comme des Garçons pink and brown jacket ensemble, Spring-Summer, 2008, labelled and size SS, the lightweight brown nylon double-breasted coat lined and with back panels of shocking pink and white fabric printed with African hair-braid designs, with drawstring to rear waist; the open-work pink cotton trousers trimmed with ruffles (2)

£1500 - 2000

£2000 - 3000 343 A Comme des Garçons polyester ensemble with padded ‘hands’, Autumn-Winter, 20078, printed ribbon label, sizes SS and S, comprising: midnight-blue bodice cut like a miniature tail-coat, the front applied with padded gloves, the matching grey stretch trousers with low crotch, similarly adorned to each hip (2)

345 A Comme des Garçons polyester top and trousers printed with medieval stained glass windows, Spring-Summer, 1991, ribbon label and size M, the loose top with wide boat neckline, the trousers with elasticated waist (2) £400 - 600

£2000 - 3000 346 A Comme des Garçons padded black chiffon bodice and skirt, ‘Viscera’ collection, Autumn-Winter, 2010-11, labelled and size S, comprising short sleeved jacket and short puff-ball culotte skirt with elasticated waist, both covered with intestine-like black chiffon undulations filled with wadding (2) £600 - 1000 342

343 72





349 A Comme des Garçons ‘Flat’ or ‘2D’ collection coat and skirt, Autumn-Winter, 2012, labelled and size XS, the bright pink floret and leopard print coat with topstitched seams which form edging borders, stitched-down collar, tape-ties, angular shaped hips; the red wool skirt similarly shaped (2)

347 A Comme des Garçons geodesic ensemble, Spring-Summer, 2009, labelled and size S, comprising black spherical wool bodice formed from hexagonal patches with velcro fastenings; the matching leatherette skirt in mainly black with silver and red elements, some with lizard-like embossings (2)

Sarah Mower writing for likened elements of this collection to ‘deconstructed footballs’. For catwalk images see: £1500 - 2500

£800 - 1200 350 A Comme des Garçons black and red ruffled ensemble, ‘Crushed’ collection, SpringSummer, 2013, gold and black label and size S, the back-less bodice formed from irregular pleated and ruffled panels of differing black fabric including taffeta and wools, with a splash of red velvet bodice complete with armhole forming a flounce to one side and of black wool to the other, enabling the bodice to be worn upsidedown; the skirt similarly formed from multiple crumpled-effect wool and polyester panels (2)

348 A Comme des Garçons chequered Op-Art ensemble, Spring-Summer, 2001, labelled and size S, comprising printed chiffon dress, the dropped waistline and side seams outlined in a camouflage band; with black and clear vinyl raincoat over, coat chest approx 81cm, 32in (2)

£800 - 1200

£600 - 900 350



351 label




351 Alexander McQueen’s own Huntsman suit, 2002, labelled with his name and dated to the breast pocket ‘H. Huntsman & Sons, 11 Saville Row, London W1X 2PS, Alexander McQueen, 26.2.02, TH 46382/13’, of fine hound’s tooth checked wool, double breasted and lined in white satin edged with black borders, the trousers with turnups, chest 102cm, 40in, waist 81cm, 32in; together with Lee’s own McQueen navy sweater with embroidery to the shoulders; and an invitation to his memorial service and service sheet in 2010 (5)

As a school leaver McQueen served a three year apprenticeship with Anderson & Shepherd, followed by two years as a junior trouser-cutter for Gieves & Hawkes - the military tailor. This formal training gave Lee a solid grounding in construction, cutting and how fabrics handle - skills that were to enable him to create fantastical, innovative and beautiful fashion in the years to come. When he joined Givenchy as the British enfant terrible, he earned the respect of the staff in the couture workrooms when they saw how experienced he was.

In 2002-3 McQueen collaborated with Huntsman to produce a series of 12 garments to comprise a complete bespoke gentleman’s wardrobe. In an interview with the Financial Times, Terry Haste of Huntsman said that the collection was aimed at ‘a totally different block ... A classic Huntsman suit is cut with everything in proportion. The McQueen shaping is much narrower and more defined on the back with the sleeves narrower and lapels more extreme’. McQueen also stated in an interview with James Sherwood for the Financial Times ‘The shaping for my suits is fitted on the curvature of the spine’. For a full page photograph of McQueen wearing this suit see ‘Alexander McQueen’ edited by Claire Wilcox, V&A publications p36 and Christopher Breward’s monograph ‘A Sense of Place - Su[i]ture: Tailoring & the Fashion of the Metropolis’ p37-49, which explores McQueen’s tailoring skills and his Huntsman collection in particular. £800 - 1200

352 An Alexander McQueen fashion sketch for his first Givenchy haute couture collection, ‘In search of the Golden Fleece’ SpringSummer, 1997, un-signed, no 40, worked in gouache and ink, showing a silver grey capelet worn over a high waisted skirt, adorned with embroidery, the figure with horn-shaped coiffure, 46 by 30cm, 18 by 12in £500 - 700 353 Three Alexander McQueen fashion sketches for his first Givenchy haute couture collection, ‘In search of the Golden Fleece’, Spring-Summer, 1997, un-signed, nos 5, 18 and 46, gouache and ink, showing three white highly tailored suits and a dress, 46 by 30cm, 18 by 12in (3) £1200 - 1800 354 Two Alexander McQueen fashion sketches for his first Givenchy haute couture collection, ‘In search of the Golden Fleece’, Spring-Summer, 1997, un-signed, nos 23 and 31, gouache and ink, showing two trouser ensembles with high Incroyable style bolero jacket and organza blouse, 46 by 30cm, 18 by 12in (2) £800 - 1200


355 A rare and early Alexander McQueen bolero bodice from the ‘Highland Rape’ collection, Autumn-Winter, 1995, un-labelled, probably a show piece, with remains of sticky number tag to neck lining, of fine wine and beige herring-bone weave suiting wool, the front cut low and deep like a man’s late Victorian waistcoat with five buttonholes to fasten, the pointed lapels faced in a green and ivory lampas with large scale acanthus and palmette repeats redolent of early 18th century Italian silks, heavily padded shoulders with bell-shaped sleeves which are open on the under-side, lined in grey acetate, bust 81cm, 32in

On the catwalk this bolero was worn with dark brown trousers worn low on the hips. The lapels were worn so that they cupped the model’s bare breasts. ‘Highland Rape’, McQueen’s fifth collection, was the first in which he collaborated with his friend Katy England, making her his in-house stylist. McQueen himself, assisted by a fellow Central St Martin’s student Andrew Groves, did all the cutting and machining of the garments in his Clerkenwell studio. The show, which was staged at the Natural History Museum, was the hottest ticket in town. With a runway strewn with heather, models staggered out, their beautifully tailored ensembles and gossamer lace dresses, apparently torn and ripped as if from an attack. McQueen’s intended message was the historic annexation and subjugation of Scotland by the English. However, the British tabloid press misconstrued the dishevelled appearance of the models, believing the collection to be a misogynistic and degrading attack on women. The resulting headlines served only to confirm McQueen’s pre-eminence in British Fashion. The shock-tactics employed, the theatricality, sombre romance of the show and its clarion call for Scottish independence ensured McQueen’s profile was raised even further.


356 An Alexander McQueen Highland ensemble, ‘Widows of Culloden’ collection, Autumn-Winter, 2006, woven grey label and size 38, comprising: pink leather jacket with scalloped, pinked edges, a high-waisted skirt with asymmetric pleat, a cream lawn blouse inset with lace and with jabot-style lace collar, and a black leather belt with Celtic knot buckle, bust 86cm, 34in, waist 61cm, 24in (4)

For a catwalk image see; ueen/full-length-photos/gallery/170123 £1500 - 2500

Very few pieces from this original fashion show have survived as bailiffs seized and removed bags containing the collection in a raid over unpaid bills.

357 An Alexander McQueen beige chiffon cocktail dress, ‘Widows of Culloden’ collection, Autumn-Winter, 2006, labelled and size 42, with integral corset, the pleated draped chiffon plaited into a single shoulder strap, with floating scarf panel to the other, with asymmetric stomacher-front bodice of gilt military style embroidery, bust approx 86-92cm, 34-36in

Literature: ‘Alexander McQueen, Fashion Visionary’ by Judith Watt, pp52-55. £4000 - 6000

£400 - 600

356 75

358 A fine and rare Alexander McQueen jacquard woven satin jacket, ‘Dante’ collection, Autumn-Winter, 1996-97, black on white woven satin label with plastic pouch containing a lock of human hair, the early 19th century style fabric woven in gold against a dark grey satin ground, the slashed sleeves with ivory satin graduated edgings, openings also to the right breast panel and left side waist, the rear waist with short 19th century pleated peplum, redolent of late 19th century bodices, hook and eye closures, which when fully fastened turn the narrow lapels into a stand collar, lined in ivory silk, bust 86cm, 34in

Provenance: Given by McQueen to his close friend and muse Alice Smith. Alice, along with her partner Cressida Pye, became his agents after he left Central St Martins in 1992. Alice believes that only three of these jackets exist. Literature: ‘Alexander McQueen, Fashion Visionary’ by Judith Watt, p36 for a full page illustration of this jacket. She states that the cut and slashing of the sleeves was based on a jerkin inspired by Juan de Alcega’s Tailor’s Pattern Book of 1589. For the catwalk show the jacket was worn fully fastened with a high collar and was worn over a pair of distressed looking patchwork denims. £15000 - 20000


358 detail

358 label 76

358 detail

358 detail

359 A fine and rare Alexander McQueen printed ‘Blind Colony’ coat, ‘Dante’ collection, Autumn-Winter, 1996-7, woven gold and black label, with high collar from which run diagonal darts producing a streamlined curve to the padded shoulders, concealed button opening centre front, diagonally vented hip pockets, four buttons to each cuff, black silk lining, chest 92cm, 36in

Provenance: Given as a gift by McQueen to his close friend and muse Alice Smith to wear to accompany him to a private view at the Saatchi gallery. She believes it is the only coat of this design in existence. Literature: ‘Alexander McQueen, Fashion Visionary’ by Judith Watt, p63 for a full page illustration of this coat. For his ‘Dante’ collection McQueen selected various photographic references for his prints including Vietnam war photographs by Don McCullin. A gold painted skeleton sat amongst the press in the front row. The themes of mortality and suffering ran through this collection. Images taken from a 19th century blind colony fitted in perfectly with this. Suzy Menkes writing in the International Herald Tribune described the collection as a ‘Fashion Moment’. £15000 - 20000

359 label

359 back

359 detail

360 An Alexander McQueen grey cotton orientalist dress, ‘Voss’ collection, Spring/Summer 2001, narrow black and yellow label, size 44, of lightweight steelgrey wool, with Japanese embroidered decorative floral band that traverses the dress from neck to hem, bust 92-97cm, 3638in


362 Three Alexander McQueen fashion sketches for his first Givenchy haute couture collection, ‘In search of the Golden Fleece’, Spring-Summer, 1997, un-signed, nos 16, 6 and 37, gouache and ink, showing the same brunette model wearing a green featherscaled cocktail dress; a white organza blouse, pencil skirt with corset-like belt; and a white tailored trouser suit, 46 by 30cm, 18 by 12in (3)

£500 - 800 361 An Alexander McQueen fashion sketch for his first Givenchy haute couture collection, ‘In search of the Golden Fleece’, SpringSummer, 1997, un-signed, no 32, worked in gouache and ink of a long trained coat with lavishly embroidered borders, sleeves and high collar, worn over a gold lace body suit, 46 by 30cm, 18 by 12in

£1000 - 1500

£600 - 1000 361 77

363 364

364 An Alexander McQueen for Givenchy snakeskin and beaded cocktail dress, Spring-Summer, 2001 haute couture collection, lycodonomorphus rufulus, the muslin défilé label with blue Givenchy stamp, VIP and Press Sample stamps and handwritten details ‘Atelier Catherine, no 31’, the leather panels intersected and edged with tulle bands embroidered with a lattice of cork beads, wired beads form a ruff at the high collar, cascade from the armholes and fall in asymmetric fringes to the hem, concealed zips at back and side to ensure a skin-tight fit, bust 81cm, 32in, waist 66cm, 26in

363 An important Alexander McQueen black cashmere jacket and beaded skirt, ‘Joan’ collection, Autumn-Winter, 1998, black and yellow label and size 42, the fitted jacket with 1890s style buttoned inner bodice with faux jacket panels similarly buttoned, pockets placed just above the hem; the skirt with bugle beaded flowers and large rear kick split, both lined in McQueen logo damask, bust 86cm, 34in, waist 71cm, 28in (2)

On the catwalk this jacket was worn with a beaded skirt of identical design but in black. Literature: ‘Savage Beauty’ exhibition catalogue, Metropolitan Museum p47.

This was McQueen’s final collection for Givenchy before they parted over ‘artistic differences’. £2000 - 3000

An identical jacket was sold through Augusta Auctions, March 2012 lot 305 for $15,600. £8000 - 12000

365 An Alexander McQueen Eiffel Tower print cocktail dress, ‘Natural Distinction, UnNatural Selection’ collection, Spring-Summer, 2009, labelled and size 40, the shiny silk/wool fabric printed with undulating manipulated image of the tower, cap sleeves, bust 92cm, 36in 363


£600 - 1000


366 An Alexander McQueen crystal print cocktail dress, ‘Natural Distinction, Un-Natural Selection’ collection, SpringSummer, 2009, labelled and size 38 with retail tags, the shiny silk/wool polyamide fabric with overall print in shades of blue, nude tulle side and bodice panels with raised, padded shoulders, bust 86cm, 34in


369 An Alexander McQueen floral printed organza cocktail dress with matching leather corset, ‘Natural Distinction, Un-natural Selection’ collection, Spring-Summer, 2009, labelled and size 42, the strapless dress with integral boned bodice, the silk printed with grasses, butterflies and wild flowers, the skirt falling in polonaised drapes, the laser-cut corsetbelt with floral trails and top-stitched seams, shaped to emphasise the curve of the waist, bust approx 86-92cm, 34-36in (2)

£600 - 1000 367 An Alexander McQueen crystal print cocktail dress, ‘Natural Distinction, Un-Natural Selection’ collection, SpringSummer, 2009, labelled and size 38, in shades of brown and grey with blue flecks, the kaleidoscopic crystal print forming vertebrae-like bands down the back, bust 86cm, 34in

£6000 - 10000

£600 - 900 368 An Alexander McQueen crystalline print dress, ‘Natural Distinction, Un-Natural Selection’ collection, Spring-Summer, 2009, grey on ivory woven label, the shaped shift dress with nude insert at front neck, bust 92cm, 36in; with matching clutch bag (2) £600 - 1000


370 Three Alexander McQueen fashion sketches for his first Givenchy haute couture collection, ‘In search of the Golden Fleece’, Spring-Summer, 1997, un-signed, nos 49, 35, 51, gouache and ink, showing three Grecian/mythological inspired ensembles a white cocktail dress with winged feather covered bodice; a classically draped dress with train, and a catsuit with crescent moon headdress, 46 by 30cm, 18 by 12in (3) £1000 - 1500 79

371 An Alexander McQueen ‘Irere’ collection evening gown, Spring-Summer, 2003, labelled and size 42, the boned bodice lined in red satin, swathed and overlaid with printed scarlet, yellow and blue feather plumes, with layered, panelled skirt, two floating panels to the rear shoulders, bust 86cm, 34in, waist 66cm, 26in

A similar gown from the same collection is illustrated in ‘Alexander McQueen Savage Beauty’, Metropolitan Museum catalogue, p170-171. £2000 - 2000 372 Sarah Burton for Alexander McQueen, ‘Bee’ collection faux tortoiseshell collar and belt, Spring-Summer, 2013, the tall shaped collar applied with gilt bees inset with topaz coloured rhinestones, 35cm diam; the belt with large gilt buckle similarly adorned, 79cm diam, both with original storage bags and boxes (qty) £400 - 600


373 Sarah Burton for Alexander McQueen, ‘Bee’ collection hat and jacket, Spring-Summer, 2013, the jacket with metal dog-tag label, size 42, woven with honeycomb patterns and bees, off-the shoulder sleeves, broad peplum-like skirt, bust approx 86cm, 34in, waist 66cm, 26in; the black patent leather bee-keeper hat with honeycomb patterned veil, 40cm diam. (2) £400 - 600 374 Sarah Burton for Alexander McQueen, ‘Bee’ collection patent leather shoes, SpringSummer, 2013, stamped ‘McQueen’ to the insole, with gold glitter filled platform sole and shaped heel, black lurex honeycomb mesh and patent upper with ankle strap, in original box, size 39 (3) £400 - 600 375 Two Alexander McQueen fashion sketches for his first Givenchy haute couture collection, ‘In search of the Golden Fleece’, Spring-Summer, 1997, un-signed, nos 52, 53, gouache and ink, showing a clinging double-breasted dress with ram’s horn headdress; the other a suit with wide angular shoulders and corset-like jacket, 46 by 30cm, 18 by 12in (2) £600 - 1000

372 & 373 80


376 back 378

378 A fine Alexander McQueen gold embroidered and sequined evening dress, ‘In Memory of Elizabeth Howe, Salem 1692’ collection, Autumn-Winter, 2007, labelled and size 40, figure-hugging, the beige satin ground entirely covered in elliptical sequins and bugle beads in bands which follow the curves of the breast and hips, bust 8692cm, 34-36in

376 An Alexander McQueen ‘Angel Drape’ dress, ‘Angels & Demons’ collection, AutumnWinter, 2010-11, labelled and size 42, the bodice of flesh coloured tulle embroidered with silver metal strip in feather design, the low back as if with angels wings, the satin skirt with feather print, bust 86cm, 34in

A similar dress from the same collection is illustrated in ‘Savage Beauty’ pp98-99, Metropolitan Museum. £3500 - 5000

£4000 - 6000

377 An Alexander McQueen black and red jacquard weave silk dress, ‘The Horn of Plenty’ collection, Autumn-Winter, 2009-10, white on grey woven label and size 44, trapeze-shaped with wide neckline, deep curved hip pocket to one side, woven with floral sprays, bust 112cm, 44in £450 - 600 378 detail


FORTHCOMING SALES We are now accepting entries for our 2015 Autumn/Winter auctions FASHION & TEXTILES Tuesday October 13th PASSION FOR FASHION Fine Haute Couture, Antique Fashion and Accessories Tuesday December 8th Kerry Taylor Auctions, 249-253 Long Lane, London SE1 4PR

Lot 278 A Thierry Mugler ice blue stretch lycra and rainbow chiffon dress with matching cape, 1980-85, un-labelled, the skirt falling in dégradé handkerchief panels, with matching hooded cape, bust approx 81cm, 32in (2) £600 - 1000

CONDITIONS OF BUSINESS FOR BUYERS 1. Introduction (a) The contractual relationship of Kerry Taylor Auctions Ltd &. and Sellers with prospective Buyers is governed by:(i) these Conditions of Business for Buyers; (ii) the Conditions of Business for Sellers displayed in the saleroom and available from Kerry Taylor Auctions Ltd; (iii) Kerry Taylor Auctions Ltd’s Authenticity Guarantee; (iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any saleroom notice or auctioneer’s announcement. (b) As auctioneer, Kerry Taylor Auctions Ltd acts as agent for the Seller. Occasionally, Kerry Taylor Auctions Ltd may own or have a financial interest in a lot. 2. Definitions “Bidder“ is any person making, attempting or considering making a bid, including Buyers; “Buyer“ is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent; “Seller“ is the person offering a lot for sale, including their agent, or executors; “KT” means Kerry Taylor Auctions Ltd of 249-253 Long Lane, London SE1 4PR, company number 7173571 “Buyer’s Expenses” are any costs or expenses due to Kerry Taylor Auctions from the Buyer; “Buyer’s Premium“ is the commission payable by the Buyer on the Hammer Price at the rates set out in the Guide for Prospective Buyers; “Hammer Price“ is the highest bid for the Property accepted by the auctioneer at the auction or the post auction sale price; “Purchase Price“ is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses; “Reserve Price“ (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot. The Buyer’s Premium, Buyer’s Expenses and Hammer Price are subject to VAT, where applicable. 3. Examination of Lots (a) KT’s knowledge of lots is partly dependent on information provided by the Seller and KT is unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. (b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elswhere are statements of KT’s opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at KT’s absolute discretion. 4. Exclusions and limitations of liability to Buyers (a) KT shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a Counterfeit, subject to the terms of KT’s Authenticity Guarantee. (b) Subject to Condition 4(a), neither KT nor the Seller:(i) is liable for any errors or omissions in any oral or written information provided to Bidders by KT, whether negligent or otherwise; (ii) gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded (save in so far as such obligations cannot be excluded by English law), other than the express warranties given by the Seller to the Buyer (for which the Seller is solely responsible) under the Conditions of Business for Sellers; (iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by KT in


connection with the conduct of auctions or for any matter relating to the sale of any lot. (c) Without prejudice to Condition 4(b), any claim against KT and/ or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. Neither KT nor the Seller shall be liable for any indirect or consequential losses. (d) Nothing in Condition 4 shall exclude or limit the liability of KT or the Seller for death or personal injury caused by the negligent acts or omissions of KT or the Seller. 5. Bidding at Auction (a) KT has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form and supply such information and references as KT requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case KT’s prior and express consent must be obtained). (b) KT advises Bidders to attend the auction, but KT will endeavour to execute absentee written bids provided that they are, in KT’s opinion, received in sufficient time and in legible form. (c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to KT’s other commitments; KT is therefore not liable for failure to execute such bids. Telephone bidding may be recorded. 6. Import, Export and Copyright Restrictions KT and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer’s sole responsibility to obtain any copyright clearance or any necessary import, export or other licence required by law, including licenses required under the Convention on the International Trade in Endangered Species (CITES). 7. Conduct of the Auction (a) The auctioneer has discretion to refuse bids, withdraw or re-offer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary. (b) The auctioneer will commence and advance the bidding in such increments as (s)he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable. (c) Subject to Condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer’s hammer. (d) Any post-auction sale of lots shall incorporate these Conditions of Business. 8. Payment and Collection (a) Unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the “Payment Date”). (b) Title in a lot will not pass to the Buyer until KT has received the Purchase Price in cleared funds. KT will generally not release a lot to a Buyer before payment. Earlier release shall not affect passing of title or the Buyer’s obligation to pay the Purchase Price, as above. (c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a). (d) The Buyer must arrange collection of lots within 10 working days of the auction. Purchased lots are at the Buyer’s risk from the earliest of (i) collection or (ii) 10 working days after the auction. Until risk passes, KT will compensate the Buyer for any loss or damage to the lot up to a maximum of the Purchase Price actually paid by the Buyer. KT’s assumption of

risk is subject to the exclusions detailed in Condition 5(d) of the Conditions of Business for Sellers. (e) All packing and handling of lots is at the Buyer’s risk. KT will not be liable for any acts or omissions of third party packers or shippers. 9. Remedies for non-payment Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, KT may in its sole discretion exercise 1 or more of the following remedies:(a) store the lot at its premises or elsewhere at the Buyer’s sole risk and expense; (b) cancel the sale of the lot; (c) set off any amounts owed to the Buyer by KT against any amounts owed to KT by the Buyer for the lot; (d) reject future bids from the Buyer; (e) charge interest at 4% per annum above The Bank of England’s Base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds; (f) re-sell the lot by auction or privately, with estimates and reserves at KT’s discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale; (g) exercise a lien over any Buyer’s Property in KT’s possession, applying the sale proceeds to any amounts owed by the Buyer to KT. KT shall give the Buyer 14 days written notice before exercising such lien; (h) commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs; (i) disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings. 10. Failure to collect purchases (a) If the Buyer pays the Purchase Price but does not collect the lot within 14 working days of the auction, the lot will be stored at the Buyer’s expense and risk at KT’s premises or in independent storage. (b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, KT will re-sell the lot by auction or privately, with estimates and reserves at KT’s discretion. The sale proceeds, less all KT’s costs, will be forfeited unless collected by the Buyer within 2 years of the original auction. 11. Data Protection (a) KT will use information supplied by Bidders or otherwise obtained lawfully by KT for the provision of auction related services, client administration, marketing and as otherwise required by law. (b) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties world-wide for the purposes outlined in Condition 11(a) and to Sellers as per Condition 9(i). 12. Miscellaneous (a) All images of lots, catalogue descriptions and all other materials produced by KT are the copyright of KT. (b) These Conditions of Business are not assignable by any Buyer without KT’s prior written consent, but are binding on Bidders’ successors, assigns and representatives. (c) The materials listed in Condition 1(a) set out the entire agreement between the parties. (d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect. (e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of KT.

KERRY TAYLOR AUCTIONS LTD AUTHENTICITY GUARANTEE If Kerry Taylor Auctions Ltd sells an item of Property which is later shown to be a “Counterfeit”, subject to the terms below Kerry Taylor Auctions Ltd will rescind the sale and refund the Buyer the total amount paid by the Buyer to Kerry Taylor Auctions Ltd for that Property, up to a maximum of the Purchase Price. The Guarantee lasts for one (1) year after the date of the relevant auction, is for the benefit of the Buyer only and is non-transferable.

“Counterfeit” means an item of Property that in Kerry Taylor Auctions Ltd ‘s reasonable opinion is an imitation created with the intent to deceive over the authorship, origin, date, age, period, culture or source, where the correct description of such matters is not included in the catalogue description for the Property. Property shall not be considered Counterfeit solely because of any damage and/or restoration and/or modification work. Please note that this Guarantee does not apply if either:(i) the catalogue description was in accordance with the generally accepted opinions of scholars and experts at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing at the date of the sale that the item was a Counterfeit would have been by means of processes not then generally available or accepted, unreasonably

expensive or impractical; or likely to have caused damage to or loss in value to the Property (in Kerry Taylor Auctions Ltd’s reasonable opinion); or (iii) there has been no material loss in value of the Property from its value had it accorded with its catalogue description. To claim under this Guarantee, the Buyer must:(i) notify Kerry Taylor Auctions Ltd in writing within one (1) month of receiving any information that causes the Buyer to question the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and the reasons why it is believed to be Counterfeit; and (ii) return the Property to Kerry Taylor Auctions Ltd in the same condition as at the date of sale and be able to transfer good title in the Property, free from any third party claims arising after the date of the sale.

Kerry Taylor Auctions Ltd has discretion to waive any of the above requirements. Kerry Taylor Auctions Ltd may require the Buyer to obtain at the Buyer’s cost the reports of two independent and recognised experts in the relevant field. Kerry Taylor Auctions Ltd shall not be bound by any reports produced by the Buyer, and reserves the right to seek additional expert advice at its own expense. In the event Kerry Taylor Auctions Ltd decides to rescind the sale under this Guarantee, it may refund to the Buyer the reasonable costs of up to two mutually approved independent expert reports, provided always that the costs of such reports have been approved in advance and in writing by Kerry Taylor Auctions Ltd.

GUIDE TO PROSPECTIVE BUYERS Purchasers will be charged a premium rate of 25% up to £50,000 on the hammer price and 20% above. The premium is subject to VAT at the prevailing rate. There is no VAT charged on lot prices unless otherwise specified in the catalogue by the following symbols Property with a † symbol These items will be sold under the normal UK Vat rules and VAT will be charged at 20% on both the hammer price and buyer’s premium. Property sold with a ‡ symbol. These items have been imported from outside the EU to be sold at auction under temporary importation. VAT will be charged at 5% of the hammer price and 20% on the buyer’s premium. Property sold with a ∆ symbol. These items require a CITES licence to export outside of the EU. These cost £59 each and we are happy to assist our clients with applications. Payment Payment is due immediately after the sale in Pounds Sterling and may be made by Banker’s draft, Cashier’s cheque, Personal cheque, Wire transfer, Credit cards, Debit cards, Cash and Traveller’s cheques. Payments should be made to Kerry Taylor Auctions. Cash payments will not be accepted above £6,000 or $10,000. Payments in person can be made in the saleroom on the day of the sale, after this payments must be made by post, credit, debit card or wire transfer

Credit Cards Most major credit card brands are accepted, however surcharges will be added as follows to cover the charge made to us by our bank: Visa and UK Mastercard 3.1%; AMEX 1.75%; EU Mastercard 3.1%; International Mastercard 3.6%. For payments over £20,000 the cardholder must be present. There is no charge for using Debit cards. Please note it may be advisable to notify your credit card provider of your intended purchase in advance, to reduce delays caused by us having to seek authority when you come to pay. Payment by Cheque If payment is to be made by cheque and the cheque exceeds the cheque card guarantee limit, then goods can only be collected on the day of the sale if the buyer is known to us, or if accompanied by a letter from your bank to guarantee your cheque. Cheques often take as long as eight days to clear. We reserve the right to hold goods until a cheque is cleared. Electronic & Wire Transfers Wire transfers can be made to Bank of Scotland 59 Bath Street, Glasgow, G2 2DH Sort code: 12-24-81 Account number: 10040762 Account name: Kerry Taylor Auctions Limited Iban: GB28BOFS12248110040762 SWIFT: BOFSGBS1BBL If paying by bank transfer the amount received after either the deduction of bank fees or for the conversion to pounds sterling, must not be less than the sterling amount payable on the invoice.

Bidding in Person To bid with us you must register to obtain a bidding number. Before the auction, fill in the form at the registration desk, provide proof of identity and you may be given a paddle number. All lots sold will be invoiced to the name and address in which the paddle has been registered and may not be transferred to other names and addresses. If you instruct an agent to bid on your behalf you will need to provide a letter of authority and they will also need to provide proof of identity. Kerry Taylor Auctions reserves the right to refuse. Please hand back the paddle after use. Commission bids Commission bids are confidential and will be executed at no extra charge. Kerry Taylor Auctions endeavours to purchase lots as cheaply as possible, allowing for other bids and the reserves. Absentee bidding forms can be found at the back of the catalogue and should be completed and faxed at the number shown at the front of the catalogue. Please do not post in commission bid slips. It is in your interests to return your form as soon as possible as if two or more bidders submit identical bids for a lot, the first bid received takes preference. All bids should be received at least 24 hours before the start of the sale. It is your responsibility to check with us that your bid has been received. If you have never bid with Kerry Taylor Auctions before (even though you may be a past Sotheby’s client) you must also provide proof of identity. Failure to do this may result in your bids not being processed. Successful commission bidders will be notified by email immediately after the sale or you can phone us. Full payment must be sent to the Auctioneers.




VEnUE, sToraGE, CoLLECTion anD shiPPinG LoGisTiCs

on receipt of cleared funds, lots can be collected (see map above) during the auction or immediately after its completion. Lots will be available to collect between the hours of 9.30am - 5pm. after a period of 14 days following the auction, uncollected lots will additionally incur a storage charge of £3.50 per lot per week (or part thereof) and storage insurance at a rate of 1% of the purchase price per lot per week (or part thereof). Purchases can be collected in person from Kerry Taylor’s premises or by the buyer’s authorised agent or shipper. our appointed shippers can supply competitive worldwide quotations for the packing and shipping of purchases. Buyers are reminded that it is their responsibility to comply with UK export regulations and with any local import requirements. Please contact us for any shipping estimates prior to the auction.

Kerry Taylor auctions Ltd 249-253 Long Lane London sE1 4Pr Tel: 00 44 (0)208 676 4600 fax: 00 44 (0)203 137 0112

Kerry Taylor Auctions  

Passion for Fashion including the Collections of Celia Birtwell and Jordan | 23rd June 2015

Kerry Taylor Auctions  

Passion for Fashion including the Collections of Celia Birtwell and Jordan | 23rd June 2015