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Passion for Fashion 12th December 2016

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 ÂŁ50,000 on the hammer price and 20% above. The premium is subject to VAT at the prevailing rate. See page 75 for details.

Sale number: KT026

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

Front cover: Lot 279 Frontispiece: Lot 255 Back cover: Lot 109

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 Auction Monday 12th December 2016 at 2pm Venue 249-253 Long Lane London SE1 4PR See map on inside back cover

Exhibition Friday 9th December - 9am to 5pm Sunday 11th December - 12 noon to 4pm MONDAY 12th December - morning viewing by appointment only

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ACCESSORIES & LUXURY Please note all lots bearing ∆ symbol cannot be exported outside the EU. See page 75 for more information.

1 An Hermès black leather ‘Drag’ bag, 1960s, stamped ‘Hermès Paris’, with gilt ‘H’ lifter clasps, 27cm, 10 ½in long £500 - 700 2∆ An Hermès dark brown lizard ‘Constance’ bag, 1980s, Varanus Salvator, stamped to the interior, Hermès, Paris, made in France, with gilt ‘H’ lifter clasp, adjustable shoulder strap, 23cm, 9in long £3000 - 5000 2

3 A Chanel outsized parure, 1980s, each piece marked ‘Chanel’ comprising: massive baroque ear-rings, brooch and buckle, of matt gilt rope-twists inset with faux pearls and blue stones, the brooch 15cm, 6in (4) £600 - 800 4 An Hermès Haut à Courroies overnight bag, 1990, blind stamp T, of canvas and tan leather, with padlock, fob and dustbag, 48 ½cm, 19in £3000 - 5000 5 An unusual Cartier suede and feather evening bag, 1940s, maker’s stamp to the interior, 23cm, 9in £200 - 400 6 A Chanel chevron quilted black jersey handbag, 1960s, faintly stamped ‘Chanel’ to the wine grosgrain lining, gilt chain handle, 24cm, 9 ½in £400 - 600


7 A Chanel quilted brown leather flap bag, 1960s, stamped in gold to the interior ‘Chanel’, swivel closure, chain and leather straps, 26cm, 10 ¼in £600 - 800 8 An Hermès black leather Kelly bag, 1987, stamped Hermès Paris, made in France, with gold plated hardware, padlock and fob, 28cm, 11in long £1200 - 1800



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9 An Hermès black Fjord leather Kelly bag, 1995, blind stamp Y, with gold plated hardware, padlock and keys, detachable shoulder strap, with original box, dustbag and copy of receipt, 33cm, 13in long (4) £1500 - 2500 10 ∆ A Cartier blue/black lizard handbag with alternative pouches, 1960s, Varanus Salvator, the interior stamped Cartier London, with plated rope-twist gilt chain, the other pouches in black silk grosgrain and black patent leather, 25cm, 9 ¾in (3) £600 - 1000


11 A Leon Vissot haute fourrure full-length chinchilla coat, late 1980s, Paris labelled, composed of herring-bone patterned pelts, lined in grey silk damask, chest approx 127cm, 50in £1000 - 1500 12 A Bradley’s Barguzin Russian sable coat, 1980s, maker’s name embroidered to lining and monogrammed ‘ERS’, three quarter length with two front pockets, hook fastenings and lined in brown silk, chest approx 92cm, 36in £2500 - 4000 13 A Liska sable coat, labelled Liska, Vienna, full length, of loose-cut, lined in brown silk, chest approx 142cm, 56in £2500 - 4000 14 A Slupinkski golden sable coat, 1980s, labelled, lined in Versace silk printed with African animals and embroidered to one side ‘Anne Marie’, of loose-cut, chest 127cm, 50in £2000 - 3000 15

15 A Christian Dior dyed-orange mink and fox fur coat, 1970s, narrow woven label, lined in orange silk, chest 86cm, 34in £1000 - 1500

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FASHION ART 16 A collection of framed and mounted Yves Saint Laurent ‘Love’ cards, 1970-1999, complete run of years with the exception of 1978 and 1993, seven frames each containing four photographic prints, one depicting a nude figure encoiled by snakes, 1973, another of Yves’ pet dog Moujik, as painted by Andy Warhol, 1991, each approx 22 by 17cm, 113 by 31cm framed (7)

Yves Saint Laurent created his ‘Love’ cards for thirty years (1970-2000) as ‘cartes de voeux’ to send New Year’s greetings to his friends and colleagues. Each year he would design a bright and bold collage to accompany the word ‘Love’, which remained his chosen message of good will. This collection of cards were sent to Michael Morris, who was the UK license holder for YSL menswear worldwide during the period. He informs us that the missing years were when YSL was unwell. £1500 - 2000 17 An original Yves Saint Laurent fashion sketch, Spring-Summer 1977 couture, signed, pencil and ink, the model’s ensemble with wide sash tied low on her hips, 12 by 32cm and in frame; together with original newspaper feature, dated January 26th 1976 (2)

Provenance: The sketches lots 17-19 were specially commissioned by Helena Matheopoulos for her fashion feature in the Daily Express ‘Eye’ supplement. £700 - 1000




18 An original Yves Saint Laurent ‘Russian Collection’ fashion sketch, Autumn-Winter 1976-77, signed, pencil and ink, the model’s ensemble with waistcoat, tasselled hat and wide belt, 12 by 32cm and in frame; together with original newspaper feature, dated April 5th 1976 (2) £800 - 1200


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19 Two original Yves Saint Laurent fashion sketches, 1974-5, pencil and ink, one with model wearing a fur-trimmed coat, signed, haute couture A/W ‘75-6; the other showing a chic day suit, un-signed, S/S ‘75; both with original newspaper features dated July 28th ‘75 and October 14th ‘74 respectively, 12 by 32cm and in frames (4) £700 - 1000

23 Two Maggy Rouff sketches of evening gowns, mid-late 1950s, the first ‘Cornaline’, orange chiffon with green satin waistband and bow, the second ‘La Perle’, draped white satin with sequined shoulder strap, 21 by 30cm, 8 by 12in; together with a fabric swatch for ‘Cristal’ (3) £300 - 500 24 A Maggy Rouff watercolour sketch for ‘Cafe de Paris’, late 1940s-early 1950s, black velvet evening dress with pink embroidered flowers to bodice; together with an unnamed sketch for an evening cloak, 21 by 30cm, 8 by 12in, (2) £400 - 600

20 Two Maggy Rouff sketches of evening dresses, circa 1955, on calque paper, the first ‘Rubis’, white tulle ball gown with red velvet and blue satin stole, the second ‘Lune de Miel’, slim black velvet strapless sheath, overlaid with tan lace, 21 by 27cm, 8 by 10 ½in,(2) £800 - 1200

25 Three Maggy Rouff watercolour sketches, circa 1950-1955, comprising: ‘L’Oiseau de Feu’, full satin skirt with white lace bodice; ‘Danoly’, fitted navy suit with blue and white polka dot blouse; and ‘Seguedille’, red and yellow halterneck gown with full, pleated skirt, all with fabric swatches, 21 by 30cm, 8 by 12in (3) £400 - 600

21 Three Robert Piguet pencil sketches with fabric swatches, circa 1950, comprising: ‘Cerceaux’ black crêpe cocktail dress, shown again with an astrakhan trimmed coat; together with an un-named black velvet dinner dress design, 27 by 21cm, (3)

Robert Piguet fashion sketches are rare. Lots 21-22 and 27 are from his last two collections (Autumn-Winter 1950 and Spring-Summer 1951) and were sketched by his assistant Serge Guerin. Frequently the designs are in pairs showing not only the dress but also the accompanying coat and accessories. £800 - 1000

26 Three Maggy Rouff watercolour sketches, circa 1956, comprising: ‘Carita’, two-piece ensemble in grey flannel with striped blouse; ‘Apparence’, dark grey wool dress, slim skirt, with mink cravat; and ‘Midshift’, white wool top and trousers, with white satin coat, 21 by 30cm, 8 by 12in (3) £400 - 600

22 Four Robert Piguet pencil fashion sketches, 1950-51, two showing ‘Atout Coeur’, Hiver, 1950; a black cocktail dress with long sleeves and draped neckline, worn with black mink cloak; the other two sketches for ‘Ombre’ and ‘Accordeon’, 27 by 21cm, (4) £400 - 600

27 Three pencil sketches from Piguet’s last summer collection, 1951, comprising: ‘Illusion’, polka-dot taffeta dress with buttoned front and full skirt, with black wool coat; and ‘Jockey Club’, black chiffon dress with pleated skirt, and yellow ottoman coat, 27 by 21cm (3) £800 - 1000




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ROYALTY 28 A rare ivory satin doublet and hose worn to the coronation of King George IV, 19th July, 1821, the doublet’s front panels adorned with couched gilt threads in diamond repeats in ‘van-dyke’ fringed vertical bands, domed bullion covered buttons, the mancherons, sleeves and tabbed hem applied with gilt braid and lace, high stand collar, rosettes to the shoulders; with matching trunk hose, chest approx 97cm, 38in, waist 112cm, 44in (2)

The lavish and expensive costumes worn by the aristocracy to attend George IV’s coronation were Elizabethan/Jacobean themed to recall England’s past heritage. George was held in low esteem at the time due to his treatment of his estranged wife, Caroline of Brunswick, and his attempts to divorce her. She unsuccessfully attempted to participate in the event. Parliament voted the astonishing sum of £240,000 towards the cost of the ceremony (George III’s coronation had only cost £70,000) in the hopes that it would rekindle his popularity.


Provenance: 2nd Earl Camden, 1759-1840, created a Marquess in 1812. £2000 - 2500 29 A rare ivory satin doublet worn by a Gentleman Usher to the coronation of King George IV, 19th July, 1821, indistinct pencilled name to side of right padded mancheron, with domed gold thread wrapped buttons, trimmed closure bands of single van-dyked fringed lace, edged in woven gold braid, the curved cuffs and puffed mancherons with gold lace bows, padded hem, chest approx 107cm, 42in

King George’s train was held by the eight eldest sons of Peers and the design of the doublets as shown in engravings at the time, looks the same pattern as this piece. £1500 - 2000 30 A footman’s livery from the Royal Hanoverian household, late 19th century, comprising: a magnificent scarlet wool frock coat with early 19th century gilt brass buttons bright-cut with Kingly crowns, with matching black waistcoat edged in gold braid, and red facecloth breeches, both with buttons bearing a shield below swags and crown, chest approx 97cm, 38in, waist approx 86cm, 34in (3)

Provenance: Sotheby’s Hanover auction, lot 4549, October 2005. £1000 - 1500



31 An unusual commemorative child’s dress, 1863, of burgundy velvet with ivory satin piping, mother of pearl buttons, and taffeta waist sash, the tails printed with the Prince of Wales plumes, ‘Ich Dien’ and ‘Albert and Alexandra’, bust 61cm, 21in

The Prince of Wales, Albert Edward, married Danish Princess Alexandra on the 10th March 1863 at St George’s Chapel, Windsor. He was 21, and she 18. Their marriage was popular and promoted in the British press as a love match. Presumably this dress was made to wear at a celebratory party. £300 - 500

32 Coronation robes for a Viscount and Viscountess, first half 20th century, comprising: Peter Jones cotton velvet kirtle with silver brocade waist-strap with detachable train, white fur trim; the Peer’s robe by Northam of silk velvet and ermine, lined in taffeta; with two matching plated coronets (5)

Provenance: worn by Edward Knollys (who was Governor General of Bermuda during the second World War) and his wife Margaret née Coats. Both sets were worn to the 1952 coronation, but the Viscount’s robe could be earlier and worn at the 1911 and 1937 coronations. £600 - 1000

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33 Princess Margaret’s Horrockses Fashions printed cotton summer dress, 1967, with ‘By Royal Appointment’ label, comprising: short strapless sundress with boned bodice and matching button-backed overbodice with bow to neck, bust 86cm, 34in, waist 61cm, 24in; together with a newspaper clipping and a Daily Mail supplement showing the Princess wearing the ensemble with Lord Snowdon on a visit to the Bahamas in 1967 (4)

Provenance: Between 1990 and 2001 the vendor’s father was head gardener at Alanbay Park when it was owned by The Hon Mrs Jean Wills (née Bowes-Lyon) and Major John Wills (of Wills tobacco fame). Mrs Wills was first cousin to HM the Queen and a Lady in Waiting to HRH Princess Margaret and they regularly played host to the royal family. This dress was included in a bundle of old clothes belonging to Princess Margaret that Mrs Wills had been asked to sort through and either to donate to charity or burn. The vendor’s mother picked out this particular dress thinking her daughter (who would have been a teenager at the time) might like it. Suffice to say the young girl declared she ‘wouldn’t be seen dead in it’ and it has remained in a drawer wrapped in tissue paper ever since. £400 - 600

© Getty Images/Tim Graham

34 Princess Diana's Catherine Walker slubbed turquoise silk ensemble worn for a Royal tour of New Zealand, April 1983, bearing woven label, comprising: dress with vertical pleats to front and back bodice, elbow length sleeves, gently gathered skirt; with matching long sleeved jacket, bust 92cm, 36in, waist 66cm, 26in (2)

Princess Diana wore this ensemble on the 36th day of the Royal Tour of Australia and New Zealand, April 24, 1983. She visited the Te Poho-o-Rawiri Marae Meeting House, Gisborne, North Island, where she was given a traditional Hongi welcome by the local Maori dignitaries. Princess Diana was photographed wearing this ensemble rubbing noses (the traditional Maori greeting). Provenance: Purchased by the vendor from a dress agency in Hampshire in the 1980s. At the time she was told in confidence by the shop keeper that the clothes had been consigned by a relation of Sarah Ferguson, Duchess of York. See KTA lot 208, 14.6.2016, for Princess Diana’s Emanuel tartan wool ensemble which came from the same shop. Mr Said Cyrus of Catherine Walker recalls making similar ensembles but only one exactly in this style - exclusively for the Princess. £600 - 1000



34 label 7

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35 label

© Getty Images/David Levenson

35 Princess Diana’s Caroline Charles printed tartan wool day dress, worn to the Braemar Highland Games, September 4th, 1982, labelled Caroline Charles, with black cord outlined yoke front and back, black buttons and cord loops to fasten, ivory grosgrain collar and cuffs, separate tie belt, bust 86cm, 34in, waist 66cm, 26in; together with a Telegraph magazine which includes a photograph of the Princess wearing this dress, accessorised by a dark green Argyll cap, accompanied by Prince Charles and HM The Queen, who seemed to be clearly enjoying the occasion (3)

Provenance: Purchased by the vendor from a dress agency in Hampshire in the 1980s. She was told in confidence by the shop keeper that the clothes had been consigned by a relation of Sarah Ferguson, Duchess of York. See KTA lot 208, 14.6.2016, for Princess Diana’s Emanuel tartan wool ensemble which came from the same shop. Caroline Charles, the designer of the dress, has confirmed that only one dress of this style was made - exclusively for the Princess. £6000 - 9000 8

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© REX/Shutterstock

36 Princess Diana’s Bruce Oldfield crushed purple velvet evening gown, worn for an official visit to Portugal, February 11th, 1987, Custom Made label, the wide, off the shoulder neckline outlined by a band of horizontal pleats, with slim inner skirt and trained over-skirt with draped side panels, with original coat hanger and Christie’s lot ticket, bust 86cm, 34in, waist 71cm, 28in (3)

Princess Diana wore this gown when she and Prince Charles attended a dinner given by Portugese president Mario Soares at the Ajuda Palace, Lisbon. On this occasion she chose to wear it with a dazzling diamond tiara which had been gift from H.M. The Queen. The Princess sat for an official portrait wearing this gown by the photographer Terence Donovan. Provenance: ‘Dresses from the Collection of Diana Princess of Wales’ auction, original Christies, 25th June, 1997, lot 74. After purchase this dress was never worn or tried on and is in the same pristine state as when last worn by the Princess. £50000 - 70000

36 label


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37 A rare pair of ladies’ knitted silk and metal thread mittens, probably Italian, late 17thearly 18th century, of fine rose-pink silk with diapered and spotted patterns in gold and silver thread, the curved finger guard lined in lustrous gold braid, and edged with gold fringes, 26cm, 10in long (2) £700 - 1000

42 The Bentinck Apron, English, circa 1720-30, of ivory tabby silk, lavishly embroidered in lustrous gold thread and coloured silks with exotic blooms and edged in gold bobbin lace, 105cm, 41in long

Provenance: This apron belonged to and was made for Lady Isabella Bentinck, second daughter of Henry, 1st Duke of Portland. Isabella married Henry Monck of Charleville, Co. Wicklow in November 1739, and eventually died in 1783. The apron passed through the female line to her daughter, Elizabeth who married George, 1st Marquess of Waterford in 1769, and then on to their fourth daughter, Elizabeth, Lady Beresford, who married Sir Dennis Pack in 1816 and thence by descent to the vendor. £1000 - 1500

38 A young man’s striped black and yellow silk tailcoat, circa 1790-1800, with high stand collar, slim cut-away front panels, tartan effect large silk embroidered buttons, self lined and with linen to back panel and sleeves, chest 81cm, 32in £500 - 700 39 A pair of men’s doeskin breeches, 17901800, with small-fall front opening, self covered buttons, later mother of pearl buttons to the knee sides; together with an embroidered silk waistcoat c.1800 (2) £600 - 1000

43 A striped satin tailcoat, circa 1790, with high stand collar, three functioning buttonholes and corresponding large satin buttons, narrow cuffs, two deep hip pockets, lined in linen with pale blue silk facings, chest 97cm, 38in £600 - 1000

40 An embroidered linen open robe, English, 1770s, with closed-front bodice, worked in silks with meandering stylised honeysuckle trails £700 - 1000

44 A primrose-yellow silk ribbon embroidered waistcoat, circa 1795, with broad lapels, small buttons, the embroidered panels cut to form the shorter, boxy shape, cotton back panels with ties, chest approx 97cm, 38in £400 - 600

41 A gentleman’s brocaded silk banyan, circa 1760, of pale peach silk brocaded with ivory and pale green ribbon garlands and blossom, double-breasted with silk cord covered buttons, wide curved sleeves with broad cuffs, short stand collar, pocket slits and two internal linen patch pockets, lined in green taffeta, chest 102cm, 40in £800 - 1000 41


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45 A rare brocaded satin pregnancy robe, 1790s, the pale green silk sprigged overall with ivory and peach trefoils tied with tassels, comprising: petticoat with waist ties and two matching bodices, one high fashion (for early pregnancy) in 'pierrot' style cut low and tight with closed front, faux waistcoat panels, short tails to the back lined in striped silk, narrow curved sleeves; the other in open-robe form with inner boned closed front panels and loose deshabillé-like outer panels, the neckline outlined in cartridge pleats, with three ribbon drawstrings to allow for expansion, lined in patches of tartan and striped silk; together with a fine white lawn fichu with whitework embroidered edges (4)

For lying-in clothes similar, see ‘Monument du Costume: Suite d’estampes pour servir à l’histoire des moeurs et du Costume des Français dans le dix-huitième siècle’ published by Prault, Paris 17751777 with engravings by Sigmund Freudeberg (1745-1801). £4000 - 6000 45

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46 A striped chine taffeta robe à la Française, 1770s, the silk woven in shades of green pink and ivory, the open robe with closed front bodice, linen linings, double engageants, pinked furbelows to the skirt edging, with matching petticoat (2) £4000 - 6000 47 A green satin and whitework ensemble, circa 1820, the spencer bodice in two shades of green satin, with puffed mancherons, trimmed in blonde silk lace, with matching waist belt, reticule with cut steel button closure and chain; pumps labelled ‘Rimmevaux, Rue de la Ferme des Mathurins, Paris’; assorted satin bows and a band (possibly for a cap); the muslin skirt with deep bands of whitework and ruffled bands to hem, bust 81cm, 32in, high waist 74cm, 29in (qty)

A similar spencer and muslin skirt ensemble is illustrated in ‘Costume Parisien’, dated 1817. £1000 - 1500 47


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48 A fine striped robe à la polonaise, French, 1770s, of cinnamon and ivory satin stripes, with double engageants, English back, the interior with tapes and loops to form polonaise folds; with ivory satin stomacher covered with pinked ribbon rosettes; and a finely quilted ivory satin petticoat with overall lattice design and flowerheads within triangles to the hem; together with a modern choker made to match from Valenciennes lace and ribbon (4) £8000 - 12000

50 An unusual white beaver top hat for a boy or a woman, 1820s, of slightly fluted shape with gently curved sides to the brim, bow to one side and double ribbon bands with trails behind, lined in printed pink and black striped paper, leather head band, 13cm, 5in high

A similar shaped hat is illustrated in ‘Modes de Paris’ from 1828, engraving 557. £700 - 1000

49 A pale fawn beaver top hat, circa 1850-60, the interior lining with maker’s trademark JL and owner’s inititals C.G, with medium height crown, sharply curved side brim and silk ribbon band, 14cm, 5 ½in tall £500 - 700 50 14

51 An elaborately embroidered gentleman’s court coat, French, 1860-80, lavishly worked to shape with gold thread ribbons, fleur de lys, short stand collar, scarlet wool cuffs, lined in scarlet silk faille, with fleur de lys embroidered buttons, medal loops (beckets) to upper chest, chest approx 86cm, 34in £700 - 1000

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52 A Charles Frederick Worth visiting dress, circa 1875, the jacket-like bodice with ivory waist stay printed in gold ‘Worth, 7 Rue de la Paix, Paris’, of puce silk faille trimmed with pale blue silk with gold satin stripes, the lapel bands and cuffs inset with ivory lace, the sleeves with slash-effects at the cuffs revealing striped silk, the rear basque tails with off-centre bow and ribbons; the skirt with draped striped ribbon bands, with rich tasselled gold passementerie to the puce side panel, the exposed inner skirt of tiered pleats of striped silk, bust 92cm, 36in, waist 69cm, 27in (2) £4000 - 6000

52 label


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101 detail

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The Marquise de Ségur.

53 label

53 A rare Paul Poiret ensemble for his famous One Thousand and Second Night party, 10th January 1914, large woven Poiret label, the back annotated in ink ‘45.278 - Mme Barachin Germaine, Robe de la Reine de Perse’, comprising: fuchsia velvet harem pants with attached nude organza bodice richly overlaid with bands of Russian silver bobbin lace, with pearl beaded ankle bands; worn under a cloth of silver tunic with long trained hem, raised fuchsia velvet botehs embroidered in silver thread and seed pearls to the chest closure, entirely edged in large pearl beads; the elaborate conical cloth of gold headdress adorned with emerald and sapphire ‘jewelled’ medallions, with wing-shaped wired silver lace side panels and earring-like pearl droplets to each side, topped by ostrich plumes, bust 86cm, 34in (3)


In his memoir 'King of Fashion' 1931 pp9899, Poiret wrote 'It was on returning from a Bal des Quat'Z'Arts, in the month of May 1911, I think, that I decide to give, in my salons and gardens in Paris, an unforgettable fête, that I called 'The Thousand and Second Night''. He was aided and abetted by his close friend Raoul Dufy. Poiret described how, on the night, his guests had their costumes vetted and if they had arrived in evening dress or fancy dress that bore no relation to his Persian theme they were requested to go upstairs and change into costumes that he had thoughtfully provided, but if they refused then they were asked to leave. Mademoiselle Barachin obviously wanted to look her best and commissioned Monsieur Poiret himself to make her costume. She was rewarded by being dressed by the couturier as 'the Queen of Persia', which was surely a great compliment. His own beautiful wife, Madame Denise Poiret, was dressed as the 'Queen of the Harem'. She was ensconced in a large gilded cage surrounded by her 'ladies of honour'. His guests were treated to a lavish party such as had never been seen before with orchestras, dancers, exotic food, the trees covered with' luminous fruit', exotic birds and monkeys, who all escaped in the dawn over the roof tops of Paris. Poiret himself, was dressed as the Sultan of course. He described how at the beginning of the evening, when all of his 300 guests (composed of artists and 'sensitive amateurs') were assembled, he opened the gate to the cage to restore his 'favourite's freedom'...'She flew out like a bird and I in pursuit of her, cracking my useless whip. She was lost in the crowd.. Did we know, on that evening that we were rehearsing the drama of our lives?'. Poiret sadly recalled, 'These fêtes, in which I gathered together all my friends, did me a great deal of harm among my enemies, and raised against me those who had not the good fortune to be admitted to them.' This opulent party was seen in retrospect as a last great 'hurrah' before World War I was declared later in June that year. Poiret's business post war, with his love of excess, orientalism and fantasy was never to fully recover in a world irrevocably changed by war. Provenance: Elisabeth Barrachin, the elegant daughter of a rich industrialist (Pierre Barrachin), who became the Marquise de Ségur upon her marriage in 1925 to Philippe, Count de Ségur-Lamoigon. £2000 - 3000 54 A rare Lucile black satin evening cape, circa 1914, un-labelled, embroidered in white wool and angora with Indian inspired foliate boteh motifs, raised, pleated collar to frame the face, no fastenings, side slits for the arms, lined in black chiffon

53 detail


For a similar model with Lucile label see KTA 23.6.2015 auction, lot 72. £800 - 1200 17

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55 An Adair beaded black velvet evening gown, mid 1920s, with Paris-New York label, with dropped waistline, beaded with pink and silver chinoiserie blooms, pale blue leaves, bust 92cm, 36in £350 - 500

59 An orientalist embroidered black satin opera coat, 1915-20, with pink and gold chain-stitched palmettes, batwing sleeves with fur cuffs and hem, yellow moss crêpe lining with ethnic style embroidery £400 - 600

56 A fine printed cotton satin parasol, possibly Atelier Martine/Poiret, French, circa 191520, with ivory tips, stained rosewood-effect grip, 61cm, 24in long £200 - 300

60 A Jean Patou couture coral pink velvet asymmetric evening cape, 1920s, large woven pink and ivory label, numbered 4750, the soft velvet edged in ruched ropetwist effect bands, with curved panel to one side and single sleeve with cuff to the other £400 - 600 61 A Chanel couture beaded beige chiffon flapper dress, 1926-8, un-labelled, adorned with pewter-grey and gold bugle beaded zig-zag bands, the skirt falling in two tiers with irregular frond-like edgings, bust 81cm, 32in

57 label

For an identical model see KTA 10.07.2007, lot 103 which sold for £25,000. For a black chiffon dress altered into a cape with similar beadwork pattern see KTA 26.06.2012, lot 76, which sold for £6,200. £1500 - 2500

57 A Molyneux couture silver lace and lamé cocktail dress, circa 1927, with large printed label ‘Modele Molyneux, 5 Rue Royale, made in France’, numbered 9695, with broad gold bobbin lace band to waist, bust 86cm, 34in £700 - 1000


58 label

58 A rare and early Gabrielle Chanel black satin coat, circa 1918-20, with narrow yellow on black woven Paris label, bolduc no 4281 stamped in turquoise ink, slightly barrel-shaped with deep fur collar to frame the face, broad fur hem band and cuff edgings, single hook to fasten at the collar, lined in tan silk, with internal patch pocket, of loose cut, chest 122cm, 42in

Provenance: The coat was left in a sack outside a charity shop as a donation and is being sold in aid of the ‘Break’ charity. £2000 - 3000 57 18


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62 A Callot Soeurs couture orange silk and metallic lamé bias-cut evening gown, 1929, indistinctly dated on remains of ivory ribbon label, the skirt falling in handkerchief pleats, bust approx 97cm, 38in £800 - 1200


65 A Maria Gallenga stencilled persimmon velvet medieval inspired gown, 1920s, un-labelled, printed with repeat gingko leaf shaped repeats in silver and gold, the fagotted shoulder seams inset with wide coral glass beads, the long sleeves with pointed cuffs adorned with gold crochet bauble buttons, curved lightly gathered waist side seams, trained hem, lined in matching crêpe, with matching draw-string purse, bust 86cm, 34in (2) £2200 - 3000

63 A Mariano Fortuny stencilled pink velvet mantle, circa 1920, bearing circular label to lining, printed in gold with scrolling vine and stylised tree motifs, with side slits forming armholes £4000 - 6000

66 A black and white satin bias cut evening gown, mid 1930s, with Callot Soeurs turquoise on white narrow label, ‘Made in France, Nouvelle Marque Deposé’, the angular sleeves formed from pleats of satin, white satin insertions to the bodice which converge at the back skirt to form two floating panels, bust approx 86cm, 34in £400 - 600

64 A good Mariano Fortuny black silk ‘Delphos’, 1930s, marked with maker in the selvedge and to the reverse of the belt, columnar with Murano striped yellow glass beads to shoulders and sides, the silk belt stencilled in silver with leaf scrolls (2) £4000 - 6000

64 19

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Lots 67 to 94 from the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard.

67 detail


68 detail


67 label

68 label

67 An early Jeanne Lanvin couture grey-green satin afternoon dress, 1913, with narrow yellow on ivory label to the broad waist stay, with rouleaux band defining the raised waistline, the sleeves, neck edging and side panels of paisley printed and woven kashmir wool densely over-embroidered in coloured silks and metal threads and couched silk cords, silver thread covered bauble buttons, embroidered and lead weighted hem, bust 86cm, 34in

For a very similar embroidery technique see 'Lanvin' by Rizzoli pp80-81 for a blue velvet tunic 'Saxe' of 1913. However, that garment has been shortened, unlike this one. The same dress is again reproduced in 'Lanvin' by Palais Galliera p41. £2000 - 3000


68 A fine and early Jeanne Lanvin couture medieval inspired mustard crêpe dinner gown, circa 1912-13, with narrow gold on ivory satin label to the broad petersham waist stays, ankle length, with slightly raised front waistline and high curved back waistline, with sand-coloured seed beads forming a plastron down the front bodice and skirt, beaded trim and bracelet loops to the cuffs, the rear belt with massive brass buckle, bust 86cm, 34in £1500 - 2500

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69 back

69 A Jeanne Lanvin couture pale green silk crêpe Romain evening gown, model ‘Pasiphaé ‘, Winter, 1934, unlabelled, the dress with complex undulating top-stitched basket-weave bands to the short sleeves which produce a bolero-like effect, broad criss-cross bands to the back with integral sash tie to the waist, matching slip, bust 86cm, 34in (2)

An identical model in white crêpe is shown in L’Officiel, December 1934, no 149, p27. A black crêpe dress of Summer 1935 ‘Prelude’ also incorporates this basketweave effect, see ‘Lanvin’ catalogue Palais Galliera pp235, 315, cat.130. £1500 - 2500 70 A silver lamé evening jacket, probably Lanvin, circa 1934, with back slit, no fastenings; together with a Nicole Groult black satin under-dress, mid 1920s with silver embroidered bands to skirt, labelled; and a Premet shortened black chiffon cocktail dress with full sleeves, and graduated chevron embroidered tulle panels, average bust size 86cm, 34in (3)

See ‘L’Officiel de la Mode’, 1931, no 116, p26 for the Premet gown. £250 - 400

69 21

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73 A Premet couture black georgette and embroidered tulle evening gown, circa 1929-30, with narrow ivory satin woven label; together with a Lenief couture spotprint silk crêpe dress with floral tiers to skirt, labelled, the bolduc inscribed J9435,’Chiqitor’, Mrs Astraudo Maryse Chiquita Jose’, busts approx 85cm, 34in (2) £200 - 400 74 A Jeanne Lanvin couture day coat and hat, Autumn-Winter, 1934-35, square gold on black label, no 50896, the brown wool coat with astrakhan sleeves and collar which form a point at the rear shoulders, hexagonal buttons; the hat of woven velvet ribbons, labelled and numbered 38.321, bust approx 86cm, 34in (2) £500 - 800 75 A Jeanne Lanvin couture coral crêpe wrapover bodice, Summer 1932, large dated woven label numbered 23912, with capelet like sleeves, ties to waist, bust approx 8692cm, 34-36in £300 - 500

71 detail

71 A Jeanne Lanvin couture pink organza evening gown, Summer, 1933, unlabelled, bias cut with raised waistline, flared skirt, the sleeves formed from a cage-like lattice made from organza strips, with a small point at each join to give texture, with broad waist sash, bust 86cm, 34in (2)

76 A Lanvin couture printed jersey day ensemble, circa 1932, large square woven label, indistinctly numbered, the short sleeved bodice with large square navy buttons, the separate skirt with rear kick pleat, bust 81-86cm, 32-34in, waist 66cm, 26in (2) £400 - 600


77 A Jeanne Lanvin couture floral printed silk day dress, Summer, 1935, large woven dated label, no 23385, bias cut with cowl neck, shaped ¾ length sleeves, bust approx 86cm, 34in £200 - 300

For an identical model see ‘Lanvin’ Palais Galliera catalogue p229. The design for this dress is preserved within the Lanvin archive, 1933 Volume III. It was shown in pale green and originally cost 1800 francs. £800 - 1000

78 A pink-gold shot taffeta cocktail gown, probably Lanvin, circa 1927-29, un-labelled, the skirt falling in complex curved and pointed godets, some with weights, low back with bow, bust 92cm, 36in £350 - 500

72 A rare Jeanne Lanvin couture girl’s dress, 1920s, with narrow ivory woven ribbon label, no 4606, of pink silk trimmed with beaded posy, ruched silk bands and silver lame panel centre-front, bust 76cm, 30in

Although Lanvin was famed for her motherdaughter ensembles, children's garments by her are very rare. A similar dress is illustrated in 'Art, Gout, Beauté', Christmas, 1923. £250 - 350

Courtesy of Lanvin Archive.


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79 A fine Jeanne Lanvin couture bridal gown, Summer 1935, labelled and numbered 22872 to the slip, the bias-cut gown with large pearlised floral corsage to the neck, long curved, full sleeves, with matching circlet and satin belt, the pointed train with diamond seaming, 350cm, 148in long, bust approx 86cm, 34in (3) 79 detail

Provenance: worn by Anne Marie Astraudo (1914-2004) for her marriage to Christian Bricard (1911-2000) who was director of the department store ‘La Belle Jardinière’, Paris. £1500 - 2000

79 label


80 A Jeanne Lanvin couture ivory satin bias-cut evening gown, Winter 1931-32, large woven dated silk label, no 41664, with zig-zag waist seam, low curved back, the neckline edged in ruffles of zig-zag chiffon panels with picot edgings, matching waist belt with ruffles to the front, four slits to the hem circumference forming petal like panels, bust 86cm, 34in (2) £700 - 1000

82 Jeanne Lanvin hats, 1930s, comprising: brown velvet skull cap no 1259; ivory organza picture hat with wired brim, no 39782; ivory and grosgrain beret, all with narrow gold on ivory labels, an apple green skull cap with large ruffled rosette to one side, early 30s, large square label (4)

The square label on the green cap suggests that it would have had a matching coat. £400 - 600

81 A black wool and astrakhan jacket, probably Lanvin, early 1930s, unlabelled, with interesting loop and tab closures, bust 81cm, 32in £300 - 500

80 detail 23

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Detail from Boris Lipnitsky photograph.

83 A Jeanne Lanvin couture silver lamé evening bodice, Winter 1934-35, large woven dated label no 49990, bias-cut with angular dolman sleeves, bust approx 92cm, 36in

86 A Jeanne Lanvin couture eau de nil organza summer dress, probably Summer, 1931, unlabelled, the skirt insert with tulle circles, with matching capelet, bust 92cm, 36in

A similar bodice, worn with a velvet skirt, was photographed by Boris Lipnitsky (Collection Roger-Viollet) and also appears in 'Femina' 1935, p4. £700 - 1000

This gown is similar to the ‘Arabebsque’ model Summer 1931 which is believed to be a collaboration between Jeanne Lanvin and Sonia Delaunay, where they experimented with geometric shapes. See ‘Lanvin’ Palais Galliera p311 cat 96 for a fashion sketch. Also see ‘Femina’ August 1931, for a Lanvin gown with skirt inset with similar circles £600 - 900

84 A Premet couture black tulle and taffeta cocktail dress, circa 1927-29, narrow ivory satin label, numbered 45791, with layered tulle petticoats, five spaghetti straps traversing the bodice to attach to the dropped waist, bust 86cm, 34in £500 - 700

87 A Jenny couture floral printed chiffon dress and jacket, 1930, woven label and numbered 5496, printed in shades of pink and blue, with integral lead weighted underslip, bust approx 86-92cm, 34-36in (2) £350 - 500

85 An early Maggy Rouff couture black velvet and white ermine opera coat, 1929-1930, large early ivory on brown square label, with flared bias cut skirt, interesting sleeves with a pointed loop of fabric that returns and fastens on the upper sleeve forming a loop, bust 86cm, 34in

88 A Jeanne Lanvin couture bias-cut evening gown, Winter 1932-33, large woven label numbered 50220, of grey-blue taffeta with scalloped edgings, the bodice adorned with rosette and streamers in shades of blue, criss-cross rear straps, bust approx 8692cm, 34-36in £500 - 800

Maggy Besançon de Wagner (1896-1971) opened her fashion house in 1928. This is an extremely early example of her work. A similar coat was advertised for sale in magazines in 1929. £700 - 1000 85 24

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89 detail

92 A Jeanne Lanvin couture navy and white chequered print silk afternoon dress, ‘Inquietude’, Summer, 1934, large woven and dated label, no 50725, with detachable pleated ‘pierrot’ collar, bust 86cm, 34in

89 A Jeanne Lanvin couture emerald silk crêpe de chine evening gown, Winter, 1935, large woven dated label numbered 50893, biascut, the short sleeves with elaborate origami-like tri-angular panels, with matching waist sash/stole, bust approx 86cm, 34in (2)

‘Femina’ August 1923, p42 shows similar Pierrot collars. £200 - 400

For a dress with similar cuff decoration see ‘Lanvin’ Palais Galliera p248, model ‘Tremolo’. £600 - 1000

93 A Jeanne Lanvin couture sapphire blue wool day coat and accessories, 1932, square gold on navy woven label with date, numbered 41769, made from complex biascut radiating panels with diabolo shaped painted wooden buttons, lambswool facings, with matching blue wool and black patent belt; and a navy felt and cream grosgrain silk hat formed from radiating panels, with large square label similar, no 39.376 (3)

90 A Jeanne Lanvin couture coral silk crêpe de chine day dress, Winter 1933-34, large woven dated label, no 50538, with rectangular detachable top stitched collar with neck ties, square top-stitched patch pockets, ties to the wrists, bust 92cm, 36in £600 - 1000 91 A complex eau de nil moiré bias-cut cocktail dress, probably Lanvin, circa 192829, with broad criss-cross bands to front and back bodice, skirt falling in handkerchief folds with weighted asymmetric hem cut longer at the back, bust 86-92cm, 34-36in

A similar long coat is illustrated in ‘Femina’ April 1932 p10. £400 - 600 94 A Jeanne Lanvin couture pale blue silk tulle and taffeta cocktail dress, Winter, 1929-30, with large woven dated label, no 40921, the blue taffeta underdress with grey horizontal waistband, tulle over-bodice, bust 92cm, 36in (2) £200 - 400

See 'Jardins des Modes', 1932, p129, 'Le Bleu Opale' for a slightly later Lanvin gown with very similar criss-cross banding. £500 - 900 90


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97 A Jeanne Lanvin couture brocaded satin evening coat, Autumn-Winter, 1943, large woven dated label, pencil numbered 49457, the ivory satin woven in silver, gold and black with winged Pegasus repeats, pierced gilt metal buttons, with shaped, braid edged hanging pockets, lined in rose satin, bust 92cm, 36in

War-time pieces by Lanvin are scarce. £1000 - 1500

97 detail


98 A Maison Agnès-Drecoll black crêpe evening gown, early 1930s, large yellow on ivory woven label ‘24 Place Vendome, Paris’, bias cut with double row of buttons to the yoke which is spangled with sequined florets, matching sequined bows to the front, the skirt cleverly cut with two floating side panels which drape back and return, bust 81cm, 32in £600 - 1000


95 A Paquin couture bias cut black satin evening gown, probably Winter 1937-8, small grey on ivory satin ‘Paquin Paris’ label, numbered 2524, with chevron satin bands encircling the waist and hips, with twist effects at the bust and waist, dramatic angular sleeves, bust approx 81-86cm, 3234in £600 - 1000

99 A Jeanne Lanvin couture day coat, Summer 1934, large dated square label, of applegreen tweed with tangerine scarf ties, single press stud fastener, bust 92cm, 36in £400 - 600

96 An early Nina Ricci black cutwork crêpe dinner gown, early 1930s, with large navy on pale blue ‘20 Rue de Capucines’ label, the cross-over front closure with asymmetric floating panel to the bodice, the cutwork panels outlined in lurex threads, bust 107cm, 42in

100 A Jean Patou couture black satin trapunto quilted dinner dress, late 1930s, pink on white woven label numbered 44957, with padded shoulders, with quilted scrolls to neck, curved hip pockets and cuffs, bust 97cm, 38in £500 - 900

The fashion house was founded by Maria ‘Nina’ Ricci and her son Robert in Paris in 1932. £400 - 600 97 26

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101 A rare Elsa Schiaparelli couture military inspired evening coat, 1935, Schiaparelli London label, numbered 26519, of heavy red twill ‘Rouge Gaulois’ wool by Ducharne, the triangular front yoke with six pendant gilt curleque buttons, designed by Jean Cocteau, with unfinished, top-stitched seams, half lined in red silk, bust 86cm, 34in

The wool used in this coat is redolent of British Horse Guards uniforms. The stiffness of the fabric emphasises the severe, clean lines of the tailoring. Provenance: Margaret Allsopp, a beautiful Canadian socialite who lived in London and thence by family descent. See ‘Elsa Schiaparelli: Empress of Paris Fashion’ by Palmer White pp98-99, for a reproduction of a Christian Berard sketch of the coat which is accessorised by fingernail gloves, face-mask fan and a snood. See ‘Shocking!’ by Dilys Blum pp101-2 for illustrations of this model. The Metropolitan Museum has an identical coat, accession no 2009.300.2625. £6000 - 10000



101 detail

101 label 27

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102 A Lucien Lelong couture chocolate brown velvet bias cut evening gown, late 1930s, woven brown on ivory narrow label, with wing shaped sleeves, diamanté studded clips to each shoulder and matching belt with diamanté inset metal band to the centre of the suede rosette, bust 81cm, 32in (2) £800 - 1200

105 A rare Robert Piguet black wool cape, late 1930s or 1940s, white on black woven satin label, numbered 50858, bias cut with sunray pleats falling just below the shoulder line £500 - 700 106 A Philippe & Gaston couture deep coral silk velvet evening coat, circa 1930, large woven label numbered 27997, with full, gathered upper sleeves that give the impression of a capelet, stiffened rear collar so it can be worn high or low, gathered shawl collar, edged in smocked velvet bands, bust 86cm, 34in £500 - 700

103 A bias-cut beaded sea-foam green chiffon evening dress, circa 1929-30, with zig-zag seams to waist, adorned with silver bugle beads forming graduated roundels, bust 86cm, 34in £700 - 1000

107 An early Chanel beaded gold lamé evening purse, 1930s, the chamois interior with maker’s stamp, with remains of garnet and gold facetted beads, 20cm, 8in long £300 - 400

102 label


108 A Callot Soeurs couture blonde and black lace evening gown, early 1930s, with ivory ribbon ‘Nouvelle Marque, Paris’ label, the integral black satin bias cut underslip overlaid with spiralling tiers of black tulle inset with blonde bobbin lace, large velvet corsage to waist, bust 81cm, 32in £600 - 1000

104 A fine couture bridal gown and train, probably Madame Handley-Seymour (court dressmaker), 1937, un-labelled, of bias cut oyster slipper-satin, with overdress of embroidered ivory lace further adorned with silver bugle beads and ‘seed pearls’, the draped sleeves open at the shoulders, with matching belt and similarly adorned 308cm, 10ft 3in train, bust approx 86cm, 34in; together with copies of newspaper clippings recording the event (qty)

Provenance: worn by Miss Gundred Cunliffe (niece of Sir John Aird, equerry to the Duke of Windsor, who walker her down the aisle), 24th July 1937 upon her marriage to Mr Mervyn Charles Fraser. They spent their honeymoon motoring on the Continent. £1000 - 2000


108 28

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109 An Elsa Schiaparelli couture embroidered midnight-blue velvet evening jacket, Autumn-Winter, 1937-38, Paris label with date, richly embroidered by Lesage with gilt strip, gilt cord and sequins, blue and pink rhinestones, with three turquoise tinted metal star-burst ‘buttons’ with brass closure hooks, discreet pocket vents inserted at the hips, small shoulder pads, lined in blue silk, bust 86cm, 34in

Provenance: Stella, Lady Eaton. See 'Shocking' Schiaparelli by Dilys Blum pp166-7 for a fullpage photograph of Lady Clark of Saltwood wearing a similar jacket in burgundy velvet in 1939 at the opening of the Modern Art Museum in New York. £10000 - 15000

109 label


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113 A midnight-blue velvet evening jacket, probably Schiaparelli London, AutumnWinter, 1938, unlabelled, embroidered in gilt strip and wire, with deep pink and clear beads, with gold and blue sequin detailing, fastened by simple concealed hooks and eyes, lined in blue silk crêpe de chine, bust 92cm, 36in

The velvet on this jacket was embroidered to shape but, unlike the Paris version with scalloped front edges, the closure line does not follow the embroidery but is straight. It is fastened by a series of small hooks and eyes - the loops bear the remains of blue silk buttonhole stitched covers (something Schiap often did). The embroidery on this jacket is similar but not identical to the Paris haute couture version, lot 109. On the Paris version the metal strip is horizontal and regular but on this version the strip follows the shape of the leaf forms. A Schiaparelli London burgundy velvet ensemble in the Victoria & Albert Museum, T398&A-1974, of identical design has a more free style of embroidery like this one. Schiaparelli London often adapted the Paris models for a perhaps more conservative British clientele. It is possible that the client did not want the eye-catching star shaped medallions down the front, or the bulk of small pockets or shoulder pads that the Paris example has. £1500 - 2500


114 A rare Premet couture printed silk crêpe ensemble, circa 1940, labelled, the jacket with ruched gathers to the massive padded shoulders and patch pockets; the matching skirt with woven satin ‘8 Place Vendome’ waistband, with pleats to side hem, bust 92cm, 36in, waist 61cm, 24in (2)

110 A Jacques Griffe black wool coat, 1940s, with thumb print label and damask lining woven with the designer’s name, the skirt falling in broad tiers, bust 86cm, 34in £500 - 800

French couture pieces made during the war in occupied Paris are extremely scarce. £600 - 900

111 A Madame Grès ivory silk jersey dinner dress, late 1940s, unlabelled but with numbered tape ‘2405 871’, the bodice with complex vertical and horizontal folds to frame the chest, the skirt falling in two vertical pleated panels below, bust 92cm, 36in, waist 71cm, 28in £400 - 600

115 A Hattie Carnegie for I Magnin black faille evening coat, circa 1949, large woven label similar to that of 1920s Paquin, the large triangular patch pockets adorned with rich passementerie, bust 92cm, 36in £400 - 600

112 A good Claire McCardell tartan wool day dress, late 1940s, unlabelled, with gilt metal hook and eye front closure, broad pleats to skirt, pockets following the line of the tartan, bust 86cm, 34in £400 - 600

114 30

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116 Audrey Hepburn’s Jacques Fath cockerel feather hat and matching muff, 1956, with Jacques Fath Paris label to interior, the silk lined tulle toque covered in layers of pewter-coloured plumes, with matching black satin lined muff; together with a copy of ‘Harper’s Bazaar’, October 1956, showing Audrey modelling the hat on p131 (3)

In the Harper’s article ‘Paris Hats - They Fly by Night’ it describes how feather hats are ‘flying through every collection in Paris...Fath’s turban of silver gray cock feathers, settled like a satiny, extravagant hairdo on the piquant brow of Audrey Hepburn, who carries more plumage in its matching muff. Both I.Magnin, Marshall Field, Frederick & Nelson’. Provenance: Purchased Sotheby’s New York, ‘Planet Hollywood, Selections From the Vault’ Auction, lot 55, 14.12.2002. £10000 - 20000 117 A Pierre Balmain couture silk-wool finely checked suit, circa 1955, large black satin label, indistinctly numbered, the presstud fastened jacket with leather ‘buttons’, shallow hip pockets, bracelet length sleeves, lead weight to hem; with full boxpleated skirt threaded through with leather band and buckle to rear, bust 92cm, 36in, waist 66cm, 26in (2) £400 - 600


118 A Christian Dior London black ottoman evening coat, late 1950s, labelled and numbered 07323, with rounded cap sleeves, lined in shocking pink satin, with detached customs tag, bust 82-86cm, 32-34in £400 - 600 119 A Christian Dior London ivory faille ball gown, late 1950s, labelled and numbered 12943, size 12, with bow to cross-over bodice panels, full skirt, integral tulle corset and layered petticoats, bust 8692cm, 34-36in £700 - 1000 120 A Madame Grès couture knitted cream wool jersey day dress, early 1950s, unlabelled but with defilé tape handwritten ‘no 144, At.Christine Vicky’, with pleats falling from the shoulders and curving over the hips to form pockets, bust 86-92cm, waist 66cm, 26in

Provenance: from the Madame Grès archive, purchased privately in the 1980s. £400 - 600 116 31

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121 A Christian Dior grey taffeta evening cape, mid 1950s, unlabelled, with triple-tiered capelet, slits for arms, of voluminous form

124 A Jacques Fath couture navy wool day suit, circa 1950, labelled to the jacket, with white organza neckline edging with bow, ruched side panels with double row of buttons; the skirt with similar button adornments and concealed zip, bust 92cm, 36in, waist 71cm, 28in (2) £500 - 700

127 A Christian Dior London slubbed goldenyellow silk ball gown, late 1950s, labelled and numbered 7817, with integral tulle corset, broad cummerbund-like waistband with front bow, complete with separate crinoline petticoat, bust 86cm, 34in, waist 60cm, 23 ½in (2) £800 - 1200

125 A Madame Grès couture white draped jersey ‘goddess’ dress, circa 1955, labelled, the bodice formed from two pleated bands with upwardly pointed waistband, openings to the sides integral boning, the skirt falling in tight pleats below, bust 81cm, 32in

128 An early Givenchy couture printed silk afternoon ensemble, circa 1954, labelled ‘Hubert de Givenchy Paris’ comprising: dress and short-sleeved over-bodice with overall bubble print in shades of gold, the dress with plain bodice and shoulder straps, the skirt with pleats of goffered silks forming a front V, the over bodice with rear buttons, dress bust 92cm, 36in, waist 56cm, 22in (2) £500 - 800

Exhibited in the ‘Le Grand Bal Dior’, Musée Christian Dior, Granville, 13th May-26th September, 2010. £1500 - 2500 122 A Balenciaga couture cream wool day suit, circa 1954, Paris labelled and numbered 51400, of ivory wool, the loose jacket cleverly constructed, the sleeves and yokes cut in one, with below knee gathered skirt, with pocket hidden within the folds and leather tie belt, the waist 66cm, 26in (3) £500 - 900 123 An Henry a la Pensée sapphire blue and white slubbed halter-neck dress, 1950s, labelled, with dramatic graduated points to skirt, bust approx 86cm, 34in £400 - 600


Provenance: from the Madame Grès archive, purchased privately in the 1980s. £1500 - 2000 126 A Jacques Griffe couture black silk crêpe sheath, early 1950s, thumb-print label, with boned strapless bodice, integral broad wrap around waist sashes which tie at the back, bust 89cm, 35in, waist 69cm, 27in £600 - 1000

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129 A fine Christian Dior haute couture ball gown, ‘Romance’, Spring-Summer, 1956, ‘Fleche/Arrow’ line, labelled and indistinctly numbered, the sheer white organdy ground covered in a shimmering lattice of blown white glass spherical beads and bugle beads, with scalloped lace effect patterned bands, integral corset and layered white tulle petticoats, bust 91cm, 36in, waist 65cm, 25 ½in

Provenance: A noble German family. For an illustration of the shorter dance version of this dress see 'Dior: 60 Years of Style', by Chenoune, pp78-79 and 'Hommage a Christian Dior', Musée des Arts de la Mode catalogue p195. £8000 - 12000

129 label


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130 A Christian Dior couture chestnut brown silk faille cocktail dress, ‘Aimant’ collection, Autumn-Winter, 1956, labelled and numbered 83834, with cross-over panels to front bodice broad waistband over classic five-pleated skirt, integral black tulle waist cincher, and tulle petticoats, bust 92-97cm, 36-38in, waist 81cm, 32in

A similar gown was sold as part of the S.A.R Princess Lilian of Belgium collection, Sotheby’s 19.5.2003 as lot 70 for £5500. £1200 - 2000 131 A Pauline Trigère black faille cocktail dress of interesting construction, late 1950s, labelled, with floating panel to back with neck ties rising from the hem forming a cape, the front with similar panel caught at the waist and forming a draped hem, bust 86cm, 34in £450 - 600 132 A Carven couture tartan wool day suit, circa 1950, brown on cream woven label, with green suede band to collar and fringes to rear of jacket and cuffs, Carven damask lining, chest 92cm, 36in, waist 61cm, 21in (2) £600 - 800 34


133 A Christian Dior couture black velvet tent coat, Autumn-Winter, 1957, labelled and numbered, 90306, the bolduc inscribed ‘manteau patte de velours’, with wide low neckline with stand collar, full sleeves caught into cuffs applied with silk grosgrain bands, lined in black taffeta, chest 102cm, 40in £700 - 1000 134 A Maggy Rouff ivory satin dance/bridal gown, mid 1950s, labelled, of rayon satin, adorned with soutache braid and rhinestones, bust 86cm, 34in, waist 71cm, 28in £450 - 600 135 Jacques Heim ice-blue satin ball gown, mid 1950s, labelled, with boned, lightly padded bodice, bias cut skirt and side panels, trained hem, with separate notched wrap around stole with waist belt, bust approx 81cm, 32in, waist 57cm, 22 ½in (2) £450 - 600

136 A Nina Ricci couture tangerine moiré evening coat, late 1950s, labelled, of voluminous tent-shape with two large knots forming the buttons, ties to neck, chest 137cm, 54in £400 - 600 137 A Pierre Balmain couture navy wool suit, circa 1950, large woven label, indistinctly numbered in pencil 68154, the fitted jacket with curved, stiffened hips, curved yoke panel with integral bow tie to the front, matching pencil skirt with kick pleats, bust 92cm, 36in, waist 56cm, 22in (2) £600 - 800 138 A Jacques Heim grey wool day ensemble, circa 1950, labelled, the fitted dress and jacket with interesting pocket details, bust 86-92cm, 34-36in, waist 64cm, 25in (2) £400 - 600

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139 detail

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141 A Pierre Balmain couture black velvet evening gown ‘Nemesis’, early 1960s, with defilé waist tape stamped ‘Eva 431 Nemesis, Genevieve, Pierre Balmain’, empire line with columnar skirt, cross over chiffon bodice panels, the sleeves with organza cuffs laden with rouleaux fringes and petals, bust 81cm, 32in £500 - 800 142 A Christian Dior oriental brocade dinner dress, early 1960s, Dior Boutique Paris label, but couture finishing, shirt-waister button fronted, the skirt with full box pleats, the fabric woven with elephants within a gold lattice, complete with green silk slip, bust 86cm, 34in, waist 66cm, 26in (2) £600 - 1000 143 A Balenciaga couture black moss crêpe dinner dress, Autumn-Winter, 1960-61, Paris labelled and numbered 73338, bias cut with seams which follow the curve of the hip and bust, fastening down left side concealed by bows, scarf-like train falling from the left shoulder, bust 86cm, 34in £800 - 1200 144

144 An Yves Saint Laurent couture white organdie dress, probably Spring-Summer, 1966, labelled and numbered 24277, the skirt falling in three tiers, appliquéd overall with white cotton blossom, bust 81cm, 32in £1500 - 2000


139 A fine Mila Schön couture silver beaded and white tulle evening dress, circa 1966, labelled, of white tulle over ivory silk, covered with shimmering Swarovski crystal and bugle beaded snowflake-like roundels, bust 81-86cm, 32-34in

145 A Christian Dior couture pink gazar evening gown, circa 1965, labelled and numbered but with the year cut out, of streamlined princess-line with halterneck straps that slot through tabs at the bodice edge, bust 81cm, 32in £500 - 900

Mila Schön gained international recognition when two of her white and silver dresses were worn at Truman Capote’s Black and White Ball in November, 1966, by Marella Agnelli and Lee Radziwell, who were voted first and third best-dressed women respectively. £1000 - 1500

146 A Marc Bohan for Christian Dior halter-neck evening gown, circa 1966, Boutique Paris labelled, of linen-silk mix, the bodice with bandeau strap within deep lapels covered in crystal droplets and beads, integral tulle corset, bust approx 81cm, 34in £600 - 800

140 A Christian Dior Patron Originale sable trimmed evening coat, circa 1967, labelled ‘Joste, Exclusivité, Maroc’, the silver satin ground woven with small parrot and elephant repeats, lined in beige silk, chest 122cm, 48in £600 - 1000

147 A Madame Grès couture raspberry pink silk crêpe cocktail dress, late 1960s, labelled, with asymmetric seam to tunic-like front panel, bust 92cm, 36in £500 - 700 143


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151 A Balenciaga couture brown mohair coat, circa 1960, Paris labelled, of voluminous cut with four domed semi-spherical black buttons, the front and back panels cut in one with the sleeves, with diagonal vented pockets and stand collar that can be worn up or down, chest approx 112cm, 44in

For a similar coat in blue see ‘Balenciaga’ Cristobal Balenciaga Museum catalogue pp140-141. £600 - 1000 152 A Christian Dior turquoise silk evening gown, circa 1967, Paris Boutique labelled and numbered 177/800, but couture standard finishing, the neckline edged with large irridescent glass baubles, turquoise crystals and gilt seashells, bust 81-86cm, 32-34in £500 - 700 153 A Madame Grès tartan taffeta evening coat, 1960s, with defilé label only ‘12 Vicky’, the pattern forming a chevron at the front closure, with slits for armholes, floating rear panel, bauble button to fasten, chest approx 102cm, 40in £450 - 600 148


154 A Balenciaga couture evening gown, Summer 1961, Paris labelled and numbered 77099, the silk gauze with large-scale floral print in shades of pink on white, the strapless dress with integral grosgrain corset, with low cowl-like draped band to back and two floating trained panels with bows to each side, bust 92-97cm, 36-38in £2500 - 3500

148 A Jean Patou couture shocking pink and gold brocatelle sheath, circa 1960, labelled and numbered 30447, empire-line the bodice adorned with faceted gold beads, droplets and pearls, integral corset, bust 81-86cm, 32-34in £600 - 900

155 A Christian Dior Patron Originale silver and gold brocade evening gown, 1967, unlabelled, woven overall with grapes and vines, the open-work bodice with large gilt medallions, bust 97cm, 38in

149 A Marc Bohan for Christian Dior mink trimmed evening jacket, Autumn-Winter, 1962, labelled and numbered 6700, brocaded in gold, with pink, blue and white blossom, lined in golden taffeta, bust 92cm, 36in; and a pair of matching shoes (3) £700 - 1000

For similar Patron Originale Dior pieces with labels see lots 140 and 161. See ‘L’Officiel de la Mode’, 1967 no 539-540 p314 for a dress with similar bodice. £400 - 600

150 An Yves Saint Laurent for Christian Dior charcoal-grey organza satin cocktail dress, Autumn-Winter, 1960, labelled and numbered 107567, with boned bodice, narrow straps, princess line with bouffant, weighted hem, the rear hem with multiple organza ruffles and bow; with integral tulle petticoat and suspenders, bust 86cm, 34in £1500 - 2500

156 A Marc Bohan for Christian Dior ivory silk gazar evening coat, Spring-Summer, 1965, labelled and numbered 127018, slightly waisted with short stand collar, domed selfcovered buttons, bracelet length sleeves, chest 92cm, 36in £600 - 1000 150 37

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161 A Christian Dior Patron Originale salmon pink silk evening gown, 1967, labelled ‘Joste, Exclusivité, Maroc’, the circlet collar linked to the columnar dress by two gilt metal bands, bust 86cm, 34in

For a dress of similar construction see lot 155. £600 - 800 162 A Guy Laroche couture heavily beaded cocktail dress, circa 1960, labelled, with low draped cowl back with ties, entirely covered with raisedwork S scrolls and columns in tangerine, pink and silver beads on a beige ground, bust 86cm, 34in £600 - 900 163 A fine Jean Patou purple and white printed wool ensemble, 1968-9, labelled ‘Jean Patou Paris, tailored in London’, comprising: mini dress with abstract roses and ‘Patou’ printed below the faux front pockets; the maxi coat with domed selfcovered buttons, arctic fox collar and hem, bust 86-92cm, 34-36in (2) 157

This ensemble was worn in a Patou catwalk show in London in the late 1960s. £800 - 1200

157 An Yves Saint Laurent Patron Originale mini dress, 1966, un-labelled, of woven Malhia fabric, in vivid orange, pink and blue woven ribbons with gold sequined edgings, bust 81cm, 32in

164 A Courregès couture embroidered mini dress, 1967, labelled Courregès Paris, the white organza ground appliquéd with pale pink silk daisies with irridescent mirror-like celluloid centres, lined in white cotton, bust 81cm, 32in £1500 - 2000

A similar dress but with long sleeves is illustrated in ‘L’Officiel de la Mode’, October 1966, no 535-6 p154. £1000 - 1500

165 An Yves Saint Laurent couture printed organza ensemble, Spring-Summer, 1969, labelled and numbered 25276, the blouse and skirt with large scale floral print, bust 92cm, 36in, waist 61cm, 24in

158 A Chanel couture dégradé astrakhan coat, late 1960s, large white on black label, indistinct bolduc, with mink trim to hem, knot effect buttons, chest 97cm, 38in £600 - 1000

A blouse of similar print and cut is illustrated as part of an ensemble in ‘L’Officiel de la Mode’, no 563-564 p386. £400 - 600

159 A Christian Dior London black wool crêpe evening ensemble, 1963, labelled and numbered 16325, size 12, with black spencer-like over bodice above pleated wool skirt, integral corset; the matching jacket with fox collar, bust 86cm, 34in (2) £600 - 1000

166 A Chanel couture deep coral-pink and grey tartan tweed suit, late 60s-early 70s, unlabelled, the jacket faced and lined in coral silk with lion’s mask buttons and chain to hem; matching skirt, bust 102cm, 40in, waist 69cm, 27in (2) £600 - 1000

160 A Dior New York Japonism brocaded lamé sheath, mid 1960s, labelled to skirt, with integral black tulle corset, woven with vertically banded green satin and gold bamboo columns entwined with pastel blossom, bust 86cm, 34in £600 - 800 163 38


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167 A Courregès pop art style mini dress, 1969, with Courregès Paris and I Magnin labels, of navy double-faced wool with large appliquéd ivory circles front and back, bust 92cm, 36in £1500 - 2500

171 A Madame Grès couture navy and red pop art style ensemble, circa 1965, labelled, comprising: sleeveless dress with red bodice lined in navy, with button closure to one shoulder, tie belt above navy skirt; the matching zip fastened jacket with large heart motif, also with tie belt, bust 8186cm, 32-34in (4) £800 - 1000

172 A Pierre Cardin navy jersey and white vinyl mini dress, 1969, labelled ‘Les Jerseys de Pierre Cardin’, the Leonard jersey ground applied with abstract white vinyl shapes and edgings, bust 86cm, 34in

168 A Courrèges couture ivory vinyl maxi ensemble, 1960s, with small black on white Courrèges Paris label, the coat with short sleeves, faux pocket flaps, rear belt, hook fastening at the neck; the tapering trousers with notches at the front hems, chest 92cm, 36in (2) £500 - 800

For an identical model see ‘L’Officiel de la Mode’, 1969, no 563-564 pp188, 189 and 328. £1200 - 1800 173 A Pierre Cardin futuristic black vinyl maxi coat, 1969, labelled ‘Creation Pierre Cardin, Paris’, with top stitched edgings, plastron with two spherical buttons and press stud fasteners to waist, chest 92cm, 36in

A similar coat in red with stand collar is illustrated in ‘L’Officiel de la Mode’ , no 569-570 p264. £400 - 600

169 A Jean Patou purple and ivory geometric appliquéd maxi dress, circa 1969, unlabelled, the ivory wool ground applied with blocks of purple wool forming a lattice, bust 92cm, 36in £400 - 600

174 A Pierre Cardin couture brown wool crêpe futuristic dress, late 1960s, labelled ‘Cardin Paris’, with three oval cut outs to front, bust 81cm, 32in £400 - 600

170 A Pierre Cardin black leather pinafore, 1967, Paris labelled, with presstud fastened rouleau collar, curved plastron front, hipster belt, low waist 76cm, 30in £800 - 1200

175 A Courrèges black wool pinafore dress, circa 1969, labelled and numbered 56534, with black press stud fasteners, bust 81cm, 32in £400 - 600 170 39

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179 A Courrèges orange wool dress, 1969, Paris and ‘Made for Harrods’ label, with curved top-stitched seams to central waistline, with original white leather belt, bust 86cm, 34in, waist 76cm, 30in (2) £600 - 800 180 A Lanvin couture knitted jersey colour block cocktail dress, 1970s, large Paris label, the cross-over bodice buttoning at the front waist, deep band of faux monkey fur to hem, bust 86cm, 34in £450 - 600 181 A Pierre Cardin summer ensemble, 1970 Paris Boutique labelled, the tunic with chasuble-shaped panels of yellow polyester edged in white, side slits with matching pants, bust 86cm, 34in (2)

See ‘L’Officiel de la Mode’, 1970 no 577 p63 for a similar ensemble in green. £500 - 700 182 An unusual Madame Grès couture watermelon red gazar evening dress, circa 1965, labelled and with no 11272, with front and back chasuble-like curved trapezoid panels, with short crêpe integral underskirt to the front but open at the back with just ties, bust approx 86-92cm, 34-36in £600 - 800 176

176 A Courrèges orange wool mini-dress and coat, 1968, un-labelled, the dress with white scalloped yoke and hem; coat with two oversized circular pockets and gilt buttons, chests approx 92cm, 36in (2)

185 A Pierre Balmain couture devoré and lamé kaftan-like evening gown, late 1960s, labelled and numbered 158-193, with draped batwing sleeves, the collar of blue wood and gilt beads, with columnar chiffon covered nude silk crêpe integral petticoat, bust 92cm, 36in £400 - 600

177 A Courregès couture black vinyl mock croc pinafore dress, 1970, labelled and numbered 44590, with popper fasteners, Legion d’Honneur ribbon to one strap, bust approx 84cm, 36in £600 - 800

186 A Pierre Cardin Crimplene ‘Rocket’ dress, Autumn-Winter 1969, Jersey Couture labelled, with fin-like curved panels to hem which move when worn, revealing contrasting black and white sides, bust 86cm, 34in, waist 86cm, 34in

178 A Courregès couture black vinyl mock croc coat, 1970, labelled and numbered 44601, with chunky zip fastener, knitted ribbed collar and sleeves, chest 86cm, 34in


183 A Pierre Cardin air-force blue wool dress, 1969, un-labelled, with ribbed, padded neckline and flounce to skirt, bust 86cm, 34in £500 - 800 184 A Courregès navy wool dress, circa 1970, labelled and numbered 66829, with black vinyl edgings and belt, bust 92cm, 36in £400 - 600

The Metropolitan Museum of Art has an identical dress within their collection, accession no. 1984.601.1. £600 - 1000

An identical design but with boutique ‘Future’ label is illustrated in ‘L’Officiel de la Mode’ , no 580 p104. £500 - 700


For video footage of this collection featuring an identical dress, see £500 - 700 182

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190 A good Zandra Rhodes ‘Indian Feathers’ printed chiffon ensemble, 1970, labelled and US size 6, comprising: tunic with wide sleeves, feather motifs to tabbed hem; over-skirt with two tiers and matching black satin crêpe petticoat, all with elasticated waists, bust approx 81cm, 32in (3) £500 - 700 191 A Pierre Balmain couture apricot velvet, satin and gold lamé brocatelle cocktail suit, circa 1967, labelled and numbered 147089, the sleeveless dress futuristic lobed shape plastron to bodice, A-line skirt with vented pockets; the matching coat gilt knot buttons, bust 92cm, 36in, waist 81cm, 32in (2) £500 - 700


192 A Madame Grès couture black jersey sheath, 1970s, labelled and with defilé tape handwritten ‘105 Vicky, At. Jeannine, 11931’, the columnar gown with boned organza integral corset to the strapless bodice, ivory and black floating panel forming a cape which hooks onto the bodice front, with rope-twist neck band, bust 76-81cm, 3032in, waist 60cm, 23 ½in £800 - 1200

187 An Yves Saint Laurent couture ‘Le Smoking’ maxi dress, Spring-Summer, 1970, labelled and numbered 24652, double breasted with glass buttons, side slits, wide armholes, bust 86cm, 34in


193 A Loris Azzaro black tulle and satin ribbon evening gown, late 1970s, labelled, the transparent bodice and sleeves with ribbon worked bands, layered tulle overskirt, bust 86cm, 34in £600 - 1000

This is an early example of Saint Laurent’s use of the ‘Le Smoking’ applied to a dress. Two versions were made for this collection, see ‘Yves Saint Laurent Exoticisms’ p120 for an example of the other dress. It is also photographed in the Saint Laurent Archive, Spring 1970 #24652. It is #56, see website for details. £1000 - 1500

194 A Loris Azzaro silver sequined halter-neck gown, 1970s, labelled, bust 81cm, 32in £400 - 600 195 A Pierre Balmain couture black and ivory tartan gazar evening gown, 1967, unlabelled, of lustrous Staron silk, with cross-over lapels to the bodice, concealed zip fastening to rear side, bust 86-92cm, 34-36in

188 An Yves Saint Laurent green taffeta ‘domino’ cape, 1976-8, Rive Gauche labelled and size 38, with deep flounced collar £500 - 800

An identical dress photographed in 'L'Officiel de la Mode', January 1967, no 539-540, p349. £500 - 800

189 An Yves Saint Laurent tan cotton gabardine ‘Saharienne’ or safari top, 1968, large Rive Gauche label, with applied pockets and front lacing, bust 86cm, 34in

196 A Chanel couture cocktail suit, 1963, labelled and numbered 18145, the sleeveless dress with ivory and silver lamé bodice, ivory bouclé wool skirt, self-covered buttons, the loose jacket with chain to hem, bust 92cm, 36in (2) £600 - 1000

The model Verushka was famously photographed modelling the safari top for Vogue in 1968. £600 - 800 192


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201 An Ossie Clark/Celia Birtwell printed chiffon dress, circa 1972, labelled and size 14, in a variation of the ‘Tulip’ print, with flounced sleeves and button side fastening, bust 92cm, 36in, waist 71cm, 28in £600 - 1000 202 An Ossie Clark for Radley red moss crêpe halterneck evening dress, mid 1970s, labelled and size 14 £250 - 400 203 A Chanel couture tweed suit, 1974, labelled and numbered 50792, woven in shades of pink and brown on an ivory ground, the jacket with wine and gilt CC buttons with chain to hem, printed silk lining with matching silk blouse and skirt, chest 97cm, 38in, waist 81cm, 32in (3) £600 - 900 197

197 A Chanel couture evening ensemble, 1972, labelled and numbered 45170, the shift dress of cream organza over ivory silk entirely covered in embroidered and beaded roundels, with floret centres formed from heart-shaped sequins, the matching jacket with chain weighted hem, dress bust 81-86cm, 32-34in (2) £2000 - 3000


204 A Chanel couture beaded pale peach chiffon evening gown, early 1970s, labelled but not numbered, with striped silver chainstitch and bugle beaded bands in white and silver, matching fringes to the waist over pleated skirt, bust 81cm, 32in £300 - 500 205 A Zandra Rhodes ‘Conceptual Chic’ safetypin dress, 1978, labelled and size 10, of rayon jersey with intentional tears to front, adorned with beaded safety pins, matching long sleeved underdress, bust approx 86cm, 34in (2)

198 A Chanel couture midnight blue beaded cocktail ensemble, 1974, labelled and numbered 50789, comprising: cardigan style jacket with matching skirt, pale pink chiffon blouse, a beaded camisole top; headband and two silk corsages, bust 98-102cm, 38-40in, waist 92cm, 36in (qty) £500 - 900

See website for footnote £500 - 800 206 A Madame Grès couture pleated turquoise evening ensemble, circa 1970, un-labelled, comprising bodice of undulating rope-twist pleats with rouleaux straps; the separate tightly pleated skit with ties to waist band, bust approx 86cm, 34in, waist 62cm 24 ½in (2) £3000 - 5000

199 A Chanel couture ivory silk suit with bicolour grosgrain edgings, 1971, labelled and numbered 41438, the short boxy jacket with gilt ridged concave buttons, chain to hem, bust 92cm, 36in, waist 69cm, 27in (2) £800 - 1000 200 A Chanel couture ivory slubbed silk/linen suit, 1974, labelled and numbered 48425, comprising jacket with safari-style pockets, basket-weave effect gilt buttons, chain to hem, lined in CC silk damask; matching blouse with bow to neck, skirt and trousers, chest 97cm, 38in, waist 76cm, 30in (4) £500 - 700 206 42

206 detail

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209 A pair of Mr Freedom winged boots, designed by Jim O’Connor, 1970, unlabelled, of green and white leather, the wings each with four metal lacing eyelets, rubber soles, approx size 7, 26cm, 10 ¼in long (2) £800 - 1000 210 A rare and early Chrissie Walsh man’s black worsted jumpsuit, 1975, unlabelled, with top-stitched white nylon shoulder panels, large embroidered ‘tacking-stitch’ edges and outsized buttons, chest 97-102cm, 3840in; together with three colour block t-shirts in cotton jersey (4) £450 - 600 211 A Westwood/McLaren Seditonaries handkerchief, circa 1977, with Sex Pistols ‘Anarchy’ print, 42cm, 16 ½in square

Provenance: Keith at Smile £400 - 600



213 A Chanel couture cutwork printed organza evening gown, circa 1977, labelled and numbered 55724, with pink taffeta inner corset, the cutwork floret’s embroidered in gold, with elaborate basket woven cuffs with fringes, bust 81-86cm, 32-34, waist 61cm, 24in £800 - 1000

207 A Thea Porter printed chiffon and velvet ‘gipsy’ dress, 1970, woven black on white label, the velvet bodice edged in gold braid, with Sandra Munro designed chiffon print, bust 86cm, 34in £800 - 1200 208 A rare Mr Freedom man’s ‘Bingo’ jacket, designed by Jim O’Connor, 1970-71, with pink and blue nude girl label, of black vinyl applied with multicoloured felt numbers, each forming a pocket, double-breasted with small plastic buttons, chest 97cm, 38in £800 - 1200


212 label

212 A Westwood/McLaren Seditonaries glazed cotton jacket, circa 1977, Personal Collection label, with black leather collar, cuffs, pocket trim and front closure panel, rubber buttons, lined in quilted wine satin, chest 107cm, 42in 208

Provenance: Keith at Smile £1200 - 1800

212 43

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214 A fine and important Gianni Versace bejewelled cat-suit, 1989-90, labelled Gianni Versace Couture, and with original swing tag, the halter-neck bodice beaded and embroidered with an Egyptian-inspired bird with out-stretched wings and large target-like motif to centre back, the black seed-bead ground inset with multi-coloured rhinestone and bugle beaded fan motifs, gilt bugle beaded chains with jewelled tassels, small cameo medallions, with zips to side and ankles, bust 86cm, 34in, waist 66cm, 26cm

The bodice of this outfit with outstretched bird motif is very similar to that used on the bodice of a dance costume Versace designed for Maurice Bejart's ballet 'Souvenir de Leningrad' which was performed in Lausanne in December 1989. For an illustration of that costume see 'The Art & Craft of Gianni Versace', V&A Publications, p102. £6000 - 10000

214 back

216 A Gianni Versace black leather ‘Crucifix’ jacket, Autumn-Winter, 1991-92, large Gianni Versace label, biker-style of soft black leather with ‘gem’ encrusted, beaded and embroidered crucifixes to front breast, sleeves and back panel, chest approx 97cm, 38in


215 A fine Gianni Versace studded leather gladiator style suit, Autumn-Winter, 199192, large Gianni Versace label, the soft black leather entirely covered with gold and silver studs, the loose blouson-style jacket with large bull’s eye target to the back; the matching studded short skirt with Medusa badge to one pocket, chest approx 97cm, 38in, waist 71cm, 28in (2)

See ‘The Art & Craft of Gianni Versace’ V&A publications pp32-34 for images of similar ensemble. £3000 - 5000


See ‘Gianni Versace’ Metropolitan Museum catalogue pp78-79 for photographs of an identical jacket. £1500 - 2500


217 A Gianni Versace studded black leather jacket, Autumn-Winter, 1991-92, large Gianni Versace label, biker-style of soft black leather, with facetted silver studs forming curleques down the back, multiple zips, chest approx 97cm, 38in £600 - 1000 45

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218 A Halston flame-beaded and sequined evening gown, 1980s, white on black label, entirely covered with a shimmer of bugle beads and sequins, with chiffon panel to one shoulder, bust 86cm, 34in £700 - 1000

224 An Yves Saint Laurent black tulle and velvet evening ensemble, mid 1980s, Rive Gauche labelled and size 38, with huge ruffled sleeves and ties of tulle to the skirt, bust 81cm, 32in, waist 61cm, 24in (2) £400 - 600

219 A Christian Lacroix pink mohair jacket, late 1980s, yellow Luxe label, with attached pleated shawl like panels, large bow with tassels to front waist, chest 92cm, 36in £400 - 600

225 A Thierry Mugler oyster crêpe evening gown, circa 1990, blue label and size 38, the clear vinyl collar embroidered with small pearlised beads, curved front side slit, bust 81-86cm, 32-34in £500 - 700

220 A Thierry Mugler black pleated lurex ‘Cleopatra’ style gown, early 1980s, unlabelled, horizontally pleated to the front with gold strapwork to the shoulders, bust approx 86cm, 34in

226 A Thierry Mugler black velvet sheath, Spring, 1986, blue label, the boned strapless bodice applied with fan-pleated gold lame panels, above slender tapering velvet skirt with trained hem, bust approx 86cm, 34in

The vendor acquired this dress as a Mugler prototype. £800 - 1000

See ‘Thierry Mugler Photographe’ 1988, Paris Du Regard, for an image of a model on a roof top wearing an identical dress £800 - 1000


221 A dramatic Thierry Mugler pink satin and black Chantilly lace covered evening gown, 1994, labelled and size 40, with black velvet appliquéd points to emphasise the curves, trained skirt, long sleeves, bust 91cm, 36in £1500 - 2500 222 A Jean-Paul Gaultier ‘Mad Max’ dress, Autumn-Winter, 1995-96, Maille labelled, of stretch polyamide forming a second skin, the computer-generated spot pattern reflect the contours of the female form, with spotprint portrait to the rear shoulders, bust approx 86cm, 34in

For this collection Gaultier drew inspiration from the 1979 science fiction film ‘Mad Max’. £500 - 800

220 46

223 A Jean-Paul Gaultier ‘Mad Max’ hooded body suit, Autumn-Winter, 1995-96, Maille labelled, with computer generated spotprint to reflect the contours of the female form, bust approx 86cm, 34in £500 - 800


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227 A fine and rare Alexander McQueen for Givenchy couture black sequined `flapper’ dress, Spring-Summer, 1999, Givenchy couture label, handwritten with the collection date and stamped ‘Press Sample’, model no 32, the nude chiffon ground applied with herring-bone stripes of black sequins, with frond-like gold sequined and embroidered edges, points to graduated black tulle skirt, bust 76cm, 30in, waist 61cm, 24in; together with a photograph of the gown being modelled but with tulle sleeves (2)

McQueen took as his inspiration for this collection the ‘roaring twenties’ and F.Scott Fitzgerald’s ‘Great Gatsby’. £5000 - 8000 228 An Alexander McQueen man’s green and yellow woven wool coat, ‘It’s a Jungle Out There’ collection, Autumn-Winter, 1997, narrow white on black label, size 50, the front panel printed with a detail of an angel from Hans Memling’s ‘The Last Judgement’ (1467-71), chest 107cm, 42in

In an interview in 2004 McQueen said, ‘I would love to buy a Memling but I don’t think I could ever afford it’. In Memling’s painting, Archangel Michael weighs souls to see who should be saved or damned. £700 - 1000


229 An early Alexander McQueen man’s camel coat, ‘Dante’ collection, Autumn-Winter, 1996, bearing Italian manufacturer’s/Alexander McQueen label, double-breasted with Mongolian lamb trim to neck and cuffs, chest 102cm, 40in £500 - 600 230 An early Alexander McQueen man’s tyreprint white denim suit, ‘The Birds’, Spring-Summer, 1995, narrow white on black label and size 48, zip fronted jacket and matching trousers, chest 107cm, 42in, waist 81cm, 32in (2) £400 - 600 231 A Romeo Gigli peacock-blue pleated cocoon coat, Autumn-Winter, 1991-92, labelled, of goffered polyester, with vertically pleated scarf panels, the main body of the coat with complex irregular star patterns £1000 - 1200


231 47

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234 A Westwood/McLaren navy ‘fleece’ jacket with Keith Haring print, ‘Witches’ collection, Autumn-Winter, 1983-4, World’s End label, with velcro fastenings, angular sleeves, dayglo pink rubberised tumbling devils print to the back, chest approx 117cm, 46in £700 - 1000

235 A Christopher Nemeth jacket, 1980s, labelled of brown Prince of Wales checked wool, single breasted with painted porcelain buttons, two circular pocket apertures to each side with exposed lockstitched finishes, chest 117cm, 46in £600 - 800 236 An Azzedine Alaïa ‘Houpette’ knitted chenille dress, Spring-Summer, 1994, labelled and size M, figure hugging and calf length in contrasting black and white wools, bust approx 86-92cm, 34-36in £800 - 1200


232 A complete Westwood/Mclaren ‘Buffalo’ or ‘Nostalgia of Mud’ ensemble, AutumnWinter, 1982-3, World’s End labelled, comprising sheepskin ‘Chico’ jacket with faux antler buttons; tan cotton wrap-around skirt printed in green with ‘Buffalo’ girls, Inca gods and with embroidered floral detailing; camel coloured felt hat with multicoloured knitted inner headband; a matching knitted sweater dress and pair of stockings; and a pair of distressed-effect leather shoes with double straps, 27cm long (8) £2500 - 3500 233 An Azzedine Alaïa faux astrakhan ensemble, late 1980s, labelled and size 38, the high-waisted pencil skirt under a voluminous cropped jacket with wide sleeves and frogging to fasten, bust 97cm, 38in, waist 66cm, 26in (2) £700 - 1000 233 48


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237 A Maison Martin Margiela black suede ensemble, Winter 1998-9 collection, blank label, comprising: jacket with large interior elasticated band over the shoulders which connects to the shaped curved sleeves, decorative punch holes, one with white rope and metal hook, large central zip; the trousers cut to curve the shape of the legs, chest approx 86cm, 34in, waist 71cm, 28in (2) £600 - 1000 238 A rare John Galliano Linton Tweed suit, ‘The Ludic Game’ collection, SpringSummer, 1985, John Galliano 1 label, the fabric with fine black stripe and white mohair window pane check, the doublebreasted jacket cut short and wide with asymmetric lapels, patch pockets, lined in green acetate with striped sleeve linings, with two remaining antler buttons; the above ankle trousers with wide tapering legs, concealed button fly, chest 122cm, 48in, waist 71cm, 28in (2)

‘The Ludic Game’ was Galliano’s first catwalk show after graduation. It took place on the 18th March 1985, at The Pillar Hall, Olympia, London, at 6.30pm and 8pm such was the interest that it had to be shown twice. The looks were unisex. The clothes, which some buyers described as ‘experimental’, were beautifully made and of expensive fabrics. Deborah Bulleid, his assistant at the time remembers:

Courtesy of Bloomsbury. See lot 238.

238 & 247

‘John agonised over the Linton Tweeds woollen suiting fabric with white mohair checks because it was so perfect. He thought it resembled a bird’s eye view of ploughed fields, with the tufts of mohair representing the sheep’s fleece caught in hedges. He kept asking - ‘but can we afford it?’. In the end he couldn’t resist it.’

240 A rare John Galliano tan elephant cord ensemble, ‘The Ludic Game’ AutumnWinter, 1985-86, labelled John Galliano 1, comprising: bolero jacket with cork toggle fasteners, with striped rayon suiting lining used on the front and for extra long undersleeves; the skirt (which can also be worn as a jacket) with pendant sleeves as decoration, with curved band to skirt hem with functioning button and buttonhole, bust approx 86cm, 34in, waist 71cm, 28in (2)

Pieces from this collection are extremely rare as few were made and most pieces that have come to light were given as payment to the models in the show. £6000 - 8000 239 A John Galliano ‘Anatomical’ waistcoat, Spring-Summer, 1991, labelled John Galliano London, of black viscose, the back knitted to imitate vertebrae and musculature, two oval buttons to fasten, bust approx 86cm, 34in £400 - 600

Women’s Wear Daily didn’t approve this collection. Their post-show review described: ‘Clothes that are mind boggling…Imagine if you will skirts that look a bit like jackets with a pair of sleeves dangling down the back…Skirts, jackets and coats with projectiles of fabric that have simply no reason for being. It all adds up to a look that is at once confusing and pure folly’ (WWD 19.3.1985) Provenance: One of the models in the show that was paid in clothes. £2500 - 3500 240


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Courtesy of Bloomsbury. See lot 245.


241 A rare John Galliano pinstriped wool dress, ‘Fallen Angels’ collection, Spring-Summer, 1986, labelled ‘John Galliano 1’, with elasticated circular patch pockets to the breast, ‘Dior’ Y-shaped pleats to the skirt which form a peplum at the hips, shirred, elasticated back, bust 92cm, 36in £800 - 1200

244 A rare and early pair of John Galliano grey cotton gabardine trousers, ‘Fallen Angels’ collection, Spring-Summer, 1986, large burgundy woven ‘John Galliano 1’ label, with button fly, wide legs with turn-ups, and floating rear panel lined in striped cotton with waist ties which can be worn in a variety of ways £600 - 900

242 A rare John Galliano show card, ‘Forgotten Innocents’ collection, Autumn-Winter, 198687, with Helena Bonham Carter and a young boxer wearing crowns designed by Judy Blame and made by Frick & Frack; together with a waterproof Union Jack flag invitation for SS 1992 the ‘Lingerie’ collection (2) £200 - 300

246 A John Galliano peacock-blue lightweight wool jacket, ‘Hairclips’ collection, AutumnWinter 1988-89, labelled John Galliano, London, with asymmetric front hem, padded shoulders, chest 97cm, 38in £500 - 600 247 A John Galliano patchwork ‘Big’ shirt, ‘The Ludic Game’ collection, Autumn-Winter, 1985-86, with John Galliano 1 label, of giant proportions with elongated sleeves with buttoned back panels, mainly shades of mauve, brown, dark green, eau de nil, incorporating stripes, lined in striped rayon suit lining (which matches the sleeve lining of the suit, lot 238) £1500 - 2000

243 A John Galliano blue viscose ‘Circle’ sailor shirt, Spring-Summer 1987, labelled John Galliano 1, navy blue with black borders to the collar, bust approx 86-92cm, 34-36in £500 - 800

247 50

245 A John Galliano black wool gabardine jacket, ‘Rose’ collection, Autumn-Winter, 1986, ‘John Galliano London’ label, size 10, single-breasted, with roses formed from twists of fabric, chest 97cm, 38in £1000 - 1500

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Courtesy of Bloomsbury. See lot 249.

248 A John Galliano ‘Blanche Dubois’ collection ensemble, Spring-Summer, 1988, both with John Galliano, London labels, comprising: high-waisted draped navy viscose skirt, the fullness of the ‘Blown Away’ hem caught into a band, with buttons to form polonaise folds, and a white cotton blouse with lapels forming a halter-neck, bust 92cm, 36in, waist 71cm, 28in (2) £800 - 1200


251 A John Galliano wine viscose crêpe bias cut evening gown and accessories, ‘Hairclips’ collection, Autumn-Winter, 1988-89, John Galliano London label, size 8, the low cowl back with horizontal strap, the skirt with zig zag points to the sides and full skirt with flared godets to hem, with beaded eau de nil stole and Dent pink suede gloves, bust approx 81-86cm, 32-34in (4)

249 A John Galliano grey cashmere barrel coat show piece from the ‘Rose’ collection, Autumn-Winter, 1987-88, labelled John Galliano 1, size 10 and sample not for resale, of voluminous circular cut, double-breasted with high set pockets with broad flaps £1000 - 1500

This example is one of the first ever Galliano bias-cut dresses ever produced. The AW 88-89 collection was the first time he had incorporated full—blown bias cut 30s inspired evening gowns - something that was to be a leit motif for the rest of his career. £1200 - 1800

250 A John Galliano ‘Lace’ print chiffon bias cut dress, ‘Hairclips’ collection, AutumnWinter, 1988-89, labelled John Galliano London, with asymmetric hem and hand embroidered pink soutache ribbon medallion with chain-stitched centre, bust approx 86cm, 34in £800 - 1200 250


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254 detail

Courtesy of Bloomsbury. See lot 254.


253 A John Galliano knitted ‘anatomical’ jacket, Autumn-Winter, 1990-91 collection, John Galliano London label, of soft lambswool and angora, with vertebrae and rib patterns, zip fastened, with openings to reveal the shoulders, bust 86cm, 34in £800 - 1200 254 A fine John Galliano tailcoat, ‘Filibustiers’ collection, Spring-Summer, 1993, with black on white John Galliano satin label, size 40, of viscose/rayon linen-effect weave, with black leather rear collar and cuffs, the slashed hanging sleeves revealing pink and ivory damask inner sleeve, the interior seams all beautifully bound in burgundy tape, bust approx 81-86cm, 32-34in


252 A rare Francis Wilson for John Galliano tartan cotton bonnet, ‘Rose’ collection, Autumn-Winter, 1987-88, ‘John Galliano London’ label, the low topper with double brim petersham edgings and swallow tail bow, 20.5cm, 8in

This bonnet formed part of the ensemble chosen by the Gallery of Costume, Bath, as their dress of the year in 1987. £250 - 400


On the catwalk an identical example was worn by Helena Christensen.


This was Galliano’s first collection in Paris under his new backer Faycal Amor. The idea for the collection was of shipwrecked female marauders who wreaked havoc when they came ashore. The clothes in this collection are from specially woven and finished fabrics and are made to a semi couture standard. £1500 - 2500

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255 A fine and important John Galliano for Givenchy haute couture embroidered lilac satin ballgown, ‘Princess and the Pea’ collection, Spring-Summer, 1996, Givenchy Haute Couture label, the bolduc handwritten, ‘Ete 96, Robe no 12’, princess-line with boned strapless bodice, the long trained skirt with appliquéd, couched and embroidered raised-work roses in ivory organza, silk cord, white raffia, crystal beads and pine-cone shaped paillettes, with triple outer tiered flounce of ivory organza, over silk taffeta petticoat with four bands of crin above eight layers of tulle petticoats, forming a classic crinoline shape, bust 86cm, 34in, waist 71cm, 28in See frontispiece for fabric detail

In this and following lot Galliano uses his love of historicism to produce gowns more redolent of the 1860s than the 1990s. £10000 - 15000


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256 A fine and important John Galliano for Givenchy haute couture black-grey silk ballgown, ‘Princess and the Pea’ collection, Spring-Summer, 1996, defilé label handwritten, ‘Ete 96, At. Colette, Robe no 28, Veronica’, with 19th century inspired panelled bodice with decorative corset-like front lacing, rear zip fastening, with faux pet-en-lair front panels inset with pockets, the wide pagoda sleeves trimmed with rippled bands of satin and grosgrain ribbons, chantilly lace, with large bows to the dropped shoulders, the black silk skirt with large swallow-tail panels of shot black-grey silk, nine multiple tiers of black tulle underskirts below, bust 86cm, 34in, waist 59cm, 23in, trained hem approx 370cm, 12ft 2in £12000 - 18000


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287 detail

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258 An early Issey Miyake ikat weave coatdress, Autumn-Winter, 1985, shades of grey label, with cross over kimono-like front panel with buttoned closure, diagonally placed patch pocket to right hip, with loose sack-back panel, formed in one with the front panels, the lower skirt section with diagonal seam


See ‘Issey Miyake’ The National Art Centre catalogue p78 for a similar piece. In this robe Miyake combines traditional Japanese fabrics and front closure details with complex cutting-edge construction. £800 - 1200

257 A fine and important Issey Miyake knitted brown wool and black nylon crin ribbed cocoon coat, Autumn-Winter, 1985, with shades of grey label, the batwing sleeves with narrow horizontal banding, the front and back with wide vertical banding, deep lapels

259 A good Issey Miyake blue and black woven wool ensemble, 1983, square white on burgundy label, the voluminous ‘Samurai’ jacket formed from joined woven strips with striped and spotted bands, broad panels forming the front closure, button fastened to the waist; the trousers formed from joined black vertical panels with blue edges, pleating into the ankle cuffs and waist, waist 61cm, 24in (2)

This coat appears in ‘Issey Miyake Photographs by Irving Penn’, pp26-27 with a warrior like figure wearing a spiked helmet and visor and also: ‘Issey Miyake’ The National Art Centre catalogue p84. ‘Issey Miyake’ by Taschen p122. £1500 - 2500

This model is illustrated in ‘Issey Miyake BodyWorks’ Shogakukan, 1983 p119. £800 - 1200 259


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260 A rare Issey Miyake moulded acrylic breastplate/bustier, Autumn-Winter, 1980, streamlined, sculpted glitterflecked bronze finish, lined in black flocking, 37cm, 14 ½in high

For a similar example in pink see KTA lot 202, 9.12.2014. Grace Jones was photographed wearing a similar bustier whilst performing on stage in Drury Lane London, October 10th, 1981. A similar bodice is illustrated in the Kyoto Costume Institute ‘Fashion’ catalogue p599. ‘Issey Miyake’ by Taschen p96 and Issey Miyake by Mark Holborn, p72, modelled by bodybuilder Lisa Lyon. ‘Issey Miyake’ The National Art Centre catalogue p44. A similar example was included in ‘BodyWorks’ exhibition, at Leforet Museum, Tokyo. £20000 - 30000


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265 An Issey Miyake asymmetric dress, AutumnWinter 1995, shades of grey label, of fine dark lavender knitted jersey, with draped diagonal panel to bodice with opening on the left, two vented hip pockets with large diagonal zip to front and concealed functional zip to rear right side, bust approx 86cm, 34in £400 - 600 266 A Comme des Garçons ‘Hands’ ensemble, Autumn-Winter, 2007-8, labelled and size S, of black stretch polyester, the top cut away with rear tails and padded hands forming an embrace over the chest; the matching dhoti-style trousers with padded hands to the hips (2) £700 - 1000


261 A rare Issey Miyake man’s inflatable rubber jacket, 1987, the lining moulded ‘Issey Miyake Men’, with two inflater tubes to the chest, large press stud fasteners, chest 122cm, 48in

An identical jacket was worn by Chris Lowe of the Pet Shop Boys in 1987 in a performance of ‘Rent’ on the ‘Live from the London Palladium’ TV show. £1500 - 2000 262 An Issey Miyake sweater with three sleeves, circa 1983, two tone label, the front with horizontal and vertical stripes, the back in broad blocks of colour divided by central sleeve £600 - 800 263 An Issey Miyake pleated dress with image by Yasumasa Morimura, Guest Artists Series, No 1, Autumn-Winter, 1996-97, Pleats Please labelled and size 4, with scooped neckline, one side printed with a statuesque female figure (excluding the head) from Ingres’ 1856 painting ‘La Source’, the skirt section with an inverted photographic image of Morimura encased in red net seemingly entwining and dissecting the figure, the reverse with the same images upside-down but including the female head £700 - 1000

263 58

264 An Issey Miyake black and blue knitted batwing jacket, 1981, labelled by All Style Co. Ltd, cocoon shaped with asymmetric collar, one side scarf-like, low set sleeves and pockets £600 - 800


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267 & 269



267 A rare and early Comme des Garçons distressed effect jacket/cardigan, ‘Beggar’ collection, Autumn-Winter 1982, simple ribbon label, of black bouclé wool, intentionally knitted with scattered holes; together with a pair of black woven textured wool trousers with wide, cropped legs (2) £1500 - 2000

269 A rare pair of Comme des Garçons black suede shoes, Autumn-Winter, 1982-3, with fold-over flaps to the uppers (2)

270 A fine and early Comme des Garçons black cotton ‘Beggar’ robe, Spring-Summer, 1984, with ribbon label, of voluminous kaftan-like trapezoid cut, the front formed from seemingly random patchworked panels with exposed raw edges and deliberate holes, narrow slits for the wrists, plain back

268 A Comme des Garçons ensemble, SpringSummer, 1984, ribbon labels, comprising: white cotton jersey under-dress with diagonal front seam running from shoulder to underarm, elasticated pouch-like cowl collar; with cream cotton jacket with similar double-pouches forming a collar (2) £1500 - 2500

This pair of shoes was photographed by Peter Lindbergh for CdeG catalogues with the famous jumper with holes. ‘Comme des Garçons No 77, 5th July, 1982’ p169. £800 - 1000

For distressed cotton robes from this collection see ‘Future Beauty: 30 Years of Japanese Fashion’ by Merrell, pp44-45. £2500 - 3500 271 A good Comme des Garçons tartan coatdress, ‘Inside Decoration’ collection, Autumn-Winter, 2010, black and yellow satin label and size S, with pillow-form ‘bump’ plastron, epaulettes and panels inset at the small of the back, double breasted fastening, chest 86cm, 34in

This was look no 17 on the catwalk. £600 - 900

269 59

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272 A Comme des Garçons 'Rising Sun' ensemble, Spring-Summer, 2007, black and yellow satin label, size SS, the cream wool jacket with large dart intersecting the red circle, elongated closure placket to one side, broad waist belt with tulle waistcoat over and red tulle skirt (3) £1000 - 1500


275 A Comme des Garçons ‘Flat’ or ‘2D’ collection leopard print coat, AutumnWinter, 2012, with top-stitched seams which form edging borders, stitched-down collar, tape-ties, angular shaped hips

An identical coat sold at KTA 23.6.2015 lot 349. £2000 - 3000

273 A Junya Watanabe/Comme des Garçons tweed wool ensemble, Autumn-Winter, 1995-96, labelled, comprising: skirt with draped bustle effect; a bodice with angular sleeves, Givenchy-style front waist vents, waistcoat with faux fur collar and zip fastening, both with slash-effect vents over the rear shoulders, bust approx 81-86cm, 32-34in, waist 71cm, 28in (3) £450 - 600

277 A Comme des Garçons black velvet 50s inspired cocktail dress, Autumn-Winter, 1987, Noir label and size S, with draped asymmetric neckline and pointed side panel to skirt

This model was exhibited in the ‘Essence of Quality’ exhibition, Tokyo, produced by Kyoto Costume Institute, and CDG in 1993. £400 - 600

274 A Comme des Garçons tartan wool ensemble, Autumn-Winter, 2000-01, labelled, the black synthetic dress with tartan pinafore-like panel attached with zips, the matching jacket also with ruffle decorations, bust 86-92cm, 34-36in (2) £600 - 1000

278 60

276 A Comme des Garçons navy wool suit, Autumn-Winter, 2006-7, labelled and size S, comprising navy self-striped wool jacket with ‘torn away’ effect upper sleeves, overlaid with a black damask corset with tabbed hem, trimmed with ribbons and bows, single button to fasten; the trousers of navy and black striped wool, one leg overlaid with black and white printed polka dot cotton with flamenco style flounces (2) £500 - 800

278 A Comme des Garçons ruffled ensemble, Spring-Summer 2000, labelled, in shades of blue to grey, comprising; triacetate under-dress with peterpan collar with attached black lycra body suit covered in abstract fronds in differing fabrics with popper-fastened gusset; the matching jacket with ruffled undersleeves and outsized safety pin to fasten (3) £700 - 1000

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279 A fine and important Rei Kawakubo/Comme des Garçons ‘Body Meets Dress’ ensemble, Spring Summer 1997, labelled, comprising: turquoise jersey petticoat with four side and back bumps; a long psychedelic-print crêpe polyester shift dress; and an optional matching tubular skirt which doubles back on itself (3)

Similar models were exhibited in 'Luxury in Fashion', Tokyo, 2009 and 'Future Beauty: 30 years of Japanese Fashion', 2011 - 2014. Literature: 'Future Beauty: 30 years of Japanese Fashion', Merrell, pp63, 166 - 69, photographed by Nick Knight. 'Visionaire 20' photographed by Nick Knight. £10000 - 20000


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280 A Comme des Garçons navy and white checked wool ensemble, Autumn-Winter, 1986-87, labelled and size M, the double breasted jacket with asymmetric basque, padded shoulder, the matching skirt cut short at the back and long at the front with asymmetric polonaise panel which can be buttoned at the rear; together with a knitted black under-dress which peeps out at the back hem, bust 86-92cm, 34-36in (3)

282 A Yohji Yamamoto logo-patterned ‘Parody’ ensemble, Autumn Winter 2007-8, labelled, comprising: black and tan knitted sweater dress with YY and Vuitton-esque style logo repeats; and black tailcoat with rear pockets, broad leather breast strap embossed with logos and patterns, bust 86-92cm, 34-36in (2)

In this collection Yamamoto seemed to be gently mocking the obsession with trademark logos by Louis Vuitton and others. £600 - 800

For a similar model in grey see KTA lot 299 14.6.2016 and also ‘Breaking the Mode’ by LACMA p57. £2000 - 3000 281 A Comme des Garçons tailored and African print ensemble, Spring-Summer, 2008, labelled and size S, the layered jacket of grey and Prince of Wales checked wool with white buttons, long vertical cotton vents with visible contrasting pocket pouches of pink stripes and plaited hair design prints; with bright pink cotton pantaloon trousers trimmed with ruffles and garter-like bands of nylon lace (2) £500 - 800 62


283 A Junya Watanabe/Comme des Garçons complete ‘zipper’ ensemble, SpringSummer, 2005, labelled and size S, comprising: black calico patchworked top cut longer at the front, the collar formed form layered gilt zippers; the black cotton dirndl with decorative deep cross-over bands of coiling zips (2) £700 - 1000


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284 A Comme des Garçons red and white flocked cotton ensemble, ‘Blooming Flowers’ collection, Autumn-Winter, 1996, labelled and size M, comprising long shift dress, with overall flocked daisy print, opening at bodice side, contrasting devoré sash-like panel; with padded Dufy-esque flocked and padded coat with giant safety pin to fasten and hood (2)


286 A Junya Watanabe/Comme des Garçons ‘sleeping bag’ jacket and skirt, AutumnWinter, 2004, labelled and size S, the down-filled jacket with low-set stubby sleeves, shawl collar; the skirt in coloured panels with jeans-style closure (2)

A similar ensemble is illustrated in ‘Future Beauty, 30 years of Japanese Fashion’ p.211, Merrell. £600 - 1000

The coat is photographed in ‘Rei Kawakubo’, Taschen p116. £700 - 1000

287 A Junya Watanabe/Comme des Garçons ‘architectural’ navy wool dress, SpringSummer, 1999, labelled, button-fronted with angular grille of aluminium rods that encircles the waist, bust approx 86-92cm, 34-36in £700 - 1000

285 A Comme des Garçons ‘Monster Knit’ ensemble, Autumn-Winter, 2014, labelled, comprising: top with slits for head and arms, and matching skirt both made from interwoven grey and navy skinny-knit bands with exposed seams (2)

This ensemble is reminiscent of Rei Kawakubo’s 1984 interwoven knit masterpiece, see KTA 14.6. 2016 lot 294. £800 - 1200

287 63

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288 A Yohji Yamamoto flecked red and blue tweed ‘visite’, Autumn-Winter, 1995-96, labelled and size S, with exposed bound seams, large press stud fasteners, rear bustle panel with tape bow, lined with black mesh; with black nylon crin petticoat (2) £1500 - 2500

290 A Yohji Yamamoto black bouclé wool ‘visite’ coat, Autumn-Winter, 1995-96, labelled and size M, presstud fastened, the angular sleeves open at the upper underside, adorned with black mesh lined cartridge pleats to the back with wing-shaped folds to either side, the inside with seams bound in olive green and tie to centre back, part lined in black shantung, bust approx 86cm, 34in £1500 - 2000

289 A Yohji Yamamoto purse/pinafore dress, Spring-Summer, 2001, labelled and size 2, of lightweight black wool, front skirt with integral purse with metal mounts and clasp, the strap forming a halter-neck, waist 76cm, 30in (2)

291 A Yohji Yamamoto black felted wool dress, ‘Homage to Pierre Cardin’ collection, Autumn-Winter, 1989-90, labelled and size S, with buttons and zip to side closure, the skirt appliquéd with brick orange and ivory abstract shapes; with Yamamoto white cotton shirt (2) £600 - 1000

An identical model was exhibited in the MOMU ‘Dream Shop’ exhibition devoted to Yamamoto, 2006 (Antwerp Fashion Museum) and reproduced in the Rizzoli catalogue ‘Yamamoto & Yohji’ p340. £800 - 1200

291 64


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292 An important Yohji Yamamoto voluminous striped knitted robe, AutumnWinter, 1998, labelled, worked in soft yarn in stocking stitch, with wide neckline, giant press-stud fasteners to the front to create an irregular pleat and closure

In this robe Yamamoto plays with proportion producing a giant, outsized robe which incorporates traditional knitting skills with contemporary design. It is both cutting edge and cosy. Yohji Yamamoto himself considered this model an important piece as it was selected for a fashion show retrospective of his work in the 'Cutting Age' exhibition in Berlin, 2013, as look no 16: For a video of the show see: The dress can be seen at 7min 37sec. It is also pictured on Vogue Italia's, 'Encyclo', photographed by Steven Meisel: For illustrations of this model see: 'Yohji Yamamoto, Rewind/Forward', pp 92-93 by F. Gerfrau 'Yamamoto & Yohji' p149, p238 by F. Rizzoli 'Talking to Myself' by Yohji Yamamoto, Carla Sozzani 'Yohji Yamamoto' V&A publications pp76-78 £1500 - 2000


293 A Yohji Yamamoto knitted ‘Jyunihitoe’ kimono ensemble, Autumn-Winter, 1995, labelled and size S, comprising: long raspberry under-dress with zip front fastening; the over-dress formed from three contrasting coloured layers, worn one on top of the other, the upper raspberry tunic having additional brown panelled collar, the skirts long at the front but short at the back (4)

A similar example was included in the Kyoto Costume Institute's touring exhibition and is reproduced on p108 of the catalogue 'Japonism in Fashion': 1996: The National Museum of Modern Art, Kyoto 1996: Palais Galliera, Paris 1998: Los Angeles County Museum of Art, LA 1998: Brooklyn Museum, NY 2003: Museum of New Zealand Te Papa Tongarewa, Wellington The word 'Jyunihitoe' means '12 layers' and describes a style of kimono traditionally worn from the 10th century onwards. £1500 - 2500


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294 An early Yohji Yamamoto fringed wool dress, Autumn-Winter, 1982, labelled, of homespun-effect blue and brown wool, of voluminous cut with top-stitched seams front and back, irregular hem, self-fringing to the scarf-like collar, cuffs and parts of hem; together with a Yohji Yamamoto black stretch-jersey turban (2) £800 - 1500

296 A rare pair of Yohji Yamamoto black leather moccasins, 1983, stamped Ys Company Limited, the front uppers with moulded folds and bow ties, approx size 6 UK (2)

298 A Yohji Yamamoto de-constructed knitted cotton dress, Spring-Summer, 1993, labelled and size M, the stocking stitch panels intersected by intentionally laddered bands forming ‘Y’s’ front and back, frayed hem and cuff adornments

295 A Yohji Yamamoto ‘Pilgrim’ ensemble, Autumn-Winter, 2006, labelled and size 1 comprising: flecked cotton/linen jacket front with two belts slotted through D-rings, with attached homespun-effect grey tweed cape woven with a large blue tartan crucifix to the back; with marching grey peg-topped culotte trousers, one leg being wider than the other, waist 71cm, 28in (2)

This was look no 12 in the show. £500 - 900 66

These are some of the most photographed shoes in ad campaigns in the early 1980s. The same shoes in a different colour appears in: 'Talking to Myself' by Yohji Yamamoto, Carla Sozzani 'Yohji Yamamoto', V&A publications p49 £800 - 1200 297 A Yohji Yamamoto tan cotton gabardine trouser ensemble, ‘Wedding’ collection, Spring-Summer, 1999, labelled and size XS, comprising a pet-en-lair style jacket with hooped top stitched bands to hem, lined in organza and matching trousers (2) £450 - 600

This design in black was modelled by Linda Evangelista, photographed by Satoshi Saekusa, for Italian Vogue, in 1993. See link: y/yohji-yamamoto £1000 - 1500 299 A Yohji Yamamoto black faille evening gown, probably late 1990s, labelled and size XS, with complex origami-like pleats to the front bodice, concealed zips to centre front fastening, elbows, centre-back waist and to the diagonally set hip pockets, bust 81-86cm, 32-34in, waist 66cm, 26in £450 - 600

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303 detail

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303 An Alexander McQueen vertebrae/crystal print cocktail dress, ‘Natural Distinction, Un-Natural Selection’ collection, SpringSummer, 2009, labelled and size 42, with digital print in shades of grey, with nude transparent side panels, original shop tags, bust 92cm, 36in

300 An Alexander McQueen butterfly-wing print chiffon dress, ‘Plato’s Atlantis’ precollection, Spring-Summer, 2010, grey label and size 42, the chiffon draped and gathered with raw edge to strapless bodice, interior corset, bust approx 92cm, 36in, waist 66cm, 26in

This was look 28 on the catwalk. £700 - 1000

A variation of this print is shown in runway looks 5-7. £800 - 1200

304 An Alexander McQueen black crêpe georgette and leather banded cocktail dress, Spring pre-collection, 2004, labelled and size 40, with integral corset, leather criss-cross bands traversing the dress overall, bust 86-92cm, 32-34in

301 An Alexander McQueen trained evening coat, ‘Angels & Demons’ collection, Autumn-Winter, 2010-11, with metal dogtag label, and size 40. of steel grey figured silk in 18th century style, brocaded in gold and burgundy blooms, the curved lapels with self-pleat, chest 92cm, 36in

This dress bears similarities to the gold dress look no 3, in AW 2003. £400 - 600

This was part of runway look no 9. £2500 - 3500

305 An Alexander McQueen yellow crystal print dress, ‘Natural Distinction, Un-natural Selection’ collection, Spring-Summer, 2009, labelled and size 42, bust 86-92cm, 34-36in £500 - 900

302 A Maison Martin Margiela bodice formed from boot uppers, Autumn-Winter, 2004-5, 0 Artisanal label, in shades of tan leather, lined in cream calico, bust 86cm, 34in; together with remains of original label (2) £600 - 800

301 68

306 A John Galliano for Christian Dior newspaper print slip dress, Autumn-Winter 2000, Boutique labelled, of silk jersey with CD shoulder clasps, bust 86cm, 34in £400 - 600

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308 An Alexander McQueen printed organza evening gown, ‘Sarabande’ collection, Spring-Summer, 2007, narrow grey woven label and size 42, also with shop tags, the princess-line strapless boned bodice above a tiered, trained skirt which cascades from the hips, the charcoal-grey ground printed in ivory with delicate floral fronds and peacocks perching on branches, bust approx 86cm, 34in

This was runway look no 10. £3000 - 5000


307 An Alexander McQueen reptile-print organza dress, ‘Plato’s Atlantis’ collection, Spring-Summer, 2010, grey label, with python-like photo-collage print, rounded satin cap sleeves, bust 86cm, 34in, waist 66cm, 26in £6000 - 9000


309 An Alexander McQueen printed silk and gold-painted feather dress, ‘Angels & Demons’ collection, Autumn-Winter, 201011, labelled and size 44, the satin printed with images copied from Stephan Lochner’s tripytych ‘The Altar of the City of Patrons’ c.1442, the fabric draping from the single sleeve with padded shoulder and swirling over the golden feather under-skirt with integral layers of tulle and organza, bust approx. 92cm, 36in

This dress, from McQueen's last collection, made posthumously after his death, was runway look no 5. £4000 - 6000



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311 An Alexander McQueen 'Hieronymus Bosch' weave dress, 'Angels & Demons' collection, Autumn-Winter, 2010-11, labelled and size 38, with inner black silk chemise corset, the exterior of jacquard woven silk, the design taken from elements of three paintings by Hieronymus Bosch, within panels of black silk with intricate gold sequined traceries, with cartridge pleated satin skirt, bust 86cm, 34in; with original shop tag and bag of extra sequins (2)


310 An Alexander McQueen embroidered scarlet satin dress, ‘Angels & Demons’ collection, Autumn-Winter, 2010-11, labelled and size 40, bias cut with wing effect pleated sleeves and skirt panniers, the black organza bodice and skirt panels embroidered in high relief with gold thread, purl wire, rhinestones and sequins with blossom, cojoined birds, skulls and foliate strapwork, bust 92cm, 36in; together with a bag of spare beads, sequins, threads and original shop tag (2)

This was runway look no 3. £5000 - 7000 70

This very strong design statement from McQueen's last collection reflects his interest in the macabre and his love of Old Master paintings. 'I relate to that cold, austere asceticism of the Flemish masters, and I also love the macabre thing you see in Tudor and Jacobean portraiture' (Savage Beauty, Metropolitan Museum catalogue, and full page illustration, pp92,93) In an interview with his mother in 2004, McQueen declared, that his favourite artworks were those of 15th century Flemish and Dutch painters, 'because of the colours, because of the sympathetic way they approached life...I think they were very modern for their times'. Decorative print elements for this dress were carefully chosen from three of Hieronymus Bosch's paintings - all depicting monstrous scenes from hell. Great care was taken to select and merge motifs from different Bosch paintings on the main front bodice panel. The iconography taken from the paintings are as follows - 'The Garden of Heavenly Delights' (c.1500) with a large pink bagpipe (using music as a form of punishment) the motif humorously located on the lower back panel above the skirt, as well as a bird swallowing a man on the front bodice; 'The Temptation of St Anthony' (c.1501) - a fish dressed as a cardinal used on the front bodice; and a woman peeping from a tree (lower front panel above skirt); 'The Last Judgement' (c.1482 or later) - a speared egg on legs, a body slithering with snakes and a dragon peering into a barrel with a cowering figure barrel - all used on the main back panel. The black scale-effect sequined tracery is redolent of Renaissance embossed velvet patterns, the rich gold leaf of illuminated manuscripts or the gold threads used in finely worked orphrey panels. It is only upon close inspection that it is noticed that the dress whilst undeniably beautiful, incorporates individual design elements intended to caution and admonish potential sinners. This model is also illustrated full page in 'Alexander McQueen' V&A publications, p164. This was look no 2 in the show. £8000 - 12000 END OF SALE

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Available on Amazon and in all good bookshops. Signed copies can be purchased at the saleroom.


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2017 SALES CALENDAR We are now accepting entries for our 2017 Spring/Summer auctions 27th February 12th June *Dates to be confirmed, please check our website before arranging travel

104 detail

Detail of lot 52

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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.

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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 cannot be exported outside the EU. 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/EU Mastercard 3%; Amex 1.78%; International Mastercard 3.45%. 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.



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COMMISSION BIDDING FORM Please bid on my behalf for the following lot(s) up to the hammer price(s) written below, to be executed as cheaply as is permitted by other bids or reserves. I agree to be bound by the Conditions of Business application to this sale and agree to pay a buyer’s premium of 25% on the hammer price up to and including £50,000, or 20% on the hammer price in excess of £50,000 and any VAT or amounts in lieu of VAT which may be due on the buyer’s premium and hammer price(s). Please see Guide to Prospective Buyers in the catalogue. SALE TITLE AND DATE: All bids must be submitted in sterling excluding buyer’s premium and VAT. Please submit your bids as early as possible. In the event of identical bids, the earliest will take precedence. Bids should be submitted at least 24 hours before the auction. Please write clearly and check your bids carefully. If this is the first time you have bid through Kerry Taylor Auctions, please provide proof of your identity. Failure to do this may result in your bids

Lot No.


Bid in £

Lot No.


Bid in £

Name (Block Letters).......................................................................................................................................................... Address (Block Letters) ......................................................................................................................................................

Postcode......................................................................... Telephone No............................................................................ Fax No............................................................................. Email ........................................................................................ Signature ............................................................................................................................... Date ..................................


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. Godspeed Couriers are our appointed shippers. They 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.

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 email:

Godspeed Couriers Tel: 00 44 (0)1273 929502 email:

Kerry Taylor Auctions  

Passion for Fashion | 12 December 2016

Kerry Taylor Auctions  

Passion for Fashion | 12 December 2016