Kerry Taylor Auctions

Passion for Fashion 14th June 2016

Kerry Taylor

Kate osborn

Lucy Bishop

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

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 95 for details.

sale number: KT025

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

front cover:

Lot 353 Copyright nick Knight frontispiece: Lot 341 Back cover: Lot 258

for multiple images of every lot please see www.kerrytaylorauctions.com

online Bidding

www.the-saleroom.com

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 Tuesday 14th June 2016 at 11am: Session I: lots 1-196 3pm: Session II: lots 197-end of sale

Venue 249-253 Long Lane London SE1 4PR See map on inside back cover

Exhibition Sunday 12th June - 12 noon to 4pm Monday 13th June - 9am to 5pm Tuesday 14th June - viewing by appointment only

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INTRODUCTION This is one of the finest sales of haute couture and historic dress and Royal memorabilia ever to come onto the open market.

I have scoured the globe to find rare, beautiful pieces to this end.

Our earliest garments are also the smallest – baby robes believed to have belonged to King Charles II which have been passed down generations of the same family – that of Margaret de Halsey, formerly a Lady in Waiting in the court of King Charles I, circa 1630. The clothes have been held by Museum of London collection since the late 1940s.

We have sumptuous brocaded eighteenth century dresses – the silks woven by craftsmen in Spitalfields and Lyon and looking as fresh as the day they were made.

Historically fascinating is a group of photographs, autographs, letters and jewelled Cartier cases relating to the Duke and Duchess of Windsor (lots 201 to 207). Perhaps the most poignant piece in the collection is the guest book belonging to Herman and Katherine Rogers (close friends of the Windsor’s) which shows Wallis’ visits to their home from the 1920s onwards.

Her signature changes as she moves through her first and second husbands and finally to her third – King Edward VIII who abdicated his crown to marry her, thus becoming HRH the Duke of Windsor in consequence. The book was also used to record the guests at the Windsor’s wedding – a meagre 28 names including the couple themselves. The ‘Hunting Lord of the Isles’ tartan suit made for the Duke in 1951 (lot 199) reflects his daring sense of colour and style and confirms why he is regarded as one of the great British ‘Dandies’.

Continuing the Royal theme we have two dresses worn by Princess Diana – a Catherine Walker sea-green sequined evening gown, worn for the State visit to Austria in 1989 (lot 210) and an Emanuel teal-blue tartan ensemble worn on an official visit to Italy with Prince Charles in 1985 (lot 208).

The sale is extremely strong in fine 20th century haute couture. We have garments by Balenciaga, Balmain, Chanel, Callot Soeurs, Courrèges, Cardin, Charles James, Dessès, Galanos, Gernreich, Givenchy, Griffe, Lucile, Lanvin, Patou, Poiret, Piguet, Jenny and Madeleine de Rauch. We have twenty-two superb Diors of which fifteen are haute couture. One of the finest and earliest examples is the extraordinary black faille ball gown with undulating, cascading skirt and asymmetric pointed bodice, probably 'Ailée' (winged) line, A/W 1948 (lot 99).

Another iconic piece is the fine ensemble from Yves Saint Laurent’s ‘Ballets Russes’ collection, A/W 1976-77. It is rare to find the complete ensemble and in such good condition. We also have two original Ballets Russes ensembles designed by Henri Matisse for Diaghilev’s 1920 production of ‘Le Chant de Rossignol’. It is believed that many of the garments were made in Paul Poiret’s workshop.

John Galliano is well represented including the incredibly rare ‘Incroyables’ coat from his degree show collection of July 1984, as well as garments from ‘The Ludic Game’ A/W 1985-86, A/W 1987-88 and ‘Blanche Dubois’ S/S 1988. One of the most spectacular dresses is his two tone taffeta ball gown from ‘The Princess & the Pea’, S/S 1996 - his first couture collection for Givenchy. The trained skirt is 5 metres long.

Our Japanese section offers for sale some of the most early, avant-garde and beautiful examples by all the ‘greats’ including de-constructed examples from Rei Kawakubo’s S/S 1983, A/W 1983-84 and A/W 1984-85 collections. Issey Miyake’s ‘Prism Colour’ coat, A/W 1987 (lot 300) is like wearing a piece of abstract art.

Fashion and music often go hand in hand and this sale perfectly demonstrates that. Lot 258 is Madonna's Jean Paul Gaultier gold lamé stage ensemble worn for her 'Blond Ambition' tour in 1990, with its famous corset-like bodice with conical breasts and matching knickers. Of all the outfits she has worn over her career, this one is instantly recognisable as ‘Madonna’.

We have a strong group of Alexander McQueen dresses – but most important of all are those specially commissioned by his close friend Björk. The ‘Kimono’ dress was made for her to wear on cover of the 1997 album ‘Homogenic’ and so memorably by photographed by Nick Knight (see front cover, lot 353). Another, a topless white lace dress with integral corset McQueen made for the ‘Pagan Poetry’ video of 2001 (lot 352). Björk asked Lee for a bridal gown where she envisaged pearls being literally sewn through her skin to form the dress. Perhaps the most sculptural dress of the group is the ‘Bell’ dress of 2004 (lot 354). This was made for a video to accompany a remix of her song (with added bells) 'Who Is It (Carry My Joy on the Left, Carry My Pain on the Right)'. This time she requested a dress 'that looked like a bell'. Lee did a brief outline sketch of the shape which Björk liked. The finished dress was flown to her in Iceland for filming - with no further discussion or fittings.

Such was their close relationship that she felt secure that the dress he designed would work.

Another historically important piece is Björk's Jean-Paul Gaultier stencilled suede jerkin and matching hat, 'The Grand Voyage' collection, A/W 1994 (lot 348). She memorably modelled this piece for Gaultier’s fashion show in Paris, July 1994.

At the time she was a young musician and was flattered that a famous Parisien designer such as Gaultier would have heard of her. It was the one and only time she modelled in a catwalk show.

We are honoured to have been chosen to handle the sale of Björk’s collection.

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LUXURY ACCESSORIES Please note all lots bearing ∆ symbol require a CITES licence for export outside of the EU, which we are happy to assist with.

See page 95 for more information.

1 A Chanel caviar leather quilted shoulder bag, 1980s, stamped to interior, with two gilt pendants, wide shoulder strap and two zipped compartments, 22cm, 8 1/2in long £450 - 650 2 A Chanel quilted black caviar leather 2.55 bag, modern, stamped to interior, with authenticity card and original box, the chain shoulder strap threaded with leather, 23cm, 9in long (2) £1000 - 1500

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3 A Chanel black satin ribbon mini-bag, 1990s, stamped to interior, with gilt and tassel pendant, satin shoulder strap, 13cm, 5in long £250 - 350 4 A Chanel brown quilted leather 2.55 bag, 1980s, stamped to interior and numbered 7736327, with double-chain strap, 25cm, 10in long £800 - 1200 5 A Chanel dark brown suede evening bag, 1990s, stamped to interior, with short handle, base 19cm, 7 1/2in long £350 - 500

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6 A Chanel black embossed leather handbag, modern, stamped to interior, the leather stamped with various words and symbols including shields and bows, double chain strap, 25cm, 10in long £350 - 500 7 An Hermès black leather Kelly bag, 1960s, stamped ‘Hermès Paris’, with gilt hardware, 33cm, 13in long £800 - 1200 8 A Chanel black quilted jersey handbag, 1980s, stamped to interior and numbered 5667647, CC engraved clasp, wine leather interior and double chain strap, 23cm, 9in long £600 - 800

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15 A Louis Vuitton monogrammed hard-sided suitcase, probably 1950s, with leather binding, brass lock and two keys numbered ‘1017272’, pinkish-cream leather interior with label numbered ‘989379’, 76 by 49 by 22cm £600 - 800 16 A Gianni Versace gold plated wristwatch, early 1990s, signed and numbered 733, with matt charcoal grey face with gilt detailing and hands, the bracelet formed from cast Medusa head medallions, 19cm, 7 1/2in long in original presentation case (2) £600 - 900

9 9 An Hermès green courchevel leather Birkin, 1994, blind stamp X, in original box, with gold plated hardware, leather fob with two keys, shopping and dust bag, 33cm, 13in long (qty) £2000 - 3000

17 An Alexander McQueen red mock-croc leather handbag, 2000s, maker’s stamp to the interior, casket-shaped with carrying handle to the rectangular lid, 20cm, 8in long £500 - 600

10 A Chanel beige quilted leather 2.55 bag, 1980s, stamped to interior and numbered 223562, with double chain strap threaded with leather, 23cm, 9in long £500 - 700

18 An Hermès black leather handbag, 1960s, stamped ‘Hermès Paris’, with gilt square buckle, three interior compartments and one pocket, 24 1/2cm, 9 1/2in long £200 - 300

11 A Chanel quilted black leather slim shoulder bag, 1980s, stamped to interior and numbered 7446471, with slim gilt chain strap, 25cm, 10in long £400 - 600

19 An Hermès ox-blood leather Kelly bag, 1960s, stamped ‘Bonwit Teller HermèsParis’, with gilt hardware, padlock, fob and keys, 31cm, 12in £800 - 1200

12 An Hermès white leather Kelly bag, 1972, signed ‘Hermes Paris’, with gilt hardware, ‘LC’ initial plaque to front closure, with leather fob and keys, 28cm, 11in £400 - 600 13 A Chanel ‘byzantine’ gilt chain belt, 1980s, signed, with oval buckle inset with green and red cabochon stones and faux pearls, 81cm, 32in long £250 - 400

20 A good Hermès black leather Kelly bag, 1992, blind stamp V, with gold-plated metal hardware, padlock, keys, and detachable shoulder strap, 32cm, 12 1/2in £1500 - 2000 21 A Chanel grey embossed patent leather handbag, modern, stamped to interior, the leather stamped with various words and symbols including shields and bows, double chain strap, 25cm, 10in long £350 - 500 22 A Chanel black and silver quilted leather bag, modern, stamped to interior, with rhinestone CC clasp, slim chain straps, 27cm, 10 1/2in long £450 - 650 23 An Hermès off-white leather Kelly bag, 1991, blind stamp U, with gold-plated hardware, leather covered padlock, fob and keys, with detachable shoulder strap, 29cm, 11 1/2in £800 - 1200 24 A Chanel silver quilted leather clutch/shoulder bag, modern, stamped to interior and numbered 12039096, mirror to inside flap, slim silver metal shoulder strap, 25cm, 10in long £350 - 550

14 A Chanel gilt metal chain necklace, 1980s, signed, the oval medallion to clasp with ‘CC’, coronet and outlined with ‘Chanel’ repeat, 46cm, 18in long £200 - 300

25 An Hermès black leather Kelly bag, 1993, blind stamp W, with gold-plated metal hardware, padlock and keys, 28cm, 11in £800 - 1200

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EARLY DRESS, TEXTILES & BALLET

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26 A group of fine linen baby garments believed to have been worn at the christening of King Charles II, 17th century, comprising: matching embroidered set worked in French knots and with Prince of Wales plumes, tulip motifs: simple shirt; an elaborate collar with loops for fastening at the rear neck; simple curved collar; christening bib and christening skirt panel; together with a simple vest with needlepoint scallops to shoulders; an under-cap and an over-cap adorned with French knots, Hollie Point lace back worked with a large crown; and a christening robe adorned with latticed linen tape strap-work, with box pleats to the front panels and centre back; and a copy of a letter of provenance dated 1948 (qty)

King Charles II was born on 29th May, 1630 in St James’s Palace, the eldest son and crown prince of King Charles I and Queen Henrietta Maria. At birth he automatically became Duke of Cornwall and Duke of Rothesay and was created Prince of Wales on his eighth birthday. He was christened and baptised in the Chapel Royal on 27th June by the Anglican Bishop of London, William Laud.

Previously on display at the Museum of London.

Provenance: Margaret de Halsey, formerly a Lady in Waiting in the court of King Charles I, c.1630. Thence by descent to the Abbott family around 1730 via marriage, and thence by descent to the present vendors.

The Victoria and Albert Museum shows similar embroidered christening garments (T.209-1970) and similar linen strapwork garments (T.4430-1970), which they date as 17th century. £2000 - 3000

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27 A reticella sampler, believed to have been worked by Margaret de Halsey, a Lady in Waiting to Queen Henrietta Maria, circa 1650, finely worked with seven needlepoint, pulled and drawn threadwork ‘snowflake’ bands, one also including stylised mermaids, 55 by 19cm, 21 1/2 by 7 1/2in £2000 - 3000

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28 A fine robe à la Française, the silk 1730s, the construction French, 1750-60, woven with large-scale naturalistic flower-heads, the open robe with broad box pleats to the back, graduated robing panels which run from bodice to hem, single engageants, all edged with coloured silk fly braid; with near matching petticoat of ivory damask silk with deep floral border and stomacher made from matching silk (3) £8000 - 12000 29 A fine brilliant yellow Spitalfields brocaded silk robe à l’Anglaise, circa 1750, woven with brightly coloured large scale oriental poppies, posies and swags, the ground figured with arabesques and wine silk spotted cartouches, the robe with linen lining to bodice, pleated front robings, double tiered engageants with bows, the hem lined in fine yellow silk; with matching petticoat front panel trimmed with pinked furbelows; and a stomacher trimmed with rosettes and braid (3) £6000 - 8000

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36 Three whitework embroidered muslin fichus, English, late 18th century, of large square form, one with overall daisy sprig motifs; another with fruit repeat borders, needlerun lace edges worked with tulips; the third worked with fern-like foliage and flowerheads (3) £600 - 800 37 A rare ribbon-worked and embroidered satin muff, French, 1770s-80s, delicately worked with moss rose and borage bands, edged in lace, 36cm, 14in long £600 - 800

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30 30 An embroidered lawn robe à l’Anglaise, circa 1770-80, delicately embroidered in chain stitch with stripes and sprigs of pinks, convolvulus, dog roses, honeysuckle, tied with pink bows, closedfront bodice panels with drawstring to neck, the sleeves with shaped elbows adorned with ruffles; together with a pink taffeta petticoat, 18th century (2)

Provenance: Originally part of the Doris Langley Moore collection. £2000 - 3000 31 A chintz block-printed capelet, late 18th century, the dark brown glazed cotton ground with Indian inspired floral motifs, with high top-stitched, quilted stand collar, lined in cream wool £500 - 800

33 A rare young man’s provincial checked cotton summer jacket, late 18th-early 19th century, woven with blue and red checks flecked with brown, lined in white calico, with two hip pockets, pocket to right upper waist, concealed pocket slits to the tail linings, curved slim sleeves with vented cuffs, full skirts, fold-over collar, the buttons of black cotton satin covered in matching fabric, chest 86cm, 34in £600 - 800 34 A man’s cloth of silver tailcoat, Italian, circa 1780, sprigged with roses, large tinsel buttons, together with three waistcoats, circa 1780-1800 (4) £600 - 1000 35 An embroidered stomacher, circa 1700, the linen ground entirely covered in diapered metal threads, with large central bouquet in coloured floss silks with needlepoint silver thread centres, pointed tip, 34cm, 13 1/2in in glazed frame £1000 - 1500

38 Two embroidered satin waistcoats and a tailcoat, circa 1780-90, the waistcoats worked in naturalistic blooms in floss silks, one with lace-effect edges, the other with sequins; and a badly faded but densely embroidered purple coat, average chest size 97cm, 38n (3)

Provenance: The actress Greta Morritt, who was a close friend of Sir Henry Irving (18381905). It is believed that Irving wore these pieces on stage in the ‘Belle’s Strategem’, when he played the character Joseph Surface in 1881. £600 - 1000 39 An ivory satin spencer, circa 1815-20, adorned with tabs, piping, and domed silver purl wire baubles, fastened by hooks and eyes, bust approx 81cm, 32in £450 - 600

32 A whitework embroidered muslin apron, English, 1770s, finely worked with delicately trailing blooms and tendrils with a variety of fillings £400 - 600

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40 A printed cotton day dress, circa 1825, roller-printed with teal-blue leaves and wine scrolling grasses, empire-line with puff sleeves, flounces to neck and cuffs, piped bands to hem, drawstring fastenings, bust approx 81cm, 32in £1000 - 1500 41 A gentleman’s black beaver stove pipe hat in original box, circa 1860, the brim very slightly curved at the sides, the shaped leather case lined in tulle-effect printed calico, the hat 18cm tall (2) £500 - 900 42 A rare pair of yellow silk and tapestry garters, early 19th century, woven with carnation repeats, with elasticated sections, silvered metal buckle and clasp, 30cm, 12in long (2) £500 - 700

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43 A silver-strip embroidered muslin dress, circa 1805-10, elaborately worked overall with small buds, puff sleeves with deep edging bands worked with pulled and drawn threadwork strawberries; with train or apron panel embroidered with fruits and vines (2) £1000 - 1500

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44 A muslin dress with printed calico spencer, French, circa 1800, the simple dress cuffs and hem edged in ivory silk ribbons, narrow bodice drawstring ties to the back; the spencer printed in coral pink on blue, the narrow back with diamond-shaped panel and deep gathers to the inset sleeves (2) £800 - 1200 45 An Irish crochet jacket, circa 1910, elaborately worked with three-dimensional flowerheads and foliage, and with graduated hem, chest approx 86cm, 34in £400 - 600 46 An Irish crochet bridal gown and matching coat, circa 1910, princess-line with high collar, 3/4 sleeves, some of the flowers with tiered petals, pearl bead buttons to the back; the coat similarly worked, with long sleeves, no fastenings, bust approx 86cm, 34in (2)

Provenance: Purchased by the vendor’s grandmother from an Irish priest in 1972, who was selling it to raise money for the church roof. She was told that it had belonged to a rich young Irish girl who chose to become a nun instead of getting married. £800 - 1200 43

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48 A Lucile Ltd ivory satin bridal or debutante gown, 1918, bearing green on ivory woven label ‘Lucile Ltd, 37 & 38 West 57th street, New York’ also with internal client tag for ‘Miss C.Wilkinson, November 10th, 1918’, the lightly padded bodice with twisted satin band inset with silver brocade and visible ecru lace camisole, with raised waistline, pleats to the sides of the draped hobble skirt with diagonal opening that reveals the ankles, with swag and floating panel to the back, bust 92cm, 36in £600 - 1000

Illustrated by Iribe

49 A rare Liberty & Co Aesthetic movement dress, circa 1910, woven yellow on white silk label ‘Liberty & Co, London & Paris’, embroidered with Japanese inspired raisedwork roses in shades of mauve and grey, trained skirt, bust approx 86cm, 34in, waist 61cm, 24in £400 - 600 50 A Hitchens of New York embroidered purple velvet opera cape, circa 1910, large woven label, lavishly embroidered in gold thread and with purple floss-silk covered baubles and purple ‘gems’ wrapped in cord, large tassels to the front closure £600 - 800 51 A Pluym lady's summer suit, American, 1912, labelled 'Pluym, Washington DC' and with handwritten client label 'Miss Marguerite Draper, April 1912', of linen open-weave with contrasting pulled and drawn-thread bands in pink silk, with decorative, pink cord, white buttons and pink organdy ruffle trims, bust approx 96cm, 38in, waist 71cm, 28in (2) £400 - 600

47 47 A Paul Poiret for Denise Poiret purple gabardine pinafore dress, model ‘Eveque’, circa 1908-11, un-labelled, with single gilt edged glass button to the scooped, low-cut bodice, finely pleated skirt, broad empireline petersham inner waistband, bust approx 81cm, 32in; with a matching pair of satin shoes by Leopold (3)

52 A Charles Frederick Worth blue silk faille bodice, circa 1885-90, woven signature label to waist stay, adorned with ivory tulle and silver wire embroidery and sequins, bust approx 81cm, 32in £400 - 600

Provenance: From the personal wardrobe of Denise Poiret, passed to her son Colin Poiret then by descent, and sold by Beaussant Lefèvre, 14th February 2008, lot 65.

53 An Irish crochet jacket, circa 1910, trimmed with pendant berries and flowerheads, elaborately worked with foliage, chest approx 86cm, 34in £400 - 600

In an interview with Vogue in 1913 the couturier stated: ‘When I dress Madame Poiret I do all I can to remove rather than to add and it is my conviction that every woman should seek this simplicity.’

In ‘Les Robes de Paul Poiret’, illustrated by Iribe, of 1908 he depicts similar empire line pinafore ‘chemise’ gowns. This line was to remain popular until c.1912. £1600 - 2500 10

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54 An important Matisse-designed complete Warrior costume from Diaghilev’s Ballets Russes ‘Le Chant de Rossignol’, 1920, comprising: tunic of painted white felt, brown velvet with gold embroidered lattice, blue cotton sleeves and blue silk collar section and underskirt, the chest and waist outlined in pressed and gilded tin L-shaped plaques, the interior with three grey gauze pads to the hips and centre-front, the calico lining with three inked names ‘Yerk, L. Nowak; Holeak?’; a pair of dark blue cotton trousers, the lower legs applied with blue silk, elasticated ankle, with inked ‘Efim’ name tag; the painted white felt hat with tied top-knot with two wired loops, indistinct signature to the gauze lining (3)

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Provenance: Part of lot 77, Sotheby & Co Auction, 17th July, 1968 and illustrated on plate XXXVII of the catalogue. £4000 - 6000

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55 An important Matisse-designed robe for a Court Lady from Diaghilev’s Ballets Russes ‘Le Chant de Rossignol’, 1920, the interior with indistinct hand written label to the neck, and the name ‘Danelova’ inked to the muslin lining, and in pencil to the chest possibly ‘Zena Aluvina’, of pale pink satin, the cloth of silver appliquéd collar with embroidered padded flowerheads, the lower sleeves and hem with silver cloud forms edged in blue and black chain stitch - the centres with hand-drawn zig zag lines in pencil, edged in black velvet

Provenance: Part of lot 77, Sotheby & Co Auction, 17th July, 1968 and illustrated on plate XXXVII of the catalogue. £2500 - 3500

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1920S - 1940S

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58 A Callot Soeurs embroidered ivory satin orientalist dress, circa 1926, un-labelled, embroidered in pale green and primrose floss silks, couched gilt threads, with large palmette to front skirt, spangled with pearlised sequin flowers, satin sash panels tie in a bow to the rear, with trained floating panel below, green chiffon camisole bodice, bust 86cm, 34in £400 - 600

59 label 59 A Jean Patou couture chiffon evening gown, circa 1923-4, large woven label and numbered 25934, in three shades of pink and mauve, the dropped waistline with cummerbund-like integral sash, triple layered panels to skirt, with lamé panel to skirt side, the lower hem edged in pink metallic lace, bust approx 86-92cm, 34-36in £2000 - 3000

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56 A Callot Soeurs couture beaded acid green velvet orientalist dress, circa 1923, unlabelled, the lower skirt of pale pink velvet embroidered and beaded in roundels, the scalloped hem with tasselled points, bust 81cm, 32in

60 label 60 An early Jeanne Lanvin couture gold lace chemise dress, Summer collection, 1922, with black on white woven ‘Jeanne Lanvin Paris’ label stamped with the date, the layered black and bronze tulle over-dress of empire-line, embroidered in vermicular floss silks and metal threads with rose filled medallions, with green silk underskirt, lightly-boned silk inner breast band, bust 81cm, 32in £600 - 1000

For a similar Callot Soeurs orientalist velvet dress, see the Metropolitan Museum accession number: 2009.300.3187. £600 - 1000 57 A lavishly beaded ivory velvet opera coat, 1920s, indistinguishable label, the back with large bird of paradise amid floral trails which continue around the hem, embroidered with seed beads, irridescent sequins and rhinestones, white rabbit fur collar and cuffs and gilt clasp, chest approx 107cm, 42in £500 - 900

61 An ivory silk summer coat made from a Central Asian embroidered suzani, circa 1928, worked in chain stitch with traditional stylised flowerheads, chest 97cm, 38in; together with an ivory silk dress with peasant style embroidery (2) £500 - 900 59 13

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65 65 A Drecoll embroidered velvet opera jacket, early 1920s, labelled ‘Ch Drecoll, Paris’, finely embroidered in chain stitch with brilliantly coloured silks, lined in black silk, chest approx 92cm, 36in

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The house of Drecoll was founded in Vienna in 1882 by the German Baron Christoph von Drecoll (1851-1939), who was dressmaker to the Austrian court. He sold his fashion house in 1895 along with his name. £750 - 800

66 A beaded green chiffon flapper dress, late 1920s, covered in a shimmer of gold bugle beads with encircling diagonal band of bronze beads, interspersed with floss silk embroidered stylised flowerheads and clear beaded foliage, bust 97cm, 38in £600 - 1000

62 An embroidered brick-red velvet evening dress, probably Callot Soeurs, early 1920s, embroidered with gold running stitches and pink floss silk, spangled with pink bugle beads with orientalist motifs, large central medallion, scalloped hem embroidered to shape, lined in chiffon, bust approx 8692cm, 34-36in £600 - 900

67 A pair of dazzling rhinestone encrusted dance shoes, late 1920s, the uppers formed from braided metal thread, entirely covered with sparkling clear and sapphire blue paste stones, 19cm, 7 1/2in long (2) £200 - 300

63 A copy of a Vionnet beaded ‘Aux Chevaux’ cocktail dress, American, circa 1926, of black chiffon adorned with copper bugle beads, tabbed hem; together with a pair of unpicked later added sleeves, bust 97cm, 38in (3) £400 - 600

68 A pink satin flapper dress, circa 1926, adorned with rhinestone and silver bugle bead flowers, central medallion with floating panel to skirt front, low back, bust 81-86cm, 32-34in; together with a pale blue crêpe de chine jacket with degradé fringes (2) £600 - 1000

64 A gold lamé cocoon-like opera cape, mid 1920s, woven with orientally inspired foliate motifs, lined in gold satin, with Indian filigree metal bell to rear neck, the front sleeve openings adorned with large metal thread tassels; together with an ivory velvet cocktail dress with shirred swag to one hip, c.1922, bust 97cm, 38in (2) £600 - 900

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69 A Mariano Fortuny ivory silk Delphos gown, 1920-30, un-labelled, with short curving sleeves laced with Murano brown and white glass beads, bust approx 81-106cm, 3242in, with an associated stencilled linen belt and spare silk laces; together with a sage-green and gold stencilled cotton jacket, 1950s, labelled ‘Mariano Fortuny Venise, 509 Madison Ave, New York’, bust approx 102cm, 40in (qty) £1200 - 1500

72 & 73 72 A Mariano Fortuny stencilled peach velvet jacket, 1920-30, with circular label ‘Mariano Fortuny Venise’, delicately stencilled with gold fern-like scrolls, lined in peach silk, two brown and white Murano glass beads to neckline cords, bust approx 117cm, 46in £1200 - 1800 73 A Mariano Fortuny black silk Delphos gown, 1920-30, un-labelled, sleeveless and trimmed with pale blue and red striped Murano glass beads along side seams and shoulders, with black silk Fortuny belt stenciled with gold foliate repeats, bust approx 96cm, 38in (2) £1500 - 2500

70 A Mariano Fortuny pale blue pleated silk Delphos gown, 1920-30, signed in a rear seam selvedge, the short sleeves with crisscross threaded cords weighted with brown and white Murano glass beads £700 - 1000

74 A Mariano Fortuny steel-grey pleated silk Delphos gown, 1920-30, signed in the shoulder selvedge, edged in midnight blue silk cord and Murano glass beads to armholes and sides £800 - 1200

71 A Mariano Fortuny gold stencilled blue velvet dress, mid 1920s, circular label to silk lining ‘Mariano Fortuny Venise’, with gold stencilled foliate medallions, laced front neckline, Murano glass beads to cuffs and matching belt with later added rhinestone buckle, bust 117cm, 46in (2) £1500 - 2000

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75 75 A Mariano Fortuny ‘Persian’ style stencilled blue-green velvet jacket, 1920-30, with large circular label ‘Mariano Fortuny Venise’, stencilled entirely with gold floral repeats, the jacket of long, slim-fitting shape with pointed, narrow cuffs, piped in gold silk and lined with gold satin, the front fastening with Murano striped yellow glass beads, bust approx 96cm, 38in £1000 - 1500

79 79 A Paul Poiret couture black cotton velvet dress, circa 1926-8, large woven label, with handwritten note to the reverse, ‘59.702, Mr White, Helen Mademoiselle’, the scooped neckline and cuffs edged in heavy gilt chains, piped, curving waistband with gathers at skirt sides, bust 92cm, 36in

76 A beaded ivory and pink tulle flapper dress, circa 1925, un-labelled, the ground entirely covered with opalescent sequins, the hem and bodice with floral motifs in pink and green sequins against a black beaded background, bust 96cm, 38in £400 - 600

Provenance: Originally from the Estate of Mrs Edwin White. £600 - 1000

77 A couture beaded pale pink chiffon ‘flapper’ dress, circa 1928, un-labelled, beaded with graduated chains to the bodice front and sides, the skirt with black and white undulating graduated beaded fringed bands, bust 86cm, 34in £400 - 500 78 A Paquin couture ivory satin ‘shawl effect’ dress, Spring-Summer, 1928, the dated woven label with Unis France logo numbered 49462, with deep V back, triple strand straps, the cross-over bodice and waistband embroidered with bird of paradise plumes punctuated by steel beads, the skirt covered in fringes, mimicking a shawl wrapped around the hips, bust 92cm, 36in £800 - 1200 16

78

78 label

79 detail

79 label

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80 detail

80 © Lanvin Archive

80 A Jeanne Lanvin couture robe de style, ‘La Mascotte’, Spanish collection, 1925, un-labelled, of ivory crêpe de chine edged in scarlet, with cross-over front panels, with red silk ties to waist, the skirt embroidered with chain stitched roundels in scarlet and ivory, edged in gold thread, the inner hem with stiffened scalloped band to hold the shape, bust approx. 86-92cm, 34-36in £800 - 1200 81 A rare Paul Poiret day dress, circa 1926-27, large woven label, the bolduc annotated ‘66.675, Mrs Campbell, suivre Quimper’, of navy gabardine with pink knitted-wool plastron and cuffs, peasant-style embroidery in navy and gilt threads, silver metal lobed sequins with pink silk French knot and gold thread undulating bands, the back with three decorative vertical bands and belt, which fastens at the front, integral silk camisole with press-stud closure concealed behind the decorative front panel, bust 86cm, 34in £3000 - 4000

81 label

80

81 detail

81 17

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83 A bias-cut beaded sea-foam green chiffon evening dress, circa 1930, with zig-zag seams to waist, adorned with silver bugle beads forming graduated roundels, bust 86cm, 34in £700 - 1000 84 A Jeanne Lanvin couture black velvet evening gown with angular sleeves, Autumn-Winter, 1936-37, large woven dated label, bias-cut, with top-stitched points to each shoulder, side zip to fasten, bust 81cm, 32in, waist 61cm, 24in £600 - 1000

86 A rare Jeanne Lanvin lounging pyjamas ensemble, early 1930s, large woven label, indistinctly labelled, numbered in pencil 659, comprising: bias-cut one-piece suit with wide flared legs, a jacket with ties to neck and complex folded back cuffs with bows; and a black satin cape with piped seams and fringed scarf ties to neck, bust approx 81cm, 32in (3) £1500 - 2000

82 82 A Jean Patou couture beaded velvet dress, circa 1925, narrow pink on white woven label, embroidered to the front with three tall blooms in a pool, worked in gilt and white beads and metal strip, similarly worked sleeves, bust 92cm, 36in

This dress formed part of a wedding trousseau in 1925. £800 - 1200

85

82 detail

82 label 18

85 An haute couture beaded bias-cut pink chiffon evening dress, circa 1937-8, with associated slip bearing a Maison Paquin label c.1949-50, with complex raised-work snaking medusa-like bands radiating from the midriff front and back, bust approx 81cm, 32in

This gown bears striking similarities to Schiaparelli’s ‘Medusa’ veil from her Circus collection, Summer 1938, presented February of that year. £1200 - 1800

86

86 label

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87 A rare Philippe & Gaston couture lavender embroidered lace bias-cut gown, circa 1930, labelled to the slip and numbered 12140, bolduc numbered 652.38, with overall vermicular patterns, satin panels to bodice, crin stiffening to hem edge, bust 92cm, 36in £300 - 500

90 A Lanvin couture black crêpe and lace evening gown, Autumn-Winter, 1938-39, large woven label and numbered 24663, with high, wide neckline, deep band over hips, long sleeves with zips to cuffs, bust 117cm, 46in, waist 97cm, 38in £400 - 600

88 A Jeanne Lanvin couture stencilled tulle dress, probably Spring-Summer, 1938, large woven label numbered in pencil 49879, the black and white over-dress worn over integral acid-green satin slip, one of the balloon sleeves appliquéd in black and white organza, bust 86cm, 34in

91 A rare Jenny couture gold lamé evening gown, circa 1936, labelled and numbered 5617, with plunging low back, draped bands to shoulders and matching waist sash, bust 91cm, 36in, waist 76cm, 30in (2)

Although Jenny was frequently represented in Vogue of the 1920s and 30s, pieces from this house rarely come onto the market. £600 - 1000

Lanvin’s S/S 1938 collection included dresses with large puff sleeves and organza appliqués. £1000 - 1500

89 89 An early Madeleine de Rauch pleated tulle evening gown, circa 1939, large woven Paris label, with bouffant pleated sleeves with wired supports, fitted boned tulle covered rayon bodice, the skirt with cascading pleats which increase in size as they descend, studded with large facetted sequins, the bodice fastened by hooks and eyes to the side, bust 81cm, 32in, waist 59cm, 23in

Madeleine de Rauch opened her maison in Paris in 1932 and specialised in sportswear and evening wear with fluid lines. £1000 - 1500

91

88

88 label

89 label

91 label 19

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94 A Maggy Rouff couture black velvet and taffeta evening gown, late 40s-early 50s, large woven label, padded shoulders, zigzag top-stitched points encircle the waist and fall in godets to the skirt, bust approx 97-102cm, 38-40in £400 - 600

95 label

96 A Jeanne Lanvin black felt conical hat, early 1930s, with narrow yellow on white woven label, hand numbered 52948, of conical shape with black glazed cotton fins; together with a Claude Saint Cyr golden velvet swirling beret; and a brown velvet hat 1950s (3) £200 - 300 97 An ivory crêpe georgette and chantilly lace ‘poppy’ dress, circa 1930, covered with vermicular clear bugle beads, appliquéd with lace poppy motifs, some with large rhinestone centres, criss-cross straps front and back, black tulle hem, bust 92cm, 36in; with a matching scarf (2) £700 - 1000 98 A beaded salmon-pink chiffon evening gown, late 1930s, with overall silver seedbead paisley motifs, ruched gathers to bust, matching belt, chiffon scarf and silk slip, bust approx approx 81cm, 32in (4) £700 - 1000

92

92 label

92 A Norman Hartnell couture ivory and gold sequined evening gown, circa 1938, labelled, with handwritten client name ‘Lady Harvey’, scalloped illusion neckline of nude tulle, the ground entirely covered with swirling motif beaded with gold sequins and miniscule seed beads; together with a ‘Finnigans of Bond St’ box and with handwritten note ‘Lady Barclay-Harvey’, bust 106cm, 42in (3) £350 - 500 93 A summer dress and coat of Chanel printed crêpe, circa 1934, un-labelled but with ‘Tissus Chanel’ printed to a selvedge, with overall navy on cream buddhist inspired roundels, with criss-cross bands to the short sleeves and looped through the front bodice, bust 97cm, 38in (2) £500 - 700 20

95

95 An early Lucien Lelong pink satin bias cut evening gown and matching capelet bolero, circa 1930, both dress and jacket with large woven satin labels, the dress with V-point to front waist, cowl neck and three broad straps to back, the capelet with concealed arm-holes trimmed with brown rabbit fur, bust approx 81-86cm, 32-34in (2) £1500 - 1800

98

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99 An early and important Christian Dior couture black satin evening gown, probably ‘Ailée’ (winged) line, Autumn-Winter, 1948, with woven black on white satin label, bolduc numbered 9205, comprising: bodice with asymmetric winged points, concealed hook and eye front closure and integral boned tulle corset; a trained, stiffened double-layered overskirt, opening at the front and folding back to form a second tier that is long at the front and shorter at the back; and a slim calf-length pencil inner skirt, bust 74cm, 29in, waist 59cm, 23in; together with a copy of ‘Town and Country’ magazine, November 1992 with front cover photograph by Irving Penn with a model wearing a dress with similar bodice (4)

A similar model is reproduced in ‘L’Album du Figaro’, no 17, Winter, 1948. £15000 - 20000 ‘L’Album du Figaro’

21

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

Provenance: Mrs Carol Dugdale (née Timmis), a stylish British socialite.

The sketch of this dress is held at Musée des Arts Decoratifs. It was worn with a highly beaded jacket modelled with a matching turban. Lady Jane Clark was photographed wearing the ensemble in 1939 to the opening night party of for the Museum of Modern Art in New York. See ‘Shocking!

Schiaparelli’ by Dilys Blum, pp.166-167. £600 - 1000

103 label

103

100

103 A Maggy Rouff couture ice-white satin sheath, circa 1949, labelled, with integral corset, accentuated hip bands which meet below two trained floating panels to the skirt rear, bust 86cm, 34in, waist 66cm, 26in £800 - 1200

100 label

104 A navy wool and black leather ski suit, 1936-9, un-labelled, the heavy felted wool double-breasted jacket with broad black leather lapels, side straps, tabs to cuffs and triangular flaps to pockets on trousers with elasticated ankles, chest 92cm, 36in, waist 71cm, 28in (2)

100 A rare post-war Lanvin couture evening gown, Summer, 1947, large woven label with red date stamp, of black wool crêpe with empire line, lightly boned pale blue sequined ivory rayon bodice, with bow to the back and Watteau-like pleated trained panel, bust 92cm, 36in £700 - 1000

This design is redolent of some German military uniforms at the time. £600 - 800

101 A Jacques Fath couture printed cotton piqué ‘New-look’ style coat, circa 1949, labelled, with velvet lapels, nipped-in waist and full stiffened skirt, waist 61cm, 24in, bust 91cm, 36in £350 - 500 102 22

105 An Edward Molyneux couture black taffeta evening gown, probably 1939-40, large printed label, with broad horizontal pleats to the front, two trained panels to the back, lightly boned bodice, moss crêpe integral petticoat, bust 97-102cm, 38-40in, waist 81cm, 32in £700 - 900

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1950S

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106

108

106 A Givenchy couture white Chantilly lace bridal gown, worn 5th May, 1955, labelled and numbered 9143, with strapless boned bodice with integral corset, full skirt with layered tulle petticoats, Watteau-back panel held in place by two bows, bust 81cm, 32in, waist 56cm, 22in £800 - 1200

108 A Christian Dior couture sequined and embroidered tulle dance dress, circa 1955, un-dated white on black woven label, stamped to reverse ‘16089’, strapless, with integral corset, Princess-line of pale grey tulle adorned with graduated bands of pearlised irridescent sequins and droplets, silver seed beads and rhinestone brilliants, bust 79cm, 31in, waist 59cm, 23in £4000 - 6000

106 label 107 A Pierre Balmain couture evening gown, ‘Oriane’, Autumn-Winter, 1954-55, labelled and numbered 73579, of ivory and ice-blue satin, integral corset, lavishly embroidered

by Lesage with gilt metal strip, gold threads, pale turquoise and grey chenille, bugle and pearl beads, small sea-shells and glass droplets, the tight pencil skirt with rear kick pleat, bust 81-86cm, 32-34in, waist 66cm, 26in

108 label 109 A Christian Dior couture chiné satin cocktail ensemble, ‘Aimant’ line, Autumn-Winter, 1956, labelled and numbered 83460, comprising: bolero with matching belt and pencil skirt, bust 92-97cm, 36-38in, waist 71cm, 28in (3) £500 - 700

The Metropolitan Museum has a similar version with brown contrasts, accession no. C.160.30. £800 - 1200 107 24

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111 A Christian Dior couture black faille cocktail dress, ‘Fuseau’ (Spindle) line, Autumn-Winter, 1957, un-labelled, probably Patron Originale, with silk covered tulle inner corset, cross over bodice accented with three silk roses, full skirt with layered tulle petticoats, bust 92cm, 36in, waist 71cm, 28in

The Metropolitan Museum collection has an identical model in red, accession no.

2009.300.7223.

This model is from Dior’s last line before his death. There is a full page sketch by Bouché showing this model in ‘Dior in Vogue’ by Brigid Keenan, p.173. At the time, Vogue described the dress as ‘the most provocative dress of the season’. This design was featured in ‘L’Officiel de la Mode’, September 1957 p.287. £2000 - 3000

110

112 A Lanvin Castillo couture yellow printed organza cocktail dress, circa 1956, labelled and numbered 65991, with overall lemon hydrangea print, the dress with crystalpleated full skirt open at the back, integral tulle petticoats, with matching bolero, bust 97cm, 38in, waist 76cm, 30in (2) £500 - 900

111

110 label 110 A Christian Dior couture black satin cocktail dress ‘Promise’ model, ‘Fuseau’ (Spindle) line, Autumn-Winter, 1957, labelled and numbered 088618, with austere broad black fichu-like collar, flared skirt, bust 81cm, 32in, waist 59cm, 23in

This gown is from Dior’s last collection before his death. This gown was reproduced in ‘L’Officiel de la Mode’, n°425-426 de 1957, p.266, featuring an elegant model with evening gloves. See also ‘Dior’, Thames & Hudson, p.159. £3500 - 5000

‘L’Officiel de la Mode’

‘L’Officiel de la Mode’

113

113 A fine Jean Dessès couture cocktail dress, circa 1959, un-labelled, of deep fuchsiapink chiffon, integral boned corset, with horizontal draping to the front, the back with low-cowled fichu through which two train-like floating panels cascade, both sides of the dress with three further horizontally pleated panels, forming complex stepped cascades, bust approx 86cm, 34in, waist 61cm, 24in £2000 - 3000 25

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116 A Christian Dior printed linen/cotton summer ensemble, late 1950s, Paris boutique labelled, with white linen bodice, the skirt and matching bolero with blue floral print, bust 81-86cm, 32-34in, waist 61cm, 24in (2) £400 - 600 117 A Balenciaga couture grey tweed suit, 1959, Paris labelled and numbered 63040, the loose jacket with chunky buttons over narrow skirt, chest 102cm, 40in, waist 61cm, 24in (2) £400 - 600 118 A Bruyère couture magenta gingham summer dress, mid 1950s, labelled and indistinctly numbered, with white and purple floral embroidery to the neckline, pockets and sleeves, bust 97cm, 38in, waist 71cm, 28in £350 - 500 119 A Chanel couture scarlet chiffon cocktail dress and jacket, circa 1957-60, narrow black on white woven label, the dress with integral tulle corset, with scarlet grosgrain ribbons outlining the bust and waist, finely pleated skirt, matching jacket with ribbon ties to neck, bust 81cm, 32in, waist 61cm, 24in (2) £1000 - 1500

120 A Jacques Heim couture beaded tulle ball gown, circa 1955, labelled, the strapless aubergine satin bodice encrusted with pearl and bugle beads and sapphire coloured rhinestones, above a layered tulle skirt in shades of blue, bust 81cm, 32in, waist 51cm, 20in £800 - 1000

114

114 label

121 A Robert Piguet couture blue lace cocktail dress, circa 1950, yellow on black woven satin label and numbered 56262, with boned integral corset, finely pleated skirt, over layered petticoats, with belt, bust approx 92cm, 36in, waist 71cm, 28in (2) £500 - 800

114 A Christian Dior couture brown tweed day suit, Autumn-Winter, 1955, labelled and numbered 78752, the jacket with domed black buttons, the skirt with broad box pleats, bust 92cm, 36in, waist 66cm, 26in (2) £2500 - 3500

122 ∆ A leopard skin coat, 1950s, Panthera Pardus, ‘David Lewis London’ embroidered to lining, with brown mink collar, cuffs and belt, chest approx 96cm, 38in £600 - 1000

115 A Balenciaga couture black wool suit, circa 1956, Paris labelled and numbered 56711, the loose double-breasted jacket with tabbed, weighted hem; matching zocolo skirt, chest 97cm, 38in, waist 61cm, 24in (2) £600 - 1000

26

120

119

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123 label 123 A fine Christian Dior couture point d’esprit cocktail dress, Spring-Summer, 1958, labelled and numbered 92442, with integral tulle corset, entirely covered in ruffled organza ribbons studded with rhinestones, the fabric by Pierre Brivet, bust 86cm, 34in, waist 66cm, 26in

A similar model was also part of the Spring-Summer 1957 collection, and was reproduced in ‘L’Officiel de la Mode’, n°419-420, March 1957, pp.316-317, the model posed within a bird-cage. £6000 - 8000

123

‘L’Officiel de la Mode’

123 detail

124 An Elizabeth Arden embroidered cocktail dress, late 1950s, labelled, of silver-grey organza, the bodice and skirt covered with undulating bands of silver bugle beads and silver thread fronds, pearlised sequin flowerheads and bands, the centre-back skirt panel with satin bows, bust 81cm, 32in, waist 56cm, 22in £700 - 1000

124 detail

124 27

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125 A Balenciaga couture purple and dark green slubbed chiné satin cocktail ensemble, Autumn-Winter, 1959, woven black on white Paris label, hand numbered bolduc 69862, with large rose repeats, the strapless dress with integral wired grosgrain corset, with cross-over pointed panels to front bodice culminating in ties at the front, curving rear waistline, with matching trapezoid bolero jacket, bust approx 81cm, 32in, waist 56cm, 22in (2) £1500 - 2500

128 A Jean Patou couture pink rose printed faille ensemble, early 1950s, large woven pink on ivory label, numbered 031039, with button fronted bodice, the crystal-pleated skirt with plain panel to the front, with matching belt, bust 92cm, 36in, waist 61cm, 24in (3) £1000 - 1500 129 A Claire McCardell by Townley black wool dress, circa 1950, labelled, fabric by Miron Woolens, button-fronted with pleats converging at bodice front, ties to neck, concealed hip pockets, bust approx 86cm, 34in, waist 66cm, 26in £350 - 500

126 A Germaine Lecomte couture pink and blue chiffon dress, early 1950s, large woven Paris label, the intricately pleated bodice adorned with silver bugle beads and pastes, bust 81-86cm, 32-34in, waist 51cm, 20in £400 - 600 127 A Christian Dior couture woven silk tent coat, circa 1955-60, white on black woven label, woven with gold and red paisley motifs on a black ground, with facetted black glass buttons, the satin lining quilted with ‘CD’ repeats, chest 48in, 122cm £600 - 1000

130 A Balenciaga couture black silk faille coat, circa 1958, Paris labelled and indistinctly numbered 64204, double breasted, the two buttons of tousled black lurex edged with facetted beads, chest 117cm, 46in £500 - 900

125

131 A Chanel couture brocaded satin cocktail suit, 1957, labelled and numbered 05629, woven with gold foliate scrolls, the sleeveless dress with cross-over panels to bodice, the matching jacket lined in pink silk with gold braid edging, dress bust 92cm, 36in (2)

Provenance: Purchased from the estate of the actress Rosalind Russell in the late 1970s. £1500 - 2000

127 28

128

131

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132

135

132 Lauren Bacall’s black satin dinner dress worn in `Written on the Wind’, 1956, with ‘Universal International’ label handwritten ‘Lauren Bacall’, double-breasted with rhinestone inset buttons, bust 86cm, 34in, waist 59cm, 23in, with Christies East sale tag, September 29th, 1987, lot 81; and a film still showing Lauren Bacall wearing the dress (2) £3500 - 4000 133 A Lesage embroidered satin bodice, probably Dior, late 50s-early 60s, with French import label and duty tag, embroidered in floss silks and studded with coloured rhinestones with Persian inspired motifs, bust 86cm, 34in; together with an associated ivory satin cocktail dress (2) £600 - 800

135 A Christian Dior couture embroidered white organdy dance dress, 1950-52, black on white woven label stamped 09908, bolduc no 17.607, embroidered overall with white fish-scale repeats in-filled with couched gold threads, the separate bodice with integral tulle corset, cross-over sweetheart neckline front and back, the full, gored skirt with pleated tulle trim to slightly flared hem, with matching stole, bust 97cm, 38in, waist 74cm, 29in (3) £3500 - 5000 Lauren Bacall wearing lot 132 in the film ‘Written on the Wind’

134 A couture chiné taffeta dress, the fabric by Staron, 1956, bearing Italian retailer’s label ‘Rocco Materay. Roma’, the bodice edged in pleats with large appliqué poppies to the midriff, integral boning, bust 86-92cm, 3436in, waist 61cm, 24in

Fath, Griffe, Balmain and Dessès all produced dresses using this fabric for their Spring-Summer 1956 collections. £650 - 700 132 label

135 label 29

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136

137 137 A Charles James for Samuel Winston black velvet and chestnut taffeta cocktail dress, mid 1950s, labelled and also with hand written tape ‘Brodericle’, the separate velvet bodice with sweetheart neckline, laced thongs at the shoulders; the stiffened skirt embroidered, beaded, sequined and appliquéd with rose trails and bows, bust 81cm, 32in, waist 56cm, 22in (2)

136 label 136 A Christian Dior couture navy challis dinner dress, ‘Lily of the Valley’ line, SpringSummer, 1954, labelled and numbered 40773, bolduc 64090, the separate bodice with wide bateau neckline, cross over-front panels and off the shoulder sleeves, integral tulle waist-corset, full, pleated skirt, bust 86cm, 34in, waist 59cm, 23in (2)

In 1955, Samuel Winston went into business with the designer Charles James, to produce a line of his clothes but this arrangement ended badly when James accused the firm of using his designs in their other divisions. £1800 - 2500 138 A Maggy Rouff couture black satin evening gown, circa 1950, labelled, with integral corset, pink satin trim to bodice and bow to front waist, bust 84-92cm, 34-36in, waist 74cm, 29in £800 - 1000

An identical design but in black faille was reproduced in ‘L’Officiel de la Mode’, n°385386 de 1954, pp.198-199. £2800 - 3500

138 30

139 A Christian Dior London grey wool day dress, circa 1959, labelled and indistinctly numbered, the skirt adorned with broad black suede bands with large buckles, bust 97cm, 38in, waist 61cm, 24in £700 - 1000

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1960S

31

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144 detail

140

144

140 A Neiman Marcus embossed velvet ‘pansy’ coat, 1960s, labelled, layered appliquéd blooms, lilac organdy base and lining, chest approx 97cm, 38in £600 - 800

144 A fine Pedro Rodriguez couture embroidered cloth of gold evening coat, 1960s, labelled, embroidered overall with acanthus leaves and blooms in pastel chenille silks, gold thread, pearl beads and rhinestones, lined in green satin, chest 122cm, 48in £800 - 1200

142 detail

141 A Maggy Rouff couture black lace cocktail dress, circa 1960, Paris labelled, adorned with three dimensional tulle flowers, bateau neckline and pencil skirt, bust 86cm, 34in, waist 61cm, 24in £350 - 500

145 A Thea Porter ‘Chasse Persane’ brocade jacket, circa 1968, London labelled, size 36, the fabric depicting Persian hunters on horseback inspired by the Raoul Dufy for Bianchini Ferier design of 1921, with tassels of gold metal thread and belt; together with a Thea Porter embroidered chiffon blouse, couture labelled, size 12, busts approx 86cm, 34in (3) £500 - 700

142 An Yves Saint Laurent couture white matelassé silk evening coat, circa 1965, labelled and numbered 2231, of voluminous cut, pres-stud fastened with large decorative pearl beaded buttons, bracelet length sleeves, chest 122cm, 48in £1000 - 1500

146 A Rudi Gernreich black satin cocktail ‘bloomer’ suit, 1968, labelled, the all-inone suit with diagonal front pleats to the bloomer-like shorts, matching belt, bust 86cm, 34in (2)

143 A Carven couture black soutache lace cocktail dress, circa 1960, labelled, with boned bodice, thin velvet straps, rear peplum with large velvet bow, tulle petticoats, bust 86cm, 34in £400 - 600

See ‘The Rudi Gernreich Book’ by Peggy Moffitt p.169 for a bloomer ensemble. £500 - 800

142 32

147 A Balenciaga couture wine velvet tent coat, early 1960s, Eisa labelled, of voluminous cut with bracelet length sleeves, lined in black taffeta, chest approx 112cm, 44in £500 - 900

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148

148 label

150 150 A fine Pierre Balmain embroidered ivory gazar evening ensemble, Spring-Summer, 1966, with large woven Paris label, no 135248, the streamlined dress and matching coat appliquéd and embroidered with chenille floral motifs and scrolls, dress bust 92cm, 36in (2) £1000 - 1500

148 A Marc Bohan for Christian Dior couture ‘LBD’, Autumn-Winter, 1963, and worn by the actress Julianna Margulies to the People’s Choice Awards, 2014, labelled and numbered 121098, of black satin flecked with lurex velvet spots, black satin belt with self bow to waist, bust 86cm, 34in, waist 74cm, 29in £600 - 1000

151

151 label 151 A Balenciaga couture black chantilly lace cocktail ensemble, circa 1964, Paris labelled and numbered ‘91419’ to coat, the sheer over-dress with two hip-high slits to the front skirt, scalloped hem, matching negligee-style coat which gathers into the back with silk ribbon drawstring waist; and original black silk half slip, bust 96cm, 38in, waist 81cm, 32in (3) £600 - 900

149 A fine Balenciaga couture black ciré matelassé silk evening coat, SpringSummer, 1965, Paris labelled and numbered 95915, of generous cut, with domed jet-like facetted buttons, lined in silk hand quilted with roundels, chest 122cm, 48in £800 - 1200

149

149 detail 33

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152

154

155

152 A Chanel couture brown tartan mohair suit, 1964, black on silver label to jacket and numbered ‘24915’, the jacket with gilt lion mask buttons, piped and lined in bronze silk with chain-weighted hem; matching skirt, bust 92cm, 36in, waist 66cm, 26in (2) £600 - 1000

154 A Christian Dior New York gold lamé and coloured tweed cocktail ensemble, mid 1960s, labelled, comprising: jacket and skirt with lamé facings, matching sleeveless bodice with gilt metal bauble buttons and a turban-like hat, bust 86cm, 34in, waist 64cm, 25in (4)

157 A Chanel couture ivory tweed suit, 1964, broad label and numbered 24873, the jacket with gilt lion mask buttons, the skirt with broad pleats, with matching topstitched silk blouse, chest 92cm, 36in, waist 76cm, 26in (3) £700 - 1000

153 A Chanel couture navy bouclé coat-dress, mid 1960s, silver on black woven label, the navy disc buttons with gilt lion heads medallions, box-pleated skirt and lined in blue silk, bust 92cm, 36in, waist 71cm, 28in £500 - 800

Provenance: Purchased from the estate of the actress Rosalind Russell in the late 1970s. £1000 - 1500 155 A Chanel couture plum chenille and gold lurex ensemble, 1963, narrow brown on ivory label numbered 20035, the dress with pink-gold degradé crinkled lurex bodice, the skirt and jacket of gold-flecked chenille, similarly lined and with heavy gilt chain, both with lion mask filigree buttons, dress bust 92cm, 36in, waist 74cm, 29in (2)

158 A Chanel couture ivory bouclé wool coat, 1962, labelled and numbered 17054, with gilt lion mask buttons, slubbed ivory silk facings and quilted lining, chest 102cm, 40in £500 - 700

An identical ensemble is part of the collection at The Metropolitan Museum of Art, accession number C.1.67.23a,b. £1500 - 2000 156 A Chanel couture pink, yellow and green tweed dress, circa 1966, black on white woven label and numbered ‘31262’, front fastening to one side with gilt double ‘C’ buttons and fringed edges, lined in pink quilted silk and with integral waistband, bust 92cm, 36in, waist 81cm, 32in £500 - 700

34

153

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159 A Chanel couture hound’s tooth checked tweed and kid leather suit, 1965, labelled but not numbered, the box-cut jacket with black leather collar and broad waistband with three buckles, gilt lion mask medallion heads, knee-length skirt, bust 92cm, 36in, waist 71cm, 28in; together with a photocopy of ‘Les Jardins des Modes’, September, 1965, p.81, for an image of this suit being modelled (3) £1500 - 2000 160 A Chanel couture brown tweed ensemble, 1962, wide label and numbered 37629, woven with ivory mohair scallops, long coat with gilt lion mask buttons, lined and faced in navy silk, chest 97cm, 38in, skirt waist 66cm, 26in (2) £600 - 1000 161 A Chanel couture blue and black hound’s tooth checked coat, circa 1960, narrow label, bolduc indistinct, double-breasted with self-covered buttons, lined and quilted in pale blue silk, chest 92cm, 36in £400 - 600 162 A Chanel couture ivory tweed ensemble, 1966, large label numbered 31303, comprising: jacket with gilt lion mask buttons, matching skirt with navy silk waistband, navy silk short-sleeved blouse and a beret with narrow black on white label, blouse bust 92cm, 36in, skirt waist 71cm, 28in (4) £700 - 1000

‘Les Jardin des Modes’

159

165 A Balenciaga couture flecked grey and ivory checked tweed suit, mid 1960s, Eisa labelled, the loose jacket with side slits, pewter glazed buttons, faux pocket flaps and organdy cuffs, below knee skirt, chest 102cm, 40in, waist 61cm, 24in (2) £500 - 800 166 A Marc Bohan for Christian Dior couture tweed suit with tousled collar, AutumnWinter, 1962, labelled and numbered 116015, the bolduc with ‘M.Claude-Prince Noir’, with A-line skirt, chest 86cm, 34in, waist 61cm, 24in (2) £600 - 800

163 A Balenciaga couture black gazar evening gown, Autumn-Winter, 1967, Paris labelled and numbered 105410, cotton tape to interior inscribed ‘SNA Yul Brynner, 1962’, with flounces to cuffs and trained hem, rear prestud fastening, bust 92cm, 36in £700 - 1000

167 A Madame Grès couture steel-grey mohair cape, circa 1964, labelled, double-layered self-lining with four buttons to one shoulder £600 - 1000

164 A Chanel couture navy moss crêpe bodice, 1960, narrow woven label and numbered 14782, with gilt metal chains to neck and cuffs, threaded with cord ties, chain weighted hem, bust 92cm, 36in; together with a non-matching navy blue wool skirt (2)

168 A Christian Dior couture checked tweed jacket and beret, circa 1960, labelled but date removed, lined in green silk, with belt, bust 86cm, 34in (2) £400 - 600 169 A Balenciaga couture black and white hound’s tooth checked suit, mid 1960s, Eisa labelled, the loose double-breasted jacket with black disc buttons, matching skirt, chest 102cm, 40in, waist 64cm, 25in (2) £450 - 600

Provenance: Purchased from the actress Ruth Gordon’s estate in the 1980s. £400 - 600

163

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170 A Balenciaga couture black bouclé wool suit, circa 1963, labelled and numbered ‘86620’, the loose-cut jacket with bracelet length sleeves cut in one with the front and back panels, two front pockets, the slim skirt with pockets concealed within front seams, bust 107cm, 42in, waist 66cm, 26in (2) £500 - 700

178 An André Courrèges ivory double faced wool coat, late 1960s, Paris labelled, doublebreasted with top-stitched seam detailing, chest 86cm, 34in £700 - 900 179 A Pierre Cardin ‘Pop Art’ velvet maxi-skirt, 1960s, labelled, with abstract waves in purple and green, orange circle to right side, waist 66cm, 26in £200 - 300

171 ∆ A leopard skin and brown leather coat, 1960s, Panthera Pardus, together with a brown leather and gilt metal belt and a leopard skin and leather handbag, chest 102cm, 40in (3) £400 - 600

180 A Balenciaga couture pink silk/linen summer suit, mid 1960s, Eisa labelled, the loose jacket with faux pocket flaps just above the jacket hem, chest 97cm, 38in, waist 71cm, 28in (2) £400 - 600

172 A Givenchy couture printed colour striped dress, circa 1969, labelled and indistinctly numbered, bust 92cm, 36in £400 - 600 173 An Yves Saint Laurent couture ivory silk Saharienne-style trouser suit, circa 1968-70, labelled and numbered 29224, the jacket with patch pockets, gilt metal buttons, topstitched detailing; the slim-fitting trousers with slight flare at the the hem, bust 81cm, 32in, trouser waist 66cm, 26in (2) £700 - 1000

174 174 An André Courrèges couture orange doublefaced wool ensemble, 1968, woven black on white Courrèges Paris label, comprising: mini-dress, the pocket flaps adorned with gilt disc buttons, the matching jacket with similar pocket flaps, rear belt, stand collar, bust 81-86cm, 32-34in (2)

181 An Yves Saint Laurent for Christian Dior couture rose-printed slubbed silk summer ensemble, ‘Shape of Tomorrow’ line, Spring-Summer, 1960, labelled and numbered 104422, comprising: cocktail dress with low scooped back, weighted hobble-hem, loose jacket with flounced hem, zip and buttons to fasten, bust 81cm, 32in (2) £800 - 1000

An orange wool coat with identical buttons is reproduced in ‘L’Officiel de la Mode’, n°599-560, 1968, p.88. £1000 - 1500 175 An André Courrèges baby-pink wool mini dress, late 1960s, black on white Courrèges Paris label, with concealed front side zip and pleated skirt, bust 81cm, 32in £400 - 600 176 A Christian Dior New York black satin evening gown, circa 1960, labelled, with elbow length sleeves and scooped neckline, the bodice with large bow to front, bust approx 92cm, 36in, waist 71cm, 28in £400 - 600 177 An André Courrèges couture maxi dress, 1969, labelled and numbered 103348, the organdy over-dress adorned with bands of yellow square sequins and acid green ribbons, empire line white cotton, heavy cotton base, bust 81cm, 32in £600 - 800

173 36

181

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‘L’Officiel de la Mode’ 182 An André Courrèges orange vinyl and white cotton mini-dress, 1969, woven black on white Courrèges Paris label, with satinised cotton collar, skirt and belt, bust 81cm, 32in

For an identical dress see ‘L’Officiel de la Mode’, n°567-568, 1969, p.59. £2000 - 3000

182

183 A fine and rare Paco Rabanne mink coat with armour plating, 1968, labelled Paco Rabanne pour Simon Freres, Paris, made in France, the front and back covered with silvered metal platelets inset with rivets, fastened by hooks concealed behind large metal clasps, chest 97cm, 38in; together with a book ‘Paco Rabanne’ by Lydia Kamitsis, which describes Paco Rabanne’s collaboration with Simon Freres on p.12 (2) £3500 - 5000 184 A Christian Dior London black wool cocktail ensemble, Autumn-Winter, 1959-60, with size 12 label only, the dress with shoulder straps converging at central bodice bow, the skirt draping into broad hem band; the jacket with domed cord embroidered buttons, bust 86cm, 34in, waist 61cm, 24in (2)

Yves Saint Laurent’s last collection for Dior was shown in July 1960, and featured dresses with ‘puff-ball’ skirts similar to this one. Maison Dior considered the collection too avant-garde and daring, thus triggering Saint Laurent’s dismissal.

See ‘L’Officiel de la Mode’ n°449-450, 1959 p.131 for the ensemble ‘Autumn’ which bears a striking resemblance to this model. £400 - 600 183 37

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188 A Balenciaga couture black jersey dinner dress, circa 1963, Paris labelled and numbered 83.110, pres-stud fastened to front, with concealed pockets within front seams, black leather belt slots through at the front, bust 82cm, 36in £600 - 800 189 An Yves Saint Laurent couture black synthetic stretch jersey mini-dress or tunic, Autumn-Winter, 1968, labelled and numbered 020917, with Russian-style stand collar and black glass buttons, small side slits, bust 92cm, 36in £450 - 600 190 A Jacques Griffe couture black satin cocktail dress, circa 1960, with woven thumb-print label, with integral boned taffeta corset the V-neckline edged with satin plumes, bellshaped skirt with weighted hem, bust 92cm, 36in £600 - 900

185 185 A Christian Dior London marigold-yellow slubbed silk halter-neck dress and matching bolero jacket, 1960, labelled no 39865, the dress straps and jacket trim of large topaz coloured stones, the dress with integral corset, dress bust 86cm, 34in, jacket 92cm, 36in (2)

191 An unusual Galanos black satin ‘ribbon’ ensemble, late 1960s, labelled, the bodice and trousers formed from joined ribbon strips, with fringed tunic hem and legs, bust 86cm, 34in, waist 61cm, 24in (2)

Provenance: Purchased from the estate of the actress Rosalind Russell in the late 1970s. £450 - 600

193 192 A Neiman Marcus cockerel feather dress, 1960s, labelled, the black silk crêpe ground entirely covered in plumes, bow to waist, bust 86-92cm, 34-36in £400 - 600

The ensemble was purchased for a family occasion from Samuels in Hale village, Cheshire. The event was cancelled and the ensemble remained unworn. £600 - 1000

193 A Galanos shocking pink and lime feather dress, 1960s, labelled, with concealed zip fastener to the front, lined in pink chiffon; with a gold and pink sequined belt, bust 81cm, 32in (2) £600 - 800

186 A Balenciaga couture chartreuse silk/linen summer ensemble, mid 1960s, Eisa labelled, the sleeveless shift dress with interesting curved front skirt panel concealing pockets, matching loose jacket, bust 92cm, 36in (2) £500 - 700

194 A Christian Dior London yellow slubbed silk cocktail dress, circa 1960, labelled and numbered no 24763, with bow to front waist, separate petticoat with slubbed silk panel to hem, bust 92cm, 36in (2) £600 - 800 195 A Pauline Trigère brown chiffon and pink ostrich plume sprigged cocktail dress, mid 1960s, labelled, with moss crêpe slip, ties to neck, bust 86cm, 34in £600 - 800

187 A Christian Dior London heavily embellished evening gown, circa 1965-8, labelled and numbered 61701, entirely covered in rhinestones, white seed beads, sequins, in scrolling clover leaf patterns, with turquoise chenille embroidered sleeves and hem, bust 86cm, 34in £600 - 800

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196 A Balenciaga couture ivory silk suit, circa 1962, Eisa labelled, with faux pocket flaps to loose jacket, wooden bauble covered buttons, the skirt with closure concealed within front side pleat, chest 97cm, 38in, waist 76cm, 30in (2) £500 - 800

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AFTERNOON SESSION 3pm lots 197 - end of sale

ROYALTY & FASHION

1970s - 2000s

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199 HRH the Duke of Windsor’s Hunting Lord of the Isles tartan evening suit, 1951, woven in shades of green and white wool, the Scholte double-breasted jacket, labelled and indistinctly annotated `HRH the Duke of Windsor’, dated 8.6.51 and numbered 2719, with wide lapels, side vents, curved cuffs with three buttons; the matching trousers

by Harris of New York, zip fastened, with narrow tapering legs to the ankle; together with a Hawes & Curtis matching backless waistcoat, no 4996, and cummerbund; a Scholte dark green corduroy backless waistcoat, bearing the Duke’s name, dated 8.10.47, no 189493; and two Hawes & Curtis white piqué highland style dresswaistcoats, chest 97cm, 38in, waist 74cm, 29in (7)

This suit is one of the most stylish and flamboyant of all of the Duke’s wardrobe.

He was photographed wearing it in the early 1960s but was to continue to wear it throughout his life. It combined carefully considered tailoring with the dramatic use of an ancient highland tartan. The modern cut combined with the traditional tartan produced an avant-garde and almost shocking ensemble. Every time the Duke ordered a suit it must have posed something of a logistical nightmare. His jackets were made by his favoured London tailor Scholte, his waistcoats, shirts and accessories by Hawes & Curtis, but for his trousers he went to New York for - his ‘pants across the sea’ as Wallis jokingly called them. This is the suit of a quintessential dandy. As Prince of Wales and throughout his life he loved to lead fashion rather than to follow it. A suit of such dramatic pattern and colour would undoubtedly make him stand out in a crowd (as if he didn’t already) though such is the power of the ensemble that few would probably dare to follow his lead - and should they try, they would be unlikely to pull it off with the elan of the Duke!

197 & 198

197 An important letter from Prince Edward to his lover Freda Dudley Ward, Sandringham, 23rd December, 1919, two pages written on both sides in pencil, he describes her as his ‘vewy, vewy own precious darling’, ‘little mammie’ and ‘Fredie mine’ and complains about the fact that he has to go on another ‘f-cking world trip!! But don’t let’s even think of that’. He bemoans Christmas at Sandringham with his family - ‘I feel so so lost sweetie as if I’m a guest in a strange house instead of staying with my family...

My father received me rather coldly tho. mamma was divine and can’t do too much for me, so I hope for the best and that they won’t be too foul to your poor little boy’.

His lack of interest in his Royal role is demonstrated by - ‘You mean absolutely all and everything to me in life; nothing else seems to matter now not even my bloody job of which I’m so sick!’. He signs himself, ‘Your vewy vewy own devoted adoring little David’. £1500 - 2500

Provenance: Sotheby’s auction of the wardrobe of the Duke of Windsor, lot 2922, 24th February, 1998. £7000 - 10000

198 A pencil portrait of HRH Prince Edward, dated 18th May, 1919, signed Collings, and dedicated in pencil to Freda Dudley Ward ‘I am a sorry little boy tonight - Forgive me pleath Fredie - David (11.30 pm), 16 by 12cm, 6 1/4 by 4 3/4in £300 - 500

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199 detail

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AN IMPORTANT SINGLE OWNER COLLECTION RELATING TO THE WINDSORS AND THEIR FRIENDS HERMAN & KATHERINE ROGERS LOTS 201-207 201 ‡ A silver-gilt snuff box given by the Duke & Duchess of Windsor as a gift to Katherine and Herman Rogers, Christmas 1948, assayed for London 1823, maker’s mark for Charles Rowling, with engine-turned exterior, the lid applied with later gold plaque engraved with scrolling ‘WE’ cipher for the Duke and Duchess of Windsor, the interior lid engraved ‘Katherine and Herman, from Wallis and David, Christmas 1948’, 8cm, 3 1/4in long, 140g, 5oz £2000 - 3000

201 detail

200 200 ∆ The Duchess of Windsor’s brown alligator handbag, probably Ferest, 1950s, alligator mississippiensis, with two deep side pockets, gilt lifter clasp to central compartment, lined in beige calf, 26cm, 10in long

Provenance: This handbag was previously sold by Kerry Taylor Auctions, 17th March 2011, lot 103 and came directly from the estate of the late Duchess of Windsor. £500 - 1000

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203

202 202 ‡ A rare and important photographic album including images of King Edward VIII and Wallis Simpson on the Nahlin cruise, compiled by their friends and companions Herman and Katherine Rogers, AugustSeptember, 1936, 69 pages containing approx. 277 black and white photographs showing the King, Wallis and friends at play cruising the Adriatic on the Nahlin, visiting Greek temples, Prince Paul of Yugoslavia’s lunch on board, Sir Sydney Waterlow’s picnic at Tailor’s Bay, Chalkis where Nahlin hit a bridge, picnics on Greek islands (where Wallis sports rubber bathing hat and elasticated swimsuit and the King appears bare-chested or in Breton top), a meeting with Turkish general Fahrettin in Istanbul and a trip on Kemal Ataturk’s private train, a trip to Vienna (where Wallis catches a cold), a partridge shoot on Sir Walter Selby’s estate (the King wears a loose blouson jacket and a pair of Bermuda shorts in contrast to the hunting tweeds of his companions) and finally a visit to Balmoral with deer stalking trips - the King wears a stalking cape with hood (which causes great mirth), long stalking trousers, tartan suits and full highland dress with Balmoral tartan kilt, 29 by 40cm, 11 1/2 by 15 3/4in

In August 1936, King Edward VIII, who had recently acceded to the throne, chose to take his married lover - Mrs Wallis Simpson, on an extended cruise around the Adriatic and Eastern Mediterranean. The fact that Spain was in the throes of a civil war and there was unrest in the Balkans did not deter him from embarking on the trip, despite government advice to the contrary.

The specially chartered Nahlin yacht, was partially re-fitted for the cruise, with the library converted into a master bedroom.

Edward VIII and Wallis Simpson were 42

accompanied by a few close friends including - Herman and Katherine Rogers (who made this album), Sir Alan ‘Tommy’ Lascelles (assistant private secretary), Minister of War - Duff Cooper and his beautiful wife Lady Diana, Lady Brownlow and Lord Brownlow (Lord-in-waiting).

Whilst Britain remained unaware of the royal romance (thanks to acquiescent press barons who quashed all mention), in the US and Continental Europe the affair was widely reported as Wallis’ aunt Bessie (who lived in the US) was to inform her upon her return to France at the end of the trip. Not all of the coverage was flattering.

The visit to Balmoral took place at the end of the Nahlin cruise on 23rd September, 1936, Wallis having briefly stopped in London beforehand to meet with her lawyer to finalise details of her divorce from Ernest Simpson.

Her petition for decree nisi was to be heard on 27th October, at Ipswich Assizes. If all went to plan and the divorce was granted - it meant the couple could be married before the planned coronation date of 12th May, 1937. In the Balmoral section of photographs at the end of the album, the pair look happy and relaxed and are seen joking with the Duke of Kent and Lord Louis Mountbatten.

Just three months later, 10th December 1936, with the King unable to rule without Wallis beside him, he chose to abdicate his throne and empire - and was created Duke of Windsor.

This album compiled by Katherine and Herman Rogers illustrates rare, private moments during the King’s brief reign. They show the calm before the storm in the leadup to the abdication crisis, where Edward VIII renounced crown and empire - all for the woman he loved, surely one of the most romantic gestures of all time? £1500 - 2500

203 ‡ A page of Balmoral Castle stationery, autographed by King Edward VIII, Wallis Simpson and other guests as a record of their week-long stay there at the end of the Nahlin cruise, September, 1936, the Balmoral letter-head with British Royal cipher, edged in black (mourning for King George V), with signatures of Edward R I, Wallis Simpson, Gladys and John Buist, Edwina and Louis Mountbatten, George (Duke of Kent) and Marina (Princess), (Major) Ulich Alexander (Keeper of the Privy Purse) and (Sir) Piers Legh (equerry), 24 by 19cm, 9 1/2 by 7 1/12in

On 23rd September, Edward VIII personally drove to Ballater station to collect Wallis and her friends Katherine and Herman Rogers for their stay at nearby Balmoral Castle. This aroused disapproval in the press, as the King had declined to open a hospital in Aberdeen that day in order to do so. The ‘house’ party was small and intimate - drawn from younger members of the Royal family and close friends. They spent their days deer stalking, walking and playing an unusual Austrian game - arrow golf. Wallis acted as hostess, organising evening entertainments and planning the meals. She wrote in her memoirs that she had spent a happy time at Balmoral.

However, it was to be a brief interlude as news of the affair finally broke in the British press and details were published of her impending divorce from Ernest Simpson.

This piece of autographed stationery was signed for Katherine and Herman Rogers as a memento of their stay. £2000 - 3000

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May 4th 1937. ‘Wallis Warfield’ and ‘Edward’ sign the book - presumably visiting the castle in advance, to discuss preparations for their impending wedding. Wallis’ aunt, ‘Bessie L. Merryman’, arrives on May 22nd to assist.

204 204 detail 204 ‡ The Villa Lou Viei Guest book, used also to record guests at the wedding of the Duke of Windsor and Wallis Warfield on June 3rd, 1937, with gilt-tooled leather binding, the internal pages dating from 1927-1950, approx.120 annotated pages bearing the signatures of Katherine and Herman Rogers’ house guests and with signatures of those attending the wedding of the Duke & Duchess of Windsor at the Chateau de Candé, 13 1/2 by 18cm, 5 1/2 by 7in

Katherine and Herman Rogers remained close, supportive friends to Wallis, through two failed marriages and her secret romance with the heir to the British throne.

Mr & Mrs Rogers accompanied the couple on the infamous Nahlin cruise in August 1936 and also the happy interlude spent at Balmoral Castle in September 1936 before news of the relationship finally became known in the UK and all hell broke loose.

This remarkable book accurately logs the courtship, the resulting abdication and eventually the marriage of the Duke & Duchess of Windsor.

June 23rd 1928. Wallis first appears as a guest at the Rogerses villa in Cannes - ‘Lou Viei’ - and signs herself ‘Wallis Warfield Spencer’ (i.e still bearing the name of her first husband Earl Spencer whom she had disastrously married in 1916).

It is not until July 21st, 1931 that she visits again and signs ‘Wallis W. Simpson’. She is not accompanied by her husband.

September 12th 1934. Wallis visits for first time with Edward, Prince of Wales. They visit again September 7th 1935 and sign ‘Wallis W. Simpson’ and ‘Edward P’.

December 4th 1936. The entry reads simply ‘Wallis Simpson’. She has fled from Britain for refuge at the height of the abdication crisis after being hounded day and night by the press. She was accompanied by Lord Brownlow, the King’s friend and ‘Lord in Waiting’ to give her moral support and advice. In her memoirs she records listening to the abdication speech on December 11th: ‘As the moment approached, everyone at Lou Viei, including the domestic staff, gathered around the radio in the sitting room. David’s (the informal given name for Edward) voice came out of the loudspeaker calmly, movingly. I was lying on the sofa with my hands over my eyes, trying to hide my tears. After he finished, the others quietly went away and left me alone. I lay there a long time before I could control myself enough to walk through the house and go upstairs to my room’.

Mr and Mrs Rogers assisted with the wedding preparations at the Chateau de Candé, which had been loaned to the Windsors by American millionaire Charles Bedaux. The ceremony was to take place on June 3rd and the Rogerses decided to take their guest book along to record the historic event.

A page dated March 9th, 1937 is altered to read ‘Chateau de Candé, Monts (Lanol)’ - the day of their arrival. Importantly, Herman had been chosen for the important role of giving Wallis’ hand in matrimony at the ceremony.

204 detail

December 23rd 1929. Wallis again appears as a guest but this time with her new husband Ernest and she signs herself as ‘Wallis Warfield Simpson’ with an address of ‘12 Upper Berkeley Street’.

June 3rd, 1937. On the wedding day itself, twenty-eight people autograph the guest book including the married couple who simply sign themselves ‘Edward’ and ‘Wallis’. Other signatures include the society florist Constance Spry (who arranged the flowers), R. Anderson Jardine (the rebel vicar who officiated at the ceremony without the consent of the Church of England, which was to cost him his job), E.D. Metcalfe (known as Fruity to his friends and who acted as best man) and his wife Lady Alexandra (Baba), the Bedaux’s, Randolph S.Churchill, Walter Monkton. The wedding was a relatively lowkey, muted affair. Edward was used to the pomp and ceremony of large Royal occasions, with crowds of flag-waving patriots lining the streets. Most British aristocracy and establishment now shunned the couple and disapproved of the marriage. Poignantly, not one member of the Royal Family attended despite the Duke’s heartfelt pleas. Edward VIII had chosen to follow his own personal desires rather than putting duty and his country first - something that was not to be forgotten or forgiven by the British establishment. Just one press photographer was allowed inside the castle grounds and pictures on the day show the couple looking rather strained, with forced smiles.

There was a large battalion of reporters and cameramen camped outside the gates.

Local villagers were filmed raising a toast to the newlyweds and seemed to be having more fun than the couple within.

March 26th-30th 1937, records guests arriving at the Chateau including Lord Brownlow and Fern and Charles Bedaux, the owners of the castle. Bedaux was rumoured to be linked to the Nazi regime in Germany.

Bedaux sardonically notes ‘There are a few things we could criticize on the appointments of this place’.

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By June 21st, 1937 the book is returned to the Rogers’ villa - Lou Viei, in Cannes.

December 21st 1937. The married couple return for a Christmas visit and sign themselves ‘Edward’ and ‘Wallis Windsor’.

They both visit again 1st April 1938. In January 1939 Wallis returns with her aunt Bessie and this is the last entry made for the Windsors. £3000 - 5000 43

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205 ‡ The Cartier 18 karat gold cigarette case presented as a gift to Herman Rogers by the Duke & Duchess of Windsor, 1937, signed to the rim 750 Cartier, Paris, made in France and numbered 66017, 65083, the exterior with overall diapered lattice pattern, the clasp and corners inset with calibré cut sapphires, the lid applied with gold cipher for the Duke & Duchess of Windsor - angular ‘WE’ below a coronet, with facsimile hand-written engraved inscription to the interior, ‘We will never forget a great friendship 5-XII-36 to 3-VI-37, Edward, Wallis’, 12 1/2cm, 5in long, in original gold tooled morocco Cartier case (2)

The dates engraved within the case are significant.

The 5th December, 1936 relates to when Wallis fled England during the abdication crisis and took refuge at Lou Viei in Cannes with Herman and Katherine Rogers. It was with them that she listened to the King’s abdication speech over the radio on the 11th December, 1936.

The second date relates to the marriage of the Duke and Duchess of Windsor at the Chateau de Candé, where Herman gave away the bride, as Wallis had no extant father or close male relation. £20000 - 30000

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206 ‡ A matching 18 karat gold powder compact, probably Cartier, presented as a gift to Katherine Rogers by the Duke & Duchess of Windsor in 1937, stamped to the rim 750 and numbered 66120, the exterior with overall diapered lattice pattern, with calibré cut sapphire to the clasp and also down two sides of the case, the interior with mirror and gauze covered powder compartment, 12cm, 4 3/4in

Katherine and Herman Rogers had moved into the Chateau de Candé in advance of the wedding to assist with preparations.

This vanity case was presented as a gift at the time of the wedding and matches the cigarette case that was given to her husband Herman. £10000 - 20000 207 ‡ The engraved silver salver, given by the Duke & Duchess of Windsor to their friend Herman Livingston Rogers on the occasion of his marriage to Lucy Wann, 9th August, 1950, assay marked London 1767, maker Ebenezer Cocker, engraved to the centre with a coat of arms, and later engraved Windsor cipher with Ducal coronet with entwined scrolling ‘WE’ monogram, and ‘from Edward and Wallis’, the outer gadroon border inset with scallop shell medallions, raised on three claw and ball feet, 33cm, 13in diam. 1065 grms, 37.6oz

206 open

Herman Rogers and his first wife Katherine had known Wallis since 1924, when she befriended and stayed with them in Beijing on her tour of China. They stood by Wallis and Edward throughout the abdication crisis, helped with their wedding preparations at the Chateau de Candé and remained lifelong friends. Herman’s first wife Katherine sadly died in the 1949, and this salver commemorates his marriage in 1950 to his second wife Lucy. It was Lucy who ensured this Windsor collection was cared for and kept together.

206

The arms on the salver are English and either Slacke or Slack impaling Chantrell or Cantrell. £2000 - 3000

207

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209

208 © David Levenson / Getty Images 208 Princess Diana’s Emanuel couture teal tartan wool day ensemble, 1985, labelled ‘Emanuel Special’, the coat with wide sailor collar, wide padded shoulders, the back with blouson-style box pleats held in place by a dropped waistband, over tapering plain skirt; the separate matching skirt with kick pleats front and back, chest 97cm, 38in, waist 66cm, 26in (2)

This ensemble was specially commissioned by the Princess for her Official visit to Italy with Prince Charles. She wore it with a string of pearls, a simple white camisole, and a large peacock blue felt hat with folded back brim. She was photographed on May 5th wearing the ensemble when she accompanied Prince Charles for a short gondola ride in Venice and later the same day when they collected the two young Princes from the airport. There are charming photographs of the Princess wearing the outfit whilst holding Prince Harry.

209 A Dobbie limited-edition fan, made to commemorate the wedding of Princess Diana and Prince Charles, 1981, no.9/25, the sterling silver grip applied, bearing Prince of Wales feather badge and the motto ‘Ich Dien’ (I serve), inscribed to the reverse: ‘The marriage of the Prince of Wales and Lady Diana Spencer, 29 July 1981’; in original presentation box with letter of authenticity, together with two photographs of Princess Diana holding an identical fan (qty)

Only 25 of these fans were produced by Dobbie London for the Fan Circle. Princess Diana carried an identical fan when attending the Worshipful Company of Fan Makers Banquet at Mansion House, 12th December, 1985. £800 - 1200

Elizabeth Emanuel has confirmed that only one outfit like this was ever made - for Diana, Princess of Wales.

The press at the time unkindly likened the ensemble to a ‘horse-blanket’, which is possibly why it ended up in a high-end clothes resale shop in Hampshire. The vendor purchased it from there in 1990 and was told by the shop keeper that the clothes had come to her via Susan Barrantes, mother of Sarah Ferguson, Duchess of York. £10000 - 15000

208 46

Princess Diana with a fan identical to lot 209

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© Mauro Carraro / Rex Features

210

210 Princess Diana’s Catherine Walker seagreen sequined evening gown, worn for the State visit to Austria in 1989, labelled ‘The Chelsea Design Co Ltd, London’, of Jacob Schlaeper sequined satin, figure-hugging with ruching down the centre-front seam, the skirt with front slit to the knee, bust 86cm, 34in, waist 61cm, 24in

This dress formed part of a large group order from Catherine Walker about a month before the Princess’ intended State visit to Austria. Diana had enormous faith in Catherine’s taste and judgement, so much so that on this occasion she didn’t even ask to see provisional sketches - just asked her to select and make the dresses on her behalf. This extremely glamorous, sparkling gown was the only totally sequined

example to form part of the Princess’ 1980s wardrobe. Diana wore it with a diamond and emerald choker necklace, which she had been given as a wedding present by H.M. The Queen Mother. She was photographed wearing the dress many times: To the Vienna Burgtheater to see ‘All for Love’ in 1989; To a charity ball at Osterley House to raise funds for the British Paraplegic Society; To the 1993 film premiere of ‘Biggles’.

Provenance: ‘Dresses from the Collection of Diana Princess of Wales’ auction, Christies, 25th June, 1997, lot 50. This dress was then sold in ‘Fit for a Princess: Important dresses formally in the collection of Diana, Princess of Wales’ auction, Kerry Taylor Auctions, 19th March 2013, lot 4. £80000 - 100000

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1970S

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216 A Lanvin couture bias-cut shocking pink chiffon evening gown, circa 1976, labelled and numbered 11320, the double-layered sleeveless tunic with pointed hem, cape-let like floating panels to each shoulder, bust approx 92cm, 36in £500 - 600

211 A rare Yves Saint Laurent ‘lips’ print dress, 1971, Rive Gauche labelled, of white crêpe, with zips to side and cuffs, buttons and loops to front bodice, bust 92cm, 36in

This dress derived from the 1971 ‘Scandal’ collection, S/S 1971, presented January 1971 - with the haute couture version in black velvet with Lesage embroidered lips.

Although the haute couture collection was a commercial disaster - the Rive Gauche line sold successfully with this ‘Lips’ dress being one of the most memorable, iconic pieces. £2000 - 3000

217 An Yves Saint Laurent couture black mosscrêpe dinner dress, Chinese collection, Autumn-Winter, 1977, un-labelled, the cheongsam style front panel edged in braid with large button to one side, the back panel blousing into the rear skirt, with quilted satin belt, bust 92cm, 36in (2) £500 - 800

211 213 An Yves Saint Laurent couture black silk dinner dress, Autumn-Winter, 1974, labelled but indistinctly numbered, of tiered smockstyle with ruff collar, pussy-cat bow, full sleeves with deep buttoned cuffs, bust 86cm, 34in £400 - 600

212

212 label 212 An Yves Saint Laurent couture orange and red chiffon gown, 1970s, labelled and numbered, 42999, with broad and spaghetti straps, red trained panels to the back, bust approx 97cm, 38in £800 - 1200

214 A Lanvin couture jade-green chiffon evening gown, circa 1976, labelled, the sleeveless double-layered inner tunic with integral kaftan-like over-dress, tying with three bows down right shoulder, bust approx 8692cm, 34-36in £600 - 900

215

215 An Yves Saint Laurent couture evening gown of shimmering printed Abrahams silk, Spring-Summer, 1972, labelled and numbered 28571, shirt-waister style with pleated skirt, with mauve feather boa and jewelled belt, bust 86cm, 34in, waist 61cm, 24in (3)

See 'L'Officiel de la Mode', n°594, 1972, p.303 for an image of this model. This gown was also featured in the magazine 'Textiles Suisse' in 1972. £1000 - 1500 ‘Textiles Suisse’ 49

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220 A Lancetti couture pale green organza and silk crêpe halter-neck jump suit, 1970s, labelled, the bodice entirely covered with embossed petals, wide palazzo trousers, bust approx 86cm, 34in, waist 71cm, 28in £400 - 600 221 A Loris Azzaro beaded bright pink silk jersey evening gown, circa 1970, labelled, with pink and silver floret sequins and layered beads to the collar and plastron, bust approx 81cm, 32in; with a pair of matching silk covered platform shoes, approx size 5 (3) £400 - 600 222 A Marc Bohan for Christian Dior couture pearl beaded pink crêpe evening gown, circa 1970, white on black woven Paris label, numbered 24385, the bodice with silver and pearl beaded rope which crisscross at the back, with long tassel, bust approx 81cm, 32in £600 - 800

218 label

218

218 An Yves Saint Laurent couture cloth of gold ensemble, ‘Ballets Russes’ collection, Autumn-Winter, 1976-77, the blouse labelled and numbered 39875, the Abrahams gold-silk fabric woven with leaves, comprising: blouse with full sleeves, pleated skirt, belt adorned with small feathers and matching collar with pendant beads, bust 86-92cm, 34-36in, waist 66cm, 26in (4) £2000 - 3000 219 An André Courrèges black wool crêpe evening gown, circa 1970, Paris ‘model depose, size C’ labelled, the bodice edged in black vinyl and with low-cut angular back, bust 92cm, 36in £400 - 600

223 An André Courrèges black wool suit, circa 1970, Paris labelled and 00, the jacket with concealed button fastening and epaulettes, long A-line skirt with two curved front pockets and buttons, bust 86cm, 34in, waist 66cm, 26in (2) £300 - 500 224 A Pierre Cardin black and ivory silk crêpe de chine dress, circa 1970, Paris boutique label, with floor-length slashed gothic sleeves, bust 102cm, 40in £400 - 600

226 226 A fine and important Yves Saint Laurent couture ‘Ballets Russes’ collection complete ensemble, Autumn-Winter, 1976-77, the turban labelled, comprising: printed chiffon blouse woven with silver spots; a green moiré and purple taffeta skirt; a jewelled wine velvet belt, wine velvet turban; and a paisley-printed silk stole edged with deep fringes, waist 56cm, 22in (4)

Yves Saint Laurent's 'Russian' collection is regarded as one of his most beautiful and most celebrated works. It is very rare to find a complete ensemble.

This ensemble was photographed in 'L'Officiel de la Mode', n°626, 1976, p.321, and a similar ensemble was also featured in the magazine 'Textiles Suisse' in 1976.

See Sotheby's auction 24th November 1999 for a similar example. £30000 - 50000

226 label 225 An André Courrèges grey and black printed satinised cotton maxi dress with vinyl trim, circa 1970, ‘Courrèges Paris b’ label, the bodice with black vinyl side panels and bow to neck, matching belt, skirt with front-slit, bust approx 86cm, 34in £400 - 600

226 detail 50

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226 in ‘L’Officiel de la Mode’

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‘Textiles Suisse’

Lot 235 in ‘L’Officiel de la Mode’

227 A Chanel couture ‘pierrot’ style ensemble, 1979, large label and numbered 57321, of printed black and white polka-dot silk overlaid with tulle appliquéd with black satin roundels, comprising: long sleeved blouse, harem pants with ribbon ties to ankles, a black satin ruff collar; and a matching hat by Paulette with pom-pom and veil, bust 86-92cm, 34-36in, waist 66cm, 26in (4)

235 A Pierre Cardin couture pleated salmonpink satin dress, Spring-Summer, 1978, labelled Pierre Cardin, Paris, the bandeaulike bodice with black velvet bow, the skirt goffered with zig-zag pleats, bust 76cm, 30in

This ensemble was featured in the magazine 'Textiles Suisse' in 1979. £700 - 1000 228 A Chanel couture magenta tweed suit, 1972, large label and numbered 47449, with gilt lion mask buttons, the borders threaded with matching ribbons, matching skirt with kick pleat, chest 81cm, 32in, waist 61cm, 24in (2) £600 - 800 229 A Chanel couture printed chiffon summer ensemble, 1972, large label and numbered 44108, comprising: floral printed shift dress with optional over-dress with buttoned back; finely pleated skirt; tie belt and scarf, bust 92cm, 36in (4) £500 - 700 230 ∆ A Bradley’s leopard skin coat, mid 1965-70, Panthera Pardus, maker’s name embroidered to lining and monogrammed ‘DEC’, with deep brown fur shawl collar and detachable hem, singular hook front fastening, chest 102cm, 40in £500 - 800

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227 231 A Pierre Cardin Op-art printed crêpe maxi dress, circa 1970, labelled Paris and New York, with jagged handkerchief hem, bust 86cm, 34in £400 - 600 232 A Pierre Cardin bright orange wool crêpe dress, Spring 1970, bearing ‘Creations Pierre Cardin, Paris’ label, with bateau neckline, large bow to one shoulder, top stitched detailing and diagonal car wash hem, bust 86-92cm, 34-36in £500 - 800 233 A Paco Rabanne black rhodoid jacket and hot pants, probably 1970s, un-labelled, the jacket fastening by three large hooks, the matching hot-pants with black petersham waistband, bust approx 92cm, 36in, waist 61cm, 24in (2) £500 - 800 234 A Valentino couture white crêpe and ostrich trimmed evening gown, early 1970s, labelled ‘Valentino, Roma’, the neckline and short sleeves smothered in curling white plumes, coral-pink organza empire line sash, bust 86cm, 34in £400 - 600

This dress was reproduced in ‘L’Officiel de la Mode’, September 1978, p.211, and also ‘Pierre Cardin: Past Present Future’, p.108. £500 - 700 236 A Marc Bohan for Christian Dior couture black silk jersey evening gown, circa 1970, woven white on black satin Paris label, no 24289, with criss-cross back straps, topstitched detailing, panelled skirt £500 - 900 237 An André Courrèges orange wool coat, circa 1970, Couture Future label, size 0, with wooden buttons, tabbed faux chest pockets, circular godets at underarms, rear belt, chest 92cm, 36in £400 - 600 238 An Ossie Clark ‘Heavenly Twins’ black and red wool jersey dress, circa 1970, printed black on white satin label and size 12, with red band spiralling up the arm, ties to neck, wrap-around, midi length, bust approx 8692cm, 34-36in

A full-length version of this dress was worn

by Celia Birtwell in David Hockney’s famous portrait, ‘Mr & Mrs Clark & Percy’. £500 - 800

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239 An Ossie Clark/Celia Birtwell printed chiffon dress, early 1970s, Radley brown on white woven label and size 14, with empire-line bodice and print of scribbled flowers and crossed lines, bust 92cm, 36in, waist 71cm, 28in £400 - 600

244 A Zandra Rhodes Native American-print dress, circa 1976, labelled, printed with cacti and feathers, the asymmetrical flounced bodice with right sleeve edged with blue seed beads, elasticated waistband, bust approx, 92cm, 36in, waist approx 71cm, 28in £500 - 900

240 A Thea Porter blue butterfly-print chiffon coat, 1970, London labelled, the print by Sheila Hudson, with long scalloped and trailing sleeves, hook and eye front closure, bust 96cm, 38in

245 A Zandra Rhodes black felted wool ‘circle’ coat, 1968-70, labelled, with yellow topstitched detailing, yellow thongs and beads; together with a yellow silk jersey dress with ‘lettuce’ frills c.1972; and a Lily of the Fields printed chiffon dress, c.1972, average bust size 86cm, 34in (3) £400 - 600

For a photograph of Jackie Collins wearing an identical coat in 1970, see ‘Thea Porter: Bohemian Chic’ by Laura McLaws Helms and Venetia Porter, p.83. £500 - 900

246 A Thea Porter ‘gypsy’ dress, circa 1969, unlabelled, with brocaded bodice, the silk midriff and skirt in contrasting Indian block printed silks, sheer sleeves and edged in velvet ribbon, bust 86cm, 34in, waist 66cm, 26in £850 - 1200

241 A Thea Porter ‘gypsy’ dress, 1978, unlabelled, with Indian brocaded bodice depicting parrots and elephants, the red and white silk skirt embroidered with gold thread and edged in velvet ribbon, bust 86cm, 34in, waist 61cm, 24in

Provenance: This dress was exhibited in ‘Thea Porter: Bohemian Chic’, a retrospective of her work at the Fashion and Textile Museum, London, 6th February-3rd May 2015. £700 - 1000

242

242 A Thea Porter abaya/kaftan dress, mid 1970s, couture labelled, of red and green chiffon, heavily embroidered with gold metal thread and sequins, edged with pink velvet and knotted braid, the hem inset with a patchwork of printed silks and Persianstyle brocades, matching rope belt (2)

A nearly identical dress was exhibited in ‘Bohemian Chic’, a retrospective of Thea Porter’s work at the Fashion and Textile Museum, London, 6th February- 3rd May 2015. For a photograph of the exhibition showing this, see ‘Thea Porter: Bohemian Chic’ by Laura McLaws Helms and Venetia Porter, p.38. £1200 - 1800 243 A Thea Porter gold slubbed silk abaya/kaftan dress, late 1970s-early 1980s, black on white couture label, the yoke and sleeves with bands of Indian gold and black brocade, sheer black chiffon panels to the skirt sides, tie to waist, bust approx 8692cm, 34-36in £600 - 1000

241

246 53

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247 A Bill Gibb leather ensemble, AutumnWinter, 1972, and two blouses, all labelled and size 12, the jacket and waistcoat with enamelled bee buttons and embroidered bee motif to lapels; matching leather skirt; the chiffon blouse with bee-print overall, the other of beige slubbed silk embroidered with bees and wheatears, busts approx 92cm, 36in (5) £300 - 500

251 A pair of Lord Kitchener’s Valet men’s black satin flared trousers, early 1970s, Carnaby St. labelled, the two front pockets with red top-stitching, original shop tag attached with the price marked down from £6.00 to £1.00; together with two white cotton Tshirts, one printed with an illustration inspired by John Lennon and Yoko Ono’s ‘Bed-In for Peace’, c.1969, the other printed with a monster truck and ‘Le Mans’, unlabelled, waist 61cm, 24in, chests approx 86cm, 34in (3) £400 - 600

248 An Ossie Clark/Celia Birtwell ivory wool suit, early 1970s, black on white woven label, size 10, comprising: cropped jacket with ‘Baroque Bouquet’ printed satin lining; matching chiffon blouse and maxi skirt, busts approx 92-96cm, 36-38in (3) £350 - 500

252 A Mr Freedom ‘Stars and Stripes’ cotton kimono/robe, circa 1971, labelled, the printed fabric imitating the American flag; together with a white cotton belt, chest approx 117cm, 46in (2) £400 - 600

249 A pair of Westwood/McLaren ‘Seditionaries’ bondage boots, circa 1977, with ‘Exclusive Collection’ printed satin label, of green canvas and brown leather, the laced eyelets concealed by large buckled tongue, UK size 9 (2) £800 - 1200

253 A pair of Westwood/McLaren ‘Seditionaries’ red leather boots, circa 1977, the laced eyelets concealed by large buckled tongues, the uppers adorned with silvered starred medallions, brothel creeper soles, UK size 9 (2) £1000 - 1500

250 A good Thea Porter ‘gypsy’ dress, 1969-71, un-labelled, of floral printed black and red voile, trimmed with gold braid and key-hole neckline, bust 81cm, 32in, waist 61cm, 24in

An identical dress was exhibited in ‘Thea Porter: Bohemian Chic’, a retrospective of her work at the Fashion and Textile Museum, London, 6th February-3rd May 2015. £800 - 1200

250

253 249

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1980s

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254 A Christian Lacroix for Jean Patou black satin cocktail dress, late 1980s, blue on white Paris label, the cloth of gold choker collar with satin ruff, matching waistband, both emblazoned with coloured facetted faux gems, the skirt draping to a point at the front, with swallow-tail swag to the rear, low back, bust approx 81-86cm, 32-34in £700 - 1000

258 Madonna’s Jean Paul Gaultier gold lamé stage ensemble worn for her ‘Blond Ambition’ tour, 1990, labelled Jean Paul Gaultier, Paris, and initialled in ink ‘MC’ to the corset-like bodice, with top-stitched conical breast cups, curved top-stitched hip panels, gold thong laces laces front and back, zip to front and nude elastane lining; with matching knickers of nude elastane and gold lamé, bust approx 86cm, 34in, waist 61cm, 24in; together with an autographed photograph of Madonna wearing the ensemble on tour (3)

Madonna wears this outfit in the second ‘Religious’ phase of the show where she provocatively sings ‘Like A Virgin’ whilst writhing on a red satin covered bed, accompanied by male dancers wearing cone bras. She next covers the gold ensemble with a black robe and a large crucifix and sings ‘Like A Prayer’, which caused furore in the press at the time and a backlash from religious groups.

257 257 An Yves Saint Laurent couture cocktail ensemble of Abrahams silk, Autumn-Winter, 1989-90, labelled and numbered 0780818, the pink, gold and black brocatelle jacket with stiffened, graduated peplum, buttons inset with pink stones, with contrasting short skirt of black lace outlined with gold threads and embellished with sequins, bust 86cm, 34in, waist 66cm, 26in (2) £1500 - 2000

Jean Paul Gaultier said of this special commission: ‘When Madonna first called me in 1989, it was two days before my ready-to-wear show, and I thought my assistant was joking. I was a big fan. She asked me if I would do the tour. She knew what she wanted: a pinstripe suit, feminine corsetry.

Madonna likes my clothes because they combine the masculine and the feminine…

When I was a child, my grandmother took me to an exhibition, and they had a corset on display. I loved the flesh colour, the salmon satin, the lace. She explained that a corset was meant to help you, to make you stand up. It was a solution that I thought was beautiful. The gold conical bra was just an extension of that idea’.

This iconic outfit, perhaps more than any other she wore in the show, is instantly recognisable as ‘Madonna’. £25000 - 35000

254 255 A Christian Lacroix for Jean Patou black sequined cocktail dress, circa 1986, labelled, with boned red moiré bustier/cummerbund, organza petal-like ruffles to bodice and hem and sequined lace puff-ball hobble skirt, bust 81cm, 32in £700 - 900 256 A Pierre Cardin couture dégradé pleated ciré organza ballgown, 1980s, labelled, in shades of blue, lilac and white, with large appliqué flowers to front, the skirt delicately scattered with rhinestones and beads, original shop tag attached, bust 102cm, 40in, waist 71cm, 28in £500 - 700 56

258 label

255

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259

262

259 A Pierre Balmain couture midnight-blue tulle ballgown, Autumn/Winter, 1981, labelled and numbered 165578, the strapless bodice lavishly embellished with gold and blue sequins forming roses and edged with three-dimensional gold bugle beads, bust 96cm, 38in, waist 66cm, 26in

263 A Bob Mackie ‘Unicorn’ dress, 1980s, unlabelled, of black chiffon and crêpe, with sequinned and coloured rhinestone rearing beast with gold bugle beaded horn and hooves, low back, the skirt with long rearsplit, bust approx 102cm, 40in £1000 - 1200

For a photograph of a similarly adorned Balmain evening gown, see ‘L’Officiel de la mode’, n°675, 1981, p.358. £1000 - 1500 260 An Yves Saint Laurent embroidered velvet knicker-bocker suit, Autumn-Winter, 19823, Rive Gauche labelled and size 40, the doublet-style jacket with facetted glass buttons, satin ribbon bows to the breeches, bust 86cm, 34in, waist 61cm, 24in (2)

This design was photographed in French Vogue, August 1982, p.299. £400 - 600 261 A Paco Rabanne gilt and silver metal bolero, 1980s, un-signed, formed from metal platelets, oval clasp, swagged chains to the graduated back, bust 97cm, 36in £600 - 800

264 An Antony Price black velvet evening gown, circa 1988, labelled, size 8, with boned, strapless bodice, the skirt with graduated puff-ball flounce over a slim full length skirt, waist 61cm, 24in, bust approx 81cm, 32in

262 © Mark Lewis 262 A rare Jean Paul Gaultier pour Gibo ‘Blitz’ dress, 1987, labelled, of green lycra above a midnight-blue skirt the low-waist outlined with plastic bubbles spelling out the word ‘Blitz’, bust approx 86cm, 34in

This dress was a one-off, made specially for BLITZ magazine by Jean Paul in 1987 as part of the magazine’s seventh birthday celebrations. It was A/W 1987/88, the season he did the alien collection, ‘Forbidden Gaultier’, which incorporated clear perspex bubble shaped headresses and collars, stretch lycra and plastic.

An image of this dress is featured in ‘As Seen in BLITZ, fashioning 80s Style’ by Iain R Webb (ACC Editions). £1500 - 2000

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263

An identical dress belonging to Jerry Hall, together with a photograph of her wearing it, was sold by Kerry Taylor Auctions, 10th June 2008, lot 83. £400 - 600 265 A Pierre Cardin futuristic grey crêpe dinner dress, 1980s, woven ivory label, with steelgrey patent leather circlet to waist and matching belt which threads through, bust 92cm, 36in (2) £800 - 1200

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267 detail

266 266 A Vivienne Westwood ‘Mini-Crini’ ensemble, Spring-Summer, 1985, label to skirt, comprising: ‘Gypsy’ blouse of giant silk polka dots with pointed hem; pink cotton cut-work min-crini with rare brown label, size 44; white leather star belt; together with a pair of modern white leather ‘Rocking Horse’ shoes with wooden platforms in original dust bag, UK size 4, bust approx 40in, 102cm, waist approx 28in, 71cm (6) £600 - 900

269 A Westwood/McLaren ‘Witches’ Collection suede jacket with Keith Haring print, Autumn-Winter, 1983-4, World’s End label, size M, signed in the print ‘Keith Haring Dec10.1982’ with exaggerated shoulders, brown fleece lapels and cuffs, marbleprinted cotton lining, chest 112cm, 44in £3000 - 5000 267

267 A Vivienne Westwood ‘Harris Tweed’ collection ensemble, Autumn-Winter, 198788, red label and size 38, comprising: blue and green tartan wool jacket with ‘heart’ lapels, blue denim trims, curved pocket flaps, engraved orb silvered buttons; with ‘criniscule’ skirt; tweed crown with faux ermine edges; and a pair of red label ‘rocking horse’ shoes with ankle straps in original box, chest 112cm, 44in, waist 66cm 26in, shoes approx UK 5 (qty) £2000 - 3000 268 BodyMap HalfWorld collection, 1985, labelled, comprising: long cotton jersey dress with flared hem; lilac cotton dress with gold print and stretch seersucker edges; and a Cat in the Hat collection cotton jersey top, 1984 (3) £600 - 800

269 59

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John Galliano’s degree show.

Lot 274 © Niall McInerney, Bloomsbury Fashion Photography Archive

270 270 A Westwood/McLaren checked wool dress, ‘Witches’ collection, Autumn-Winter, 198384, World’s End labelled, with pointed sleeves, low scooped neck, front pleats held in place by ceramic toggles, large pointed, draped pocket to front skirt side, bust approx 86-92cm, 34-36in £700 - 1000 271 A Vivienne Westwood red glazed organza 'Time Machine' show piece, Autumn-Winter, 1988-89, un-labelled, comprising: bustier with silk jersey sides, matching mini-crini ra-ra skirt; together with a Time Machine blue velvet bustier, red label, size 12, and a later dyed blue airtex mini-crini, busts approx 86cm, 34in, waist approx 71cm, 28in (4)

The red acetate ensemble was bought as a press sample by the vendor. £400 - 600 272 A Westwood/McLaren ‘Witches’ collection pin-striped wool jacket, Autumn-Winter, 1983-84, World’s End label, size M, the loose jacket with grey wool points to the shoulders, single grey wool lapel, doublebreasted with antler buttons, lined in white drabbet, chest 112cm, 44in £700 - 1000 60

273 A Vivienne Westwoood ‘Mini-Crini’ ensemble, Spring-Summer, 1985, unlabelled, the silver satin skirt with plastic orb buttons, cotton jersey flecked top and white leather star belt, busts approx 91cm, 36in, waists approx 71cm, 28in (3)

Paris....My show was very styled up when everyone else was being very minimalist very Armani. The idea of these wonderful terrors tearing down aristocratic curtains and turning them into waistcoats and coats, inspired by the French Romantics'.

The vendor recalls that Vivienne’s mum sewed the buttons onto the silver skirt as it had come into the World’s End shop with them missing. £400 - 600

The show took place at Jubilee Hall in Covent Garden. Each of the students showed half a dozen or so pieces each, and Galliano was selected by the lecturers as the grand finale.

274 A rare and important John Galliano ‘Incroyables’ coat, Saint Martin’s degree show collection, July 1984, un-labelled, of dark-grey herring-bone weave cotton, the over-sized frock-coat with one curved and one notched lapel, the wide sleeves with cuffs in striped moiré, the two large poacher pockets are open at the top but also with diagonal side vents for access, decorative handkerchief-like printed cotton faced panels hang above them, long centre-back vent edged in contrasting cottons, the trailing hem and tails can be buttoned-back in a variety of styles, chest approx 117cm, 46in

Galliano’s degree show, ‘Les Incroyables & Les Merveilleuses’, was something of a ‘fashion moment’, which launched his career. The clothes were inspired by post French revolutionary dress, which Galliano had researched at the Victoria and Albert Museum. He said of this collection: 'I was looking like this down-and-out French tramp. Living it, breathing it. Drawing by candlelight. Producing parchment paper stained with tea. Drawing with a calligraphy pen and sepia ink. I could just imagine these fantastic creatures marching, running across the wet shiny cobblestones of

Joan Burnstein of leading London retailer Browns was watching in the audience.

She recalled: ‘The atmosphere was so exciting. Some (of the 24 or so student collections) were pretty bad. Then, all of a sudden, these wonderful pieces came out.’

Galliano’s rebels strode out with white eyeshadow, frizzed and disheveled hair, held in place by knitted cotton headbands with revolutionary cockades and matching waist sashes. The frilly oversized shirts were worn under patterned waistcoats with pennies used as buttons, combined with giant frock coats, riding boots or flat leather shoes with large tongues and bows. Mrs Burnstein approached Galliano after the show, offering to buy the whole collection and giving over to him the Brown’s front windows.

Occasionally waistcoats from this collection appear on the market (which were more easily combined into an everyday 1980s wardrobe) but very few of these swashbuckling coats seem to have been made and only two others are known to have survived - one of which was purchased at Browns by the singer Diana Ross. £10000 - 15000

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275 detail

275 275 A rare John Galliano knitted cotton halter-neck bodice, decorated with wine corks, ‘The Ludic Game’ collection, Autumn-Winter, 1985-6, labelled John Galliano 1, of ribbed and patterned burgundy cotton, the central ruffle adorned with threaded, used wine corks, broad ties to the back

This show was staged on 18th March, 1985 and such was the clamour for seats and entry that the show had to staged twice. The models with green tinged hands, twigs and dried flowers in their hair, wearing clogs and carrying jam-jar lanterns weaved and danced their way down the catwalk. At the end of the show, Jeremy Healy’s model girlfriend (Galliano’s clubbing friend who had organised the music), threw a dead fish into the audience, which hit Mrs Joan Burnstein of Browns. £1000 - 1500

275 label 62

277

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278 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 and lavender, incorporating stripes, faux suede and broderie anglaise £500 - 700 279 A John Galliano knitted cotton ‘smock’ sweater, Spring-Summer, 1987, John Galliano London label, with elongated sleeves and patterned front, of voluminous proportions; together with a white knitted cotton spencer top, London labelled (2)

Galliano first used the ‘smock’ sweater in his ‘Fallen Angels collection, S/S 1986.

An identical knitted spencer was also used in that collection. £350 - 500

276 276 A John Galliano navy worsted pinafore dress, Autumn-Winter, 1987-88, labelled John Galliano 1, with broad single shoulder strap that descends to form a loop at the front of the skirt, large diagonal pleat to one hip and shirring to the back; together with a grey wool ‘circle’ top, labelled; and a press hand-out for the show including six facsimile fashion illustrations including a pinafore similar to this one (qty)

280 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, incorporating striped, tartan and brushed cottons £500 - 700 281 A John Galliano high-waisted skirt and blouse, ‘Blanche Dubois’ collection, SpringSummer, 1988, London label, UK size 10, of finely checked viscose with looped swag to front; the blouse with ruff-like collar, circle sleeves (2) £400 - 600

The collection was introduced by Galliano: ‘Consider the Lilies. Like flowers this Collection is irregular or regular but always upright, flowing sensitive’. £600 - 900

282 282 A John Galliano checked nylon dress, ‘Blanche Dubois’ collection, SpringSummer, 1988, London label, UK size 10, with large star-shaped rosette to one shoulder, the skirt falling in polonaise drapes, gathering into a band at the hem; together with a John Galliano printed magazine handed out for the A/W 1988-89 ‘Hairclips’ show (2) £600 - 900 283 A John Galliano navy gabardine dress, Autumn-Winter, 1987-88, John Galliano London label, size 12, with one circle sleeve, the other straight, asymmetric neck line with strap, bias-cut diagonal banding to the dress front and back, the rear skirt of diagonal gathers, the front with draped front flap, bust 92cm, 36in £500 - 700

277 A John Galliano cashmere great coat, Autumn-Winter, 1987-88, with John Galliano 1 label, and UK size 10, double-breasted with plain black buttons, rounded, cocoon shape with wide curved lapels and high set pockets

284 A John Galliano Courtelle Design Award ensemble, 1987-88, labelled, of finely knitted grey acrylic, printed in mauve with figures within a lattice, the bias-cut dress with scooped neckline, uneven handkerchief hemline, the over-bodice with elongated sleeves and pointed floating panels, bust 86cm, 34in (2)

A coat of the same shape, but in lightweight cotton, also appeared in the S/S 1987 collection. £1000 - 1500

276

The asymmetric neckline was heavily used in Galliano’s S/S 1987 collection. £400 - 600 63

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285

285 285 A fine and rare Gianni Versace black silk crêpe and leather ‘bondage’ ensemble, Autumn-Winter, 1992-93, labelled ‘Gianni Versace couture’ and size 38/4, the short dress embellished with multiple leather straps and gilt buckles inset with topaz coloured pastes, bust approx 81cm, 32in, waist 61cm, 24in; together with a pair of ‘gladiator’ boots from the same collection of black suede with embroidered Medusa roundels, gold leather ‘high-heel’ sections with gilt Medusa medallions, size 38 1/2in (3) £7500 - 9000

287 287 A Gianni Versace ‘Safety-Pin’ dress, 1994, labelled and size 40, of stretch grosgrain lycra with stiffened breast cups, slashed opening below right breast adorned with gilt pins, some with large rhinestone studs, side slit to skirt, bust approx 86cm, 34in

This is the ready to wear version of the famous S/S 1994 collection dress immortalised by Liz Hurley. £700 - 1000

286

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286 A fine Gianni Versace beaded and chainmail appliquéd chiffon evening gown, circa 1996, with Atelier Versace diamond shaped label and size 42, also with original retail tag for $35,000, empire line, with horizontal degradé beading in shades from silver to black, the bodice strewn with bugle beaded strands with facetted rhinestone inset baubles, the low back outlined with cascading looped fringes of beads, the skirt applied with Oroton chainmail bands which form fronds above the hem, and scattered overall with rhinestones, bust approx 86cm, 34in £3000 - 5000

288 A Maison Martin Margiela ‘Semi Couture’ mannequin-shaped backless bodice, Autumn-Winter, 1997-98, with blank label and interior size 40 label, the hessian-like linen front panels stencilled ‘42’ with Paris patent marks and no 35059, cotton ribbon tie fastenings, bust approx 91cm, 36in £1500 - 2500

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289 289 A fine Paco Rabanne couture sculptural ensemble, Autumn-Winter 1992-93, labelled, comprising: black chiffon dress applied with bands of gilt plastic bead-like tubes which form pin-tucks in the ground, lightly padded shoulders; the over-tunic formed of black tulle applied with gilt ribs, dramatic ruff-like upstand, diamond shaped buckle to fasten, complete with matching choker necklace formed from black plastic corrugated panels faced in gilt strip, with gilt wooden bauble pendants and matching earrings, bust 86-93cm, 34-36in (5)

This ensemble was featured in the magazine 'Textiles Suisse' in 1992. ÂŁ3500 - 5000

288

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290 A fine and important John Galliano for Givenchy couture striped silk ballgown, ‘Princess and the Pea’ collection, SpringSummer, 1996, Givenchy couture label, the bolduc with ‘Ete, 96, no 10’, of dark brown and pale lilac taffeta, the strapless bodice with integral boned tulle corset, the spectacular trained skirt with chevron striped point, the bands widen as the skirt descends, tiered tulle petticoats below, bust 86cm, 34in, waist 66cm, 26in, length of train approx. 5.5m, 18 ft

and fairy tales. He was to remain with the house for just one year before moving to Dior.

This first show was spectacular - filled with impossibly long crinoline gowns in striped and embroidered silks. This particular gown (look no 10) was worn by a model reclining atop a tower of mattresses with the skirt trailing down. It also featured in a South Bank Show documentary on John Galliano with Melvyn Bragg in 1996, where it is seen draped along the circular staircase leading to the main Givenchy couture salon.

For Galliano’s first ever haute couture collection for Givenchy he turned to historicism

See http://bit.ly/1V8TiW7 at 5.27 and at 6.50. £12000 - 15000

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JAPANESE

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292 A rare and early Rei Kawakubo/Comme des Garçons cream cotton jersey ‘beggar’ ensemble Spring-Summer, 1983, with Tricot labels the button-fronted over-sized blouse of elongated, asymmetric rectangular form with slits for armholes adorned with tattered ribbon appliqués; the skirt formed from randomly patch-worked jersey and calico panels (2) 291

Some journalists at the time derisively described Kawakubo’s aesthetic for this collection as the ‘beggar look’. The fabrics were intentionally selected or treated as part of the production process to give a ragged or distressed look. This radical approach to fashion was diametrically opposite to Western fashions of the time and caused a sensation when first seen in Paris.

See ‘Future Beauty: 30 Years of Japanese Fashion’ pp.44-45 for illustrations of similar ‘distressed’ effect ensembles and a reproduction of the image used in the Comme des Garçons Spring/Summer 1983 catalogue, photographed by Peter Lindbergh, which shows an almost identical blouse. £5000 - 8000

291 291 A Comme des Garçons black knitted cotton tape dress, 1983-4, Tricot label, L-shaped, with elongated panel forming a cowl collar, slits for the arms, diagonal hem

293 A pair of rare Comme des Garçons ivory suede and calico ladies shoes, SpringSummer, 1983, stamped to the interior ‘Tricot Comme des Garçons’, with integral calico gaiters and ribbon ties, size 22 1/2 (2)

See ‘Future Beauty’ p.77 for a garment of similar angular shape made of printed cotton from the S/S 1984 collection. £2000 - 3000

These shoes are featured in ‘Asahi Graph’ , December 3, 1982, p.15, being worn on the catwalk. £900 - 1200

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292 detail

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294

295

294 A rare and important Rei Kawakubo/Comme des Garçons sweater, Autumn-Winter, 1984, unlabelled, formed from twisted and entwined knitted panels of grey, navy and black wool, with intentional holes to front and back, wide bateau neckline with pleats and points to the side forming a collar; together with a black jersey skirt, labelled, 1983-4, with large holes and knotted ties to the front (2)

295 A rare and important Comme des Garçons ensemble, Autumn-Winter, 1983-84, labelled and size S, comprising: a black jersey top with padded shoulders, pointed front cowl, cascading ruffle below forming a point; black worsted skirt with drawstrings to waist and elasticated hem; a voluminous black wool toga-like cape with knotted ties to one shoulder; and a brown knotted worsted shawl with multiple knotted ends, worn over the other shoulder (4) £5000 - 8000

Literature: A similar sweater was photographed by Peter Lindbergh for the official Commes des Garçons A/W catalogue, and another appears in ‘Fashion Forward: Trois Siecles de Mode’, Musée des Arts Décoratifs pp.214-215. £6000 - 9000

294

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296

297

299 297 A Comme des Garçons layered ivory organza and cotton ensemble, Spring-Summer, 1998, labelled and size S, the upper bodice formed from three layers of cotton and upper layer of floral weave organza, cut as one with raw edges, heavy zip fastening to one side and top-stitched fin-like shaping to the other side with single layer cotton skirt below; the apron-like over-skirt of triple sandwiched cotton godets which cascade in flounced ruffles (2) £1000 - 1500

296 An early Comme des Garçons brushed wool suit, Autumn-Winter, 1983, labelled, the long, over-sized jacket with irregular pleated bands, suggesting a sailor collar to the rear and a bib front, three buttons to fasten; the skirt with matching irregular lattice of horizontal and vertical bands, chest 102cm, 40in, waist 61cm, 24in (2) £1200 - 1800

298 A Yohji Yamamoto black and tan ensemble, Spring-Summer, 1999, labelled and sizes XS and 3, comprising: black challis jacket, cut like an 18th century pet-en-l’air, with flyaway circular hem inset with crinoline-like struts; a tan faille skirt with zip-fastened detachable black nylon and tulle underskirt; and a black wool Argyll bonnet trimmed with tulle veiling (qty)

A similar jacket is illustrated in ‘Breaking the Mode’, LACMA, p.161. £800 - 1200 299 A Comme des Garçons dark-grey flecked wool suit, Autumn-Winter, 1986, labelled and size M, the double-breasted jacket with asymmetric puff-ball peplum forming a bustle at the back, padded shoulders, worn over long pencil skirt with drape to front hem (2) 298 70

298

See LACMA ‘Breaking the Mode’ p.57 for a similar ensemble. £800 - 1200

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Pieces from Miyake’s important ‘Prism Collage’ collection have been exhibited at the following galleries:

300 A fine and important Issey Miyake ‘Colour Prism’ coat, Autumn-Winter, 1997, labelled, of black felted wool overlaid layered abstract bands of multi-coloured silk floss silk and chiffon panels which are needle punched in place, the front side closure gently falls in from the black collar, with large buttons held in place by thongs, quilted satin lining, chest 107cm, 42in

ISAMU NOGUCHI and ISSEY MIYAKE ‘ARIZONA’, an exhibition at the Marugame Genichiro-Inokuma Museum of Contemporary Art, Kagawa, 1997.

‘Japanese Textile Design’, at the Indira Gandhi National Centre for the Arts, New Delhi, India, 1997.

Literature: Stella Tennant was photographed by Michael Thompson for Vogue Paris wearing a similar coat, December, 1997.

‘Irving Penn Regards Issey Miyake’ ‘Miyake Issey’ exhibition catalogue, The National Art Centre, Tokyo, March-June 2016, p.46.

‘Issey Miyake Making Things’, Fondation Cartier pour l’art contemporain, Paris, 1998.

‘Structure and Surface: Contemporary Japanese Textiles’, Museum of Modern Art, New York, 1998-99.

‘Issey Miyake Making Things’, Museum of Contemporary Art, Tokyo 2000.

‘Issey Miyake’ published by Taschen pp.194, 196, 197 (showing images of the Arizona exhibition), 498.

‘Issey Miyake Making Things’, Ace Gallery, New York, 2000. £2000 - 3000 300 detail 71

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301 A Comme des Garçons patchwork ensemble, ‘Football’ collection, SpringSummer, 2009, labelled and size XS, the dress cut long at the front and short at the back to reveal the ruffle edged lycra shorts; the tunic formed from hexagonal patches of checked wool and plain gabardine with occasional intentional gaps, the shoulders formed from vermicular black nylon soutache (2) £700 - 1000

305 A Comme des Garçons ‘Boxing Ballerina’ ensemble, Spring-Summer, 2005, labelled and size S, comprising: neoprene jacket with leather thong, over-stitched, lashed seams, the centre-back panel with basket weave panel; together with a black tulle skirt with white boxer-shorts style ruffled edging; and an ivory calico, tulle and neoprene over-skirt with undulating ruffles and hem (3) £700 - 1000

304

304 A good Comme des Garçons ‘Rising Sun’ ensemble, Spring-Summer, 2007, labelled and size S, comprising: white t-shirt printed with red circle and ‘Sky Dot’; black wool and red chiffon waistcoat with broad belt; and white tulle skirt applied to front and side with two large red flocked velvet circles (3) £1200 - 2000

301

305

302 A Junya Watanabe/Comme des Garçons patchworked denim dress, Spring-Summer, 2002, labelled and size S, with intentionally distressed, frayed panels scattered amongst the diamond shaped patches, large zip fastener to the back, bust 8692cm, 34-36in £500 - 900

306 A Comme des Garçons felt ‘Flat’ or ‘2D’ collection ensemble, Autumn-Winter, 2012, labelled and size S, the bodice formed from a patchwork of black floret shapes, the angular sided skirt with concealed hip pockets (2) £1000 - 1200

303 A pair of Comme des Garçons bustleshaped chaps, Spring-Summer, 2015, labelled, of red polyester and wool, one leg formed from padded rings held by cotton tapes (in the style of 19th century crinolines), the other with single curved strut (2)

This was look no 10 in the entirely red collection and was worn with a chiffon top with elongated sleeves. £600 - 900 306 72

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307

309

307 A Comme des Garçons ‘Flat’ or ‘2D’ collection rose-patterned coat, AutumnWinter, 2012, labelled and size S, of fine jacquard weave polyester, the shape defined by top stitched edging seams, muslin ties to neck, peter-pan collar; with matching shorts (2)

309 A Comme des Garçons colourful ensemble, Spring-Summer, 2008, labelled and size S, comprising: double-layered Prince of Wales checked and grey wool jacket panels with wide vertical pocket slits to the waist, edged in striped and African hair-braid print which also form pointed pocket flaps which are visible below; the under-dress with bodice of royal blue printed jersey overlaid with petals, the skirt of padded bright yellow nylon with wing shaped sides and scalloped hem (2)

This was look 33 in the catwalk show. £2000 - 3000 308 A Comme des Garçons ensemble with padded ‘hands’, Autumn-Winter, 2007-8, labelled and size S, comprising: grey polyester jersey A-line sleeveless dress, the front applied with elbow length padded gloves; the grey pin-striped wool tailcoat with padded hands which cross the chest (2) £800 - 1200

Kawakubo used the words ‘Clusters, Randomness, Cacophony’ to describe this collection. These are combined runway looks 5 and 44. £700 - 1000

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310 A Comme des Garçons white nylon ‘lingerie’ dress, ‘Beyond Taboo’ collection, AutumnWinter, 2001, ribbon label and size M, the négligée style wrap-over dress with large black elasticated ‘bra’ strap with hooks to fasten, bust approx 92cm, 36in £800 - 1200 311 A Comme des Garçons floral printed cotton and tartan ensemble, Spring-Summer, 2006, labelled and size S, the bodice with draped tartan wool cowl, diagonal zip to front, the matching skirt formed from four printed and woven entwined and draped tartan panels (2) £800 - 1200

310

313 & 314

313 An Issey Miyake brown knitted wool ensemble, 1989, two-tone grey label, size S, the sweater and matching skirt formed from joined zig-zag panels with pterodactyllike points (2)

312 detail 312 A Comme des Garçons plum velvet ‘rose’ ensemble, Autumn-Winter, 2013, labelled, with original shop tags, size XS, the tailcoat with slashed openings to sleeves, right chest and rear shoulder, adorned with complex pleated rose-like formations, the trousers with slashed opening to one leg and large rosette, chest 86cm, 34in, waist 71cm, 28in (2) £600 - 900

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The Metropolitan Museum has a knitted dress similar, accession 2003.79.3. Kerry Taylor Auctions also sold a similar sweater in blue, 24th June 2014, lot 248. £800 - 1200 314 A pair of Issey Miyake sunglasses, late 1980s, signed, the dark grey lenses interlaced with wire springs, in a fitted case (2) £200 - 300 315 An Issey Miyake striped gauze ensemble, Autumn-Winter, 2009, labelled, comprising: brown and gold striped over-tunic with slits for the arms, formed from five sandwiched layers, sewn in place at the front neck opening to form a tiered collar; with yellow jersey underslip, bust approx 92cm, 36in (2) £500 - 700

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319 An Issey Miyake pleated and striped polyester/cotton ensemble, SpringSummer, 1989, with two-tone grey label and size M, woven with navy stripes, the jacket and trousers pleated in conflicting directions, pierced metal buttons to fasten (2)

Irving Penn photographed this ensemble for US Vogue in 1989. £600 - 800 320 An Issey Miyake ‘Flying Saucer’ dress, Spring-Summer, 1994, labelled and size M, composed of concertina-pleated discs of brightly coloured polyester, with slits for the arms

Similar ‘Flying Saucer’ dresses were included in the ‘Issey Miyake: Making Things’ exhibition, Fondation Cartier pour l’art contemporain, Paris, 1998, which are illustrated in ‘Issey Miyake’ published by Taschen, pp.186-187. A similar example is held by the Metropolitan Museum, accession no. 1994.603.3. £800 - 1000

316

321

316 An Issey Miyake knotted and draped ‘goddess’ gown, Autumn-Winter, 2003, labelled, of silky polyester jersey which clings to the figure, the over-bodice with looped, latticed and knotted panels which attach to the draped, festooned skirt with pres-stud fasteners to one hip, bust approx 86cm, 34in £800 - 1200

321 An Issey Miyake/Cai Guo-Qiang printed ‘Dragon or Rainbow Serpent’ dress, Guest Artist, Series 4, 1999, labelled and size 3, of pleated polyester with sinuous snaking pattern to front and back in shades of brown, blue and mauve, fin-like point to one shoulder and diagonal slope to the other, points to hem, bust approx 92-102cm, 36-40in £2000 - 3000

317 An Issey Miyake fluorescent-yellow polyester dress, ‘Hello Pleats’ collection, Spring-Summer, 1990, labelled, with one sleeve cut to point upwards, the other down, with curving side seams

322 A Yohji Yamamoto red wool dress, in homage to Pierre Cardin, Autumn-Winter, 1989-90, labelled and size S, with wide circular cut-outs to the sides, concealed inner hip pockets, zip fastened to the back

This dress, worn on the catwalk, is featured in ‘ISSEY MIYAKE’, by Taschen, p.164. £500 - 600 318 An Issey Miyake/Cai Guo-Qiang Guest Artist, Series 4, gunpowder-print body suit, 1999, labelled and size 3, of pleated polyester with overall speckle print, the leggings formed from vestigial sleeve like panels at the opposite end; together with a moulded brown painted resin coiled rope-effect chignon cover, two tone label, c.1989 (2) £600 - 800

On the runway this dress was worn with a contrasting black body suit and tights, see: www.dailymotion.com/video/x25orex_yohji -yamamoto-autumn-winter-1989-1990paris-pret-a-porter-women-by-canale-moda _people The lead singer of ‘Swing Out Sister’ wore an identical dress on the cover of the single ‘Through the Sky’. £600 - 900

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323

324

323 A Yohji Yamamoto patchwork suede and silk ensemble, Autumn-Winter, 2000, labelled, comprising: brown suede patchwork dress with black top-stitched detailing, irregular hem, size 3; worn under a black silk selflined coat, with jagged cut-out front, padded ruff-like collar with undulating and pointed edges, long sleeves with lightly padded irregular cuffs cut to imitate rawhide shapes (2)

325 A Yohji Yamamoto black wool ‘bustle’ ensemble, Autumn-Winter, 1995-96, labelled and size S, of black wool, pres-stud fastened down the front, with visite-style underarm openings, three mesh-lined pleats to the rear skirt, complete with black nylon mesh petticoat which can be worn internally or externally with waist ties (2)

An identical garment was included in the ‘Yohji Yamamoto at the V&A’ exhibition in 2011 and is also illustrated in ‘Yamamoto & Yohji’ published by Rizzoli p.365. £1500 - 2500

This ensemble was look 34 on the runway. £600 - 900 324 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

326 A Yohji Yamamoto purse/pinafore dress, Spring-Summer, 2001, labelled and size 3, of lightweight black wool, front skirt with integral purse with metal mounts and clasp, the strap forming a halter-neck, waist 77cm, 30in

This design in black was modelled by Linda Evangelista, photographed by Satoshi Saekusa, for Italian Vogue, in 1993.

See link: http://www.vogue.it/news/encyclo/stilisti/ y/yohji-yamamoto £1000 - 1500

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’ p.340. £800 - 1200 326

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21ST CENTURY

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327

329

327 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

329 An Alexander McQueen special commission evening gown, circa 2000, with narrow gold on black label, the bodice of pewter-grey shot faille, with high asymmetric neckline, the polonaised black wool skirt woven with fine grey mohair strands, cut short at the front to reveal the legs but long and trained to the back, bust 81-86cm, 32-34in, waist 71cm, 28in

Provenance: This dress was a special order for a Hollywood actress. The vendor is not sure if it was for a red carpet event or was worn in a film. £3500 - 5500

This was runway look no 10. £3500 - 5000 328 A Philip Treacy painted feather ‘butterfly’ hat, 2003, labelled, with printed cotton saucer shaped disc on wire supports, the back in-filled with butterflies, 24cm, 9 1/2in, in original box signed by the milliner and dated 2005 (2) £1500 - 1800 328

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330 An Alexander McQueen trained evening coat, ‘Angels & Demons’ collection, Autumn-Winter, 2010-11, with metal dogtag label, and size 46, of steel grey figured silk in 18th century style, brocaded in gold and burgundy blooms, the curved lapels with self-pleat, chest 86cm, 34in

This was part of runway look no 9. £2000 - 3000

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330 331 A pair of Alexander McQueen black leather thigh-high boots, ‘Angels & Demons’ collection, Autumn-Winter, 2010-11, labelled and size 38, with four straps and buckles at intervals, the upper leg of soft, crinkled leather, the heels and platform soles formed of gilt filigree resin moulded with bunches of blooms (2)

These were worn with the two short red dresses, looks 3 and 6 on the runway. £2500 - 3000

332

332 An Alexander McQueen black velvet and bugle beaded evening gown, ‘In memory of Elizabeth Howe, Salem 1692’ collection, Autumn-Winter, 2007, labelled and size 38, the pewter-grey bugle beads forming a starburst effect to the upper bodice which scatter as they descend down the trained skirt, bust 86cm, 34in, waist 71cm, 28in

This was runway look no 44. £8000 - 12000

331 detail

331

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333

334

333 An Alexander McQueen nude chiffon evening gown, ‘Irere’ collection, SpringSummer, 2003, woven grey label and size 40, the corsetted inner bodice covered with cross-over swathes of chiffon, floating panels with ragged edges to the shoulders and skirt, bust 86cm, 34in £800 - 1200 334 A Sarah Burton for Alexander McQueen ‘Kimono’ dress, Pre-Collection, SpringSummer, 2011, labelled and size 42, the bodice of black organdy embroidered and beaded in gold with pagodas, cranes and trees in blossom, broad obi-like waistband with draped chiffon skirt in pink and black, bust approx 86cm, 34in £700 - 1000

337 336 A Maison Martin Margiela nude synthetic jersey body suit with tunic formed from nylon stockings, Spring-Summer, 2005, blank label, the over-tunic formed from flesh-brown toned stockings loosely tacked together with the feet sections mainly to the rear neck and the leg and garter sections to the front, with ties to waist, bust approx 81cm, 32in £600 - 1000

335 An Alexander McQueen gold and midnightblue brocaded dress, 2010, narrow grey label and size 38, the fabric woven with foliage, eagles and mythical creatures, draped and pleated into wing-like points to front, sheer organza neckline, bust approx 86cm, 34in, waist approx 61cm, 24in £400 - 600 80

337 A John Galliano pink satin and lace gown, 2000, labelled and UK size 12, the asymmetric corset-like bodice with diagonal lacing which continues down through the fish-tail skirt, bust 92cm, 36in, waist 66cm, 26in £1500 - 2000 338 An Alexander McQueen degradé fringed cocktail dress, ‘Natural Distinction, Unnatural Selection’ collection, Spring-Summer, 2009, narrow grey label, original shop tags and size 42, the upper bodice and low back panel of nude tulle embroidered with white wisteria blossom and song birds, the under-dress of grey crêpe entirely smothered in festooned swags of fringes dyed from white to black, bust approx 81-86cm, 32-34in

This was runway look no 15.

Chanel and Vionnet both made dresses adorned with degradé fringing in the 1920s - though nothing as extreme as this McQueen version. See ‘Chanel’ Metropolitan Museum of Art catalogue pp.186 & 187 for the 1926 Chanel example. £3000 - 5000 336

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341

341 An Alexander McQueen skull cape-dress, ‘Natural Distinction, Un-natural Selection’ collection, Spring-Summer, 2009, grey label and manufacturer labels, size 42, of white organza embroidered with large central skull medallion within foliate garlands, slits for armholes and complex draping to the skirt front, lined in nude crêpe, bust approx 86cm, 34in

338 339 An Azzedine Alaïa black chenille-knitted evening gown, ‘Houpette’, Spring-Summer, 1994, labelled, with original shop tag and size M, the sculpted figure-hugging dress with radiating concentric chenille bands, trained hem, bust approx 86-92cm, 34-36in £800 - 1200

This was runway look no 7. £4000 - 6000 342 A Maison Martin Margiela black velvet tailcoat from his 20th anniversary collection, Spring-Summer, 2009, with blank label, stiffened, rounded ‘mickey-mouse’ ear-like lapels which morph into the sleeves, bust approx 86-92cm, 34-36in

340 A John Galliano newspaper print cotton jersey dress, 2001, printed rubber label UK size 32, with under-wired cups, lingeriestyle straps, printed with details from the designer’s career, reviews of his work, his birth date and humorous anecdotes, bust approx 81cm, 32in £500 - 700

This is one of the last collections Margiela fully worked on before retiring. It was presented in Paris to great acclaim on September 29th, 2008. £600 - 1000 339 81

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343 detail

343

343 An Alexander McQueen printed silk and gold-painted feather dress, ‘Angels & Demons’ collection, Autumn-Winter, 2010-11, 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 is from McQueen’s last collection, made posthumously after his death. It was runway look no 5. Sarah Burton described McQueen’s design process for it thus: ‘He looked at all the old masters and he looked at sort of medieval arts and religious iconography. It was almost looking at the Dark Ages and finding that there was a light in the Dark Ages...There was still a modernity in the way that the fabrics were developed...So in a way you’ve still got this juxtaposition of the old and the new, which I think is always important in his work.’

McQueen, in an interview with Harper’s & Queen, April 2003, stated: ‘I relate more to that cold, austere asceticism of the Flemish masters, and I also love the macabre thing you see in Tudor and Jacobean portraiture.’ £7000 - 8000 82

344 344 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 £7000 - 10000

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THE BJöRK COLLECTION Over the years Björk has enjoyed collaborating with some of the most exciting, visionary young designers in the world. However, it is her philosophy to always to be looking forward and not back.

She is currently working on a ground-breaking virtual reality project and it is her wish to use the proceeds from this sale to further aid this research.

Another major deciding factor in choosing to sell some of the more historically important pieces is her realisation that others will be better able than herself to preserve and perhaps exhibit them publicly for others to enjoy in the future. It is her hope that the pieces will be appreciated not only for who designed them – but also for their innate beauty and craftsmanship.

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345 Björk's Nikoline Liv Andersen couture painted mink dress with wings, made for the 'Vulnicura' tour, 2015, with embroidered monogram label to the interior, the black fur painted and dyed to look like feathers, padded wing-forms to the sleeves and shoulders, zip fastened, bust 86cm, 34in

This dress made from recycled mink coats was commissioned from the Danish designer/visual artist for Björk's 'Vulnicura' album tour of 2015. She performed in it at the Governor's Ball Festival, June 2015 and the Manchester International Festival, July 2015.

Bjork said of this piece: ‘The shape of the dress reminded me of a moth that has died and been re-born. I asked the designer to paint the fur in shades of neon yellow and lilac - the colours I associate with the Vulnicura album which deals with issues of death, mourning but ultimately joyous re-birth’. £2000 - 3000

© Carsten Windhorst

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346 Björk's Iris van Herpen couture leather dress worn on the cover of 'Biophilia' and also for the 'Moon' song video, 'Synthesia' collection, Autumn-Winter, 2012, of dark aubergine reinforced leather, the hand cut, slashed frondlike panels tipped in gold, bust 86cm, 34in (belt illustrated on album cover is not included)

Iris van Herpen described the design process of this dress: 'We first made a well-fitting dress of black fabric, that followed the shape of the body to the knees. Upon that dress there is a more complicated pattern of handiwork. They are all separate pieces of dark, aubergine leather with a gold foil treatment on the back. The pieces were hand cut into tiny [half-centimeter] strokes. Half of the strokes were turned 180 degrees to the left side and the other half were turned the other way.

Then they were sewn together so that they stayed [in place] after they were hand-sewn onto the dress. All together they create a pattern of reflection that comes from the back of the leather, because they are turned at some points. It was a big puzzle to make the pattern connect with the body shape, but it looked quite natural in the end'. £1000 - 1500 346 © Inez and Vinoodh 347 © Saga Sig 347 Björk's Iris van Herpen couture off-white iridescent acrylic dress, worn for the 'Biophilia' tour, 'Micro' collection, SpringSummer, 2012, the nude jersey ground applied with complex armour-like layers of fan-shaped hand and laser cut acrylic panels, bust 86cm, 34in

The dress was worn for the 'Biophilia' tour at: Le Cirque en Chantier, February 2013; Zenith de Paris, March 2013; Craneway Pavillion, May 2013; Hollywood Palladium, Hollywood Bowl, Bonnaroo Festival, Tennessee, June 2013; Alexandra Palace, London, September 2013; and also in the film 'Biophilia Live'.

For the Boonaroo concert, the bright orange wig was swapped for a 'Lion' mask designed by Maiko Takeda.

Iris van Herpen's inspiration for this collection was scientific SEM photographs of bacilli, vermin, mites, lice and termites.

She said, 'I wanted to show the beauty of them, because in my eyes they are the most bizarre, unbelievable and most imaginative creatures imaginable' This dress took 4 months to complete. £4000 - 6000

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348 Björk’s Jean-Paul Gaultier stencilled suede jerkin and matching hat, ‘The Grand Voyage’ collection, Autumn-Winter, 1994, with large red JPG monogram to the chest and large red skull stencil to the back, self-lined in fox fur, no fastenings, chest 92cm, 36in; the hat of red cotton drill, lined in purple and brown faux fur with large stencilled monograms to each side (2)

Björk memorably modelled this jerkin for the JPG fashion show in Paris, July 1994.

She did not wear the hat but had her hair combed into a halo framing her face. At the time she was a young musician and was flattered that a famous Parisien designer such as Gaultier would have heard of her. It was the one and only time she modelled in a catwalk show. £1000 - 1500

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348 back

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© Hayley Madden/REX/Shutterstock

© Patrice Stable / Jean Paul Gaultier

349 Björk's Jeremy Scott 'Angel' dress, worn for the 'Homogenic' tour, 1997-8, labelled, of white leather, with deep scooped neckline and pleated nylon wings, bust 81cm, 32in

348 detail 86

This dress was worn frequently on the 1998-99 'Homogenic' tour including Hammerstein Ballroom, Warfield Theatre, New York, Hollywood Palladium, May 1998, Hurricane Festival, June 1998, Tourhout and Werchter Festivals, Belgium, Montreux Jazz Festival, Switzerland, July 1998, London Palladium, November 1998, Corn Exchange Cambridge, December, 1998, National Theatre, Iceland, January 1999. https://www.youtube.com/watch?v=4x-l0sRO_ls £800 - 1200

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350 Björk's Iris van Herpen couture electric-blue acrylic dress, 2011, worn for the 'Biophilia' tour, 2012, the design based on the 'Escapism' Spring-Summer, 2011 collection, formed from bulging spherical shapes, hand-cut and laser-cut, mounted armourlike in layers onto the tulle ground, bust 86cm, 34in

Exhibited: MOMA New York, March 8th to June 7th, 2015.

Björk wore this dress for the 'Biophilia' tour at the New York Hall of Science, and the Roseland Ballroom, February 2012; the Festival Imperial, Costa Rica, March, 2012; Fes Festival Morocco; Les Nuits de Fourvière, Lyon, June 2012; and Electric Picnic Festival, Ireland, August 2013.

Iris van Herpen said of this dress in 2011: 'Actually, my most favourite custom-made dress is the latest dress that I made for Björk. We made a dress from many semitransparent electric blue sheets that were all layered to create a shape of a shell. The angle of light makes the dress change from a very dark, dark blue to a reflective bright blue...I need to [avoid getting] stuck in my own little bubble or in the small world of fashion. I need it to not get crazy. I believe if you do a collaboration the right way with the right people there isn't any limitation for your own creative pursuits. My creative processes are triggered/enriched by collaborations'.

350 © Julieta Cervantes 351 © Steffen Joergensen

This dress took 4 months to complete. £4000 - 6000

351 Björk's Iris van Herpen couture 'Snake' dress, 'Capriole' collection, Autumn-Winter, 2011-12, of dark charcoal grey entwined coil forms mounted onto tulle, bust 86cm, 34in

This dress was worn for the 'Vulnicura' tour: Roskilde Festival, Denmark, June 2012; Øya Festival; Flow Festival Iceland; and Pukkelpop Belgium, August 2012.

This dress took 4 months to complete. £4000 - 6000

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352 Björk’s Alexander McQueen pearl beaded ‘bridal’ gown, made for the ‘Pagan Poetry’ video, 2001, un-labelled, the boned tulle corset-like bodice cut to frame the naked breasts with nipple rings and pearl stranded adornments, further strings of pearls cascade from the neck, encircle the shoulders and festoon the lace skirt, the trained fishtail hem with layers of petticoats, backlaced to fasten, waist approx 61cm, 24in

Exhibited: MOMA New York, March 8th to June 7th, 2015.

The controversial video, directed by Nick Knight, was filmed to accompany the album ‘Vespertine’. In the ‘Pagan Poetry’ video, a woman prepares herself for her wedding and her lover. It includes abstract intimations of love-making, taken with a mini DV camera.

Björk contacted her friend Lee McQueen to ask him to make her a bridal gown. She envisaged pearls being literally sewn through her skin to form the gown. The result was this beautiful lace concoction covered with ropes of pearls. The video also showed a naked body (not Björk’s) being pierced and threaded with pearl strands.

Exhibited: MOMA New York, March 8th to June 7th, 2015. £8000 - 12000

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353 Björk’s Alexander McQueen ‘Kimono’ dress worn for the album cover of ‘Homogenic’, 1997, un-labelled, comprising: blue and white damask satin kimono woven with prunus blossom, and lined in oriental scarlet satin figured with foliate roundels, with wide bell-shaped sleeves, elongated front hem panels; the obi-sash of pink and brown basket-weave effect satin with navy stripes, bust approx. 86cm, 34in; together with a Christian Dior coiled brass necklace (3)

Björk approached Lee McQueen, Katy England and the photographer Nick Knight to work on her ‘Homogenic’ album cover. She had seen and liked the sinister but beautiful image of Devon Aoki in Visionaire magazine, which they had recently produced. Devon appeared with geisha hairstyle in an oriental silk dress with deep funnel collar from McQueen’s ‘La Poupée’ collection. Björk wanted an equally powerful, other-worldy look for her cover, explaining that she wished to be depicted as a warrior - a warrior who fought not with weapons, but with love: ‘I had ten kilos of hair on my head, special contact lenses, a manicure that prevented me from eating with my fingers, and gaffer tape around my waist and high clogs so I couldn’t walk easily’, she said of the fashion shoot.

At the same time as Björk’s photoshoot, McQueen was working on his ‘Eclect Dissect’ Givenchy couture collection Autumn-Winter, 1997-98 (presented in July 1997). The collection combined ethnic, tribal and cultural influences from all over the world. In the Paris show the fabulous towering ‘Masai’ style necklace made by Shaun Leane for Björk’s album cover was re-used and there are numerous ‘japonism’ references in the collection with kimono dresses, oriental embroidery and geisha-inspired hairstyles.

It seems that ideas spawned by the collaboration with Björk were re-interpreted and expanded in that show.

However, Björk’s dress was not made in Paris but hand-made in London by the McQueen studio.

Exhibited: MOMA New York, March 8th to June 7th, 2015.

See front cover illustration. £15000 - 25000

© Nick Knight

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The film was shot at twilight in early September 2004. Björk dances and sings against the stark Icelandic backdrop of Hjorleisfshofoi, Iceland, accompanied by school children ringing hand bells. She accessorised this dress with heavy leather walking boots and a visor-like mask made from plaited hair. £10000 - 15000

354 Björk’s Alexander McQueen ‘Bell’ dress, 2004, worn for the ‘Who Is It (Carry My Joy on the Left, Carry My Pain on the Right)’ video from the ‘Medulla’ album, of silver-grey satin entirely covered with tinkling silver bells, with integral struts to form the double-bell shape of the bodice and skirt, with boned corset and broad inner straps, separate satin waist corset for extra support, with laces and zip to fasten (2)

Exhibited: MOMA New York, March 8th to June 7th, 2015.

Björk commissioned her friend and collaborator Alexander McQueen to design and make this extraordinary, sculptural dress for a promotional video for the remix of the song, but this time additional bells were added to the music. She asked McQueen for a dress ‘that looked like a bell’. He did a brief outline sketch of the shape which she liked. The dress was flown to her in Iceland for filming - with no further discussion or fittings. Such was their close relationship that she felt secure that the dress he designed would work.

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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2016 SALES CALENDAR We are now accepting entries for our 2016 Autumn/Winter auctions 11th October 6th December *Dates to be confirmed, please check our website before arranging travel

Detail of lot 113

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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

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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 require a CITES licence to export outside of the EU. These cost £59 each and we are happy to assist our clients with applications.

Payment Payment is due immediately after the sale in Pounds Sterling and may be made by Banker’s draft, Cashier’s cheque, Personal cheque, Wire transfer, Credit cards, Debit cards, Cash and Traveller’s cheques. Payments should be made to Kerry Taylor Auctions. Cash payments will not be accepted above £6,000 or $10,000.

Payments in person can be made in the saleroom on the day of the sale, after this payments must be made by post, credit, debit card or wire transfer

Credit Cards Most major credit card brands are accepted, however surcharges will be added as follows to cover the charge made to us by our bank: Visa and UK Mastercard 2%; AMEX 1.78%; 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.

DESIGN AND PRODUCTION Jamm Design Ltd www.jammdesign.co.uk

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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: info@kerrytaylorauctions.com

Godspeed Couriers Tel: 00 44 (0)7780 808173 email: info@godspeedcouriers.co.uk

www.kerrytaylorauctions.com