Kerry Taylor June 2012 by Jamm Design Ltd

PASSION FOR FASHION 26th June 2012

Kerry Taylor

Kate Osborn

Contact

Payments

Catalogue

Kerry Taylor Assistant: Kate Osborn 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 20% on the hammer price. The premium is subject to VAT at the prevailing rate. See page 75 for details.

£10 at the gallery £12 by mail (UK) £15 by mail (Europe) £18 by mail (Rest of the World)

Sale number: KT016

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

Online Catalogue www.kerrytaylorauctions.com www.invaluable.com/kerrytaylorauctions

Storage, Collection and Shipping Logistics See page 76 for details and a map.

Front cover: lot 122 (© Les Arts Decoratifs, Paris) Frontispiece: lot 64 Introduction: lot 96 Back cover: lots 282 & 274

This auction is conducted by Kerry Taylor Auctions Ltd in accordance with our Conditions of Business printed in this catalogue. All questions and comments relating to the operation of this sale or its contents should be addressed to Kerry Taylor Auctions Ltd and not to Sotheby’s.

Kerry Taylor Auctions Ltd Incorporated in England

Registered No OC7173571

VAT No 835506036

Passion for Fashion Auction Tuesday 26th June 2012 at 2pm Venue 249-253 Long Lane London SE1 4PR See map on page 76

Exhibition Sunday 24th June - 12noon to 5pm Monday 25th June - 9am to 5.30pm Tuesday 26th June - 9am to 11am

InTRoducTIon We have a new home! our purpose-built saleroom is just a few minutes walk away from the London Fashion Museum and the new White cube contemporary art gallery. For those of you who grew fond of our old warehouse in dulwich – fear not. The warm welcome and varied range of interesting and historically important fashion and textiles has not changed. It’s just easier to find, more glamorous and ground floor – so no more broken lifts to worry us. our inaugural sale in our new venue includes some really wonderful collections – stylish vintage and haute couture from the collection of Heidemarie Garrigue Guyonnaud - an exquistitely beautiful woman who acquired her dresses for the purpose of wearing them; Gary Turner’s Punk and new Romantic clothing, worn by him to cut a dash on the King’s Road and London clubs in the late 70s and early 80s; and the wardrobe of nikki Squire whose trademark ankle-length tresses and cutting edge fashion made her stand out whether in Los Angeles or at home in England. Her collection is particularly strong and ranges from shimmering 20’s flapper dresses, floating chiffon fantasies by Zandra Rhodes to sculpted Alaia figure –hugging garments and avant garde comme des Garcons creations. one of my personal favourites in the sale is the pair of extraordinary gilded and painted carved wooden ladies shoes circa 1650-70 shown on our frontispiece. Their survival is a miracle and their shape – extreme and interesting. They are both rare and beautiful – the toes painted with delicate bouquets of roses and tulips more than 300 years ago. I also welcome back an old friend – the dramatic green tartan suit made for the duke of Windsor in 1950. He was one of the most influential male fashion icons of the 20th century – a quintessential dandy. I first sold this suit when I worked for Sotheby’s new York in 1998. It was a personal favourite then, and to my mind it is one of the most eye-catching and important pieces from his sartorially excellent wardrobe. The jacket and waistcoat were made by Scholte and Hawes & curtis in London, but for his trousers he went to Harris of new York – his ‘pants across the sea’ as Wallis liked to call them! do come and see us in our new premises. We hope it will become a destination for fashion lovers the world over!

AccESSoRIES Please note all lots bearing ∆ symbol will need a cITES licence to export outside of the Eu, which we are happy to assist with. See page 75 for more information.

1 A chanel black quilted jersey 2.55 bag, 1960s, with gilt cc clasp, gilt chain handle, wine leather interior, 25.5cm, 10in long

This lot is being sold in aid of the Juvenile diabetes Research Foundation. £600 - 800

2 A fine chanel tan leather bag, 1980s, with gilt cc lock and glasp, two leather interwoven chain linked handles, top stitched, quilted exterior, 31cm, 12in long £600 - 1000

3∆ An Hermès wine crocodile ‘Escale’ bag, late 1960s, crocodylus Porosus, stamped in gold ‘Hermès Paris’ below the front pocket, gilt rope-twist loop and button clasp, 27cm, 10 1/2in £1500 - 2000

4 A chanel quilted black leather duffle bag, 1990s, with gilt cc clasp, internal zippered side pocket, leather threaded gilt shoulder straps, 30cm, 12in long

This lot is being sold in aid of the Juvenile diabetes Research Foundation. £600 - 900

4 3

5 Six Hermès scarves, mainly 1970s-80s, including A.M. cassandre blocks and sky print; ‘Feux de Route’, ‘Skyros’, ‘ Proues’, ‘napoleon’ and others; together with a Pucci psychedelic and Liberty ERII silver jubilee silk scarf 1977 (8) £350 - 500

6∆ An Hermès dark green crocodile ‘Pascal’ bag, late 1960s, crocodylus Porosus, stamped in gold ‘Hermès Paris’ below the front pocket, and with signed gilt lifter flap, three large compartments inside, 26cm, 10in long £2000 - 3000

7 A fine Hermès black leather Kelly bag, 1995, blind stamp Y, with gilt lock and clasp, stamped in gold Hermès, Paris, made in France, below closure flap, gilt padlock, with fob and two keys, 32cm, 12 1/2in long, in original flannel bag and box (3) £1500 - 2500

8∆ An Hermès ficelle crocodile ‘drag’ bag, late 1960s, crocodylus Porosus, stamped in gold ‘Hermès Paris’ below the closure flap, with gilt H-shaped clasps similarly engraved, interior with zipped compartment and two side pouches, 26cm, 10 1/4in long £2000 - 3000

9 A chanel quilted satin evening bag, 1980s, with gilt chanel stamp to red leather lining, gilt cc clasp and leather tassel to one side, chain strap threaded with leather, 21cm, 8 1/4in long £200 - 300

10 A Gucci pig-skin vanity case, circa 1970, with gilt armorial stamp to the inside and no 087, with gilt hardware and locks, fob with keys, beige leather interior with loops for jars and pockets to the sides, 31cm, 12in long £300 - 500 8

11 ∆ A fine Hermès red crocodile Birkin, crocodylus Porosus, blind stamp A square, with gilt hardware, stamped below the closure flap Hermès Paris made in France, with inverted V, with key fob, leather covered padlock and dustbag, 30cm, 11 3/4in long £25000 - 35000

11 (detail)

12 12 ∆ A fine ‘duc’ tan crocodile bag, late 1960s, crocodylus Porosus, with large gilt ducal coronet below filligree strapwork medallion to the front, with later added gilt chains, but also with original handle, 26cm. 10 1/4in; together with a Germaine Guerin black crocodile handbag, with gilt clasp, 28cm, 11in long; and a black straw clutch also by Guerin (3)

15 14 ∆ A black crocodile handbag, early 1960s, believed to be Gucci but unmarked, crocodylus Porosus, with silvered metal clasp, 25cm, 9 1/2in long; in Gucci box (2)

The vendor states that this bag was purchased by the vendor’s ancestor from the first Gucci store in London, which opened in 1961. £400 - 600

This lot is being sold in aid of the Juvenile diabetes Research Foundation. £500 - 700

13 A fine Hermès tan leather ‘Bolide’, 1995, Y blindstamp, with gilt hardware and shoulderstrap, fob with two keys and gilt padlock, 35cm, 13 3/4in long, with flannel storage bag and box, (3) £800 - 1200

13 6

15 ∆ A rare and early Hermès ‘Isabeau’ black crocodile handbag, 1930s, crocodylus Porosus, engraved to the interior Hermès, Paris, the silvered angular mounts with ingenious opening device - the plated lower handle flange sections are spring-mounted to pull apart allowing the central frame to open, lined in grey suede, 21cm, 8in high £800 - 1200

16 ∆ An Hermès black lizard miniature Kelly bag, circa 1990, varanus salvator, gilt hardware with a detachable shoulder strap, 15cm, 5 3/4in long £1500 - 2000

17 An Hermès navy box leather Kelly bag, circa 1970, blind stamp J, with gilt metal hardware, detachable shoulder strap, 28cm,11in long £1000 - 1500

18 ∆ A large black crocodile travelling vanity/jewellery bag, late 1960s, with detachable upper handbag section, the middle section with brown kid and plastic covered vanity-case compartment, the base tray with velvet covered jewel trays, 35cm, 13 3/4in long, 40cm, 15 3/4in high £600 - 1000

19 ∆ A Gucci tan lizard handbag, late 1960s, varanus salvator, signed to the interior, with prestud fastener, 23cm, 9in long £300 - 500

20 A rare black patent coronation handbag, 1953, the gilt clasp engraved EIIR, 1953, with large silvered Royal Arms to the front closure, lined in pink moiré, 23cm, 9in long £150 - 250 18

21 ∆ A Gucci black crocodile handbag, late 1960s, with Gucci stamp to the interior, with silvered metal and lapis lifter clasp, 21cm, 8 1/4in long £1500 - 2500

22 An Hermès dark brown leather Kelly bag, late 1960s, stamped under the closure flap Hermès Paris, with padlock, fob with two keys, brass padlock, optional shoulder strap, 32cm, 12 1/2in long

This lot is being sold in aid of the Juvenile diabetes Research Foundation. £1000 - 1500

23 ∆ A Gucci black crocodile handbag, late 1960s, with gilt Gucci stamp to the interior, silvered metal clasp, 21.5cm, 8 1/2in long £2000 - 3000

24 A Pucci printed velvet and leather beach bag, early 1970s, 41cm, 16in wide, in original box (2) £150 - 250

25 A Kenneth Jay Lane necklace, 1980s, signed, the heavy gilt chain inset with rhinestones, with orientalist pendant with carved emerald lobed stone and small cabochon red and purple stones, 41cm, 16in long £200 - 300

23 8

26 A christian Lacroix couture gem encrusted collar, 1990s, the hinged gilt metal base entirely covered in pastel coloured stones with pendants to the front closure, 31cm, 12in at the narrowest part £500 - 800

32 A chanel gilt chain necklace with pearl pendant, 1980s, signed, the multi-strand plaited chain with eliptical green sliding medallion with droplet below buddha-like clasps, 32-42cm, 12 1/2 - 16 1/2in in cartier box; together with a chanel chunky baroque style crucifix with green and red stones, signed (2) £400 - 600

27 A dior boutique Masai-style necklace, late 1990s, signed, the choker and multi-strand necklace composed of silver coloured filligree baubles and beads, length 39cm, 15 1/2in £400 - 600 26 28 A chanel brooch, 1990s, signed to the filligree reverse, with large faux blister pearls, green and red cabochon stones, 7cm, 2 3/4in diam £200 - 300 29 A chanel triple strand pearl choker necklace, 1980s, signed, with blister pearl and green and red cabochon stone medallion, approx 40cm, 15 3/4in long £350 - 550

31 A group of costume jewellery, 1980s-90s, comprising dior boutique dragonfly brooch with articulated wings and pendant jewelled body, 10cm, 4in long; a pair of dior ear-rings, the rhinestone pendants on wine velvet ribbons; and two pairs of elaborate Lacroix couture earrings, one pair of baroque gilt scrolls with amethyst tinted stones; the others with turquoise and coral cabochon stones, 11cm. 4 1/4in (7) £400 - 600

33 A chanel ‘blister pearl’ necklace and ear-rings, 1980s, both signed, the necklace dated 1983, the massive ear-clips with facetted rhinestones to the centre and pear-shaped droplets, the necklace 46cm, 18in diam, the clips 8cm, 3in long (3) £300 - 500 34 Seven pairs of chanel ear-rings, 1980-90s, signed, and a velvet edged pair, un-signed (16) £250 - 350 35 Three christian Lacroix heart shaped christmas brooches, dated 1995, 2007, of dark steeleffect, silver and gilt metal, the largest 10cm, 4in (3) £200 - 300

30 A chanel jewelled cuff, 1980s, signed, with large central green and carnelian coloured cabochon stones with borders of pearl and emerald-green cabochon stones on gilt mount, 6cm, 2 1/4in diam £800 - 1200 30A A chanel bracelet, 1980s, formed from linked platelets each carrying a classic chanel motif, 20cm, 8in long £200 - 300 30 9

39 36 Thierry Mugler jewellery, 1980s, un-signed, comprising black and anthracite glass star burst brooch and matching ear-rings, with Mugler Paris paper tag; a copper cuff veneered in beige grit/sand, with matching hoop shaped earrings and matching ear-shaped ear-rings (8) £300 - 500

37 Thierry Mugler jewellery, 1980s, un-signed, comprising: communist collection star shaped brooch; domed and ribbed earrings; a pair of resin star-shaped ear-rings and matching brooch, (6) £300 - 500

38 A group of 1980s jewellery, unsigned, comprising: pair of Mugler resin star-shaped ear-rings; Mugler silvered metal flowerhead ear-rings; Jean Paul Gaultier ram’s head and safety pin ear-rings in pouch; a gilt wheat-ear brooch, probably Mugler; and a green beaded trefoil brooch (9) £200 - 300

39 (label) 39 A Louis Vuitton trunk, 1885-1890, the massive brass lock engraved LV, with brown painted canvas exterior, wooden struts with brass studs, iron carrying handles to the side and metal edges painted in black, red and white striped paper interior with two lift out trays, large LV trunk trade label of a striped trunk with ‘289 oxford St, Regent circus London; Rue Scribe Paris’ address, no 26049, 57cm 22 1/4in high; 90cm 35 1/2in long, 53cm 21in wide

The large trunk trade label was only used between 1885 and 1890. £1500 - 2500

41 A Louis Vuitton suitcase, with traditional LV canvas, leather handle and trim, brass lock engraved LV H8, initialled to the top in red EcJ, 52cm, 20 1/2in high, 80cm, 31 1/2in long, 21cm, 81/2in wide; together with a leather gladstone case, a brown leather suitcase with black and wine painted stripes, a small leather box (4) £500 - 900

41 (detail) 10

40 Two Goyard suitcases, probably 1950s, with signature weaveeffect printed canvas, leather trim and handles, brass locks with two keys, lined in yellow satinised cotton, each initialled in white paint S.M., 48cm, 19in high, 80cm 31in long, 22 and 16cm 8 1/1 and 6 1/2in wide (2) £600 - 800

42 (detail)

cELEBRITY RELATEd FASHIon, AccESSoRIES & SKETcHES 42 An Ede & Sons wooden trunk, which belonged to H.R.H. Prince George Frederick K.G. (later to become King George V, 18651936), circa 1884, the lid with large engraved brass name plaque, brass banding and decorative studwork, the wooden frame covered in black morocco, the interior with ‘Ede & Sons, Robe Makers, 94 chancery Lane’ stamp, on castor wheels, 52cm high by 106cm long by 56cm wide, 20 1/2 by 41 3/4 by 22in; together with a small brass plaque engraved with a crown and ‘The King’ (2)

The chest probably originally contained the Prince’s Garter robes. He was given this honour by Queen Victoria on 4th August, 1884 aged 19. £1500 - 2000

43 43 The duchess of Windsor’s black patent leather handbag, circa 1957-60, with gilt rope-twist interlaced W’s cypher, ribbed gilt metal sliding clasp to one side of the metal frame, lined in black grosgrain with six compartments, 21cm long; with original Sotheby’s sale tag, (2)

Provenance: ex lot 2321 Sotheby’s The duke and duchess of Windsor collection, February 1998. £800 - 1200

44 H.R.H. 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 ‘H.R.H. 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. 44

44 (label) 12

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 Harris of new York for his ‘pants across the sea’ as Wallis jokingly called them.

This is the suit of a quintessential dandy. The Prince/duke 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! Provenance. Sotheby’s auction of the wardrobe of the duke of Windsor, lot 2922, 24th February, 1998. £8000 - 12000

44 (detail)

45 Elizabeth Taylor’s chanel couture gold brocatelle cocktail suit, circa 1964, un-labelled, comprising: simple A-line strapless cocktail dress, lined in raspberry silk, edged and piped with silk moiré grosgrain; the matching short, boxy jacket with stand collar, patch pockets, characteristic lion mask buttons, moiré lining and gilt chain-weighted hem, dress bust 94cm, 37in, waist 71cm, 28in; together with a letter of authenticity signed by the vendor (3)

Provenance: The suit was given as a gift to the wife of Elizabeth Taylor’s accountant Ernest E. Greenberg who was a similar height and size to Miss Taylor. He worked for Miss Taylor and her husband Richard Burton in the mid 1960s. Elizabeth Taylor and Richard Burton’s romance began on the set of ‘cleopatra’ which was filmed in 1961. At the time they were married to Eddie Fisher and Sybil Williams. It was not until 1964 that their respective divorces were complete and they were able to re-marry which they did in Montreal on March 15th, 1964. This ensemble was made when the Burton’s were still relative newly-weds. It seems that Elizabeth Taylor’s time on the lavish cleopatra set gave her something of a penchant for wearing gold. £4000 - 6000 44 (detail) 13

ÂŠ mirrorpix

46 The Philip Somerville black and white hat worn by Kate Middleton on the occasion of the order of the Garter being presented to H.R.H. Prince William, 16th June 2008, labelled Philip Somerville, by Appointment to Her Majesty the Queen, the straw toque applied with woven horsehair brim, intersected with black and white plumes, 46cm, 18in diam. together with a letter of authenticity from the vendor and xerox excerpts from her diary showing the appointment with catherine Middleton and a hire receipt (4) ÂŁ1000 - 1500

46 14

46 (label)

47 The black ‘Aurora’ picture hat worn by Kate Middleton on the occasion of the wedding of Harry Meade, in the company of H.R.H. Prince William, 23rd october 2010, labelled ‘Get Ahead Hats,’ with swirling organza crown, transparent wired open-weave brim, adorned with two plumes and a curleque, 51cm, 20in diam; together with a letter of authenticity from the vendor, a rental receipt and a xerox copy from her diary showing the meeting with catherine Middleton and her mother (4) £1000 - 1500

47 15

50 cecil Beaton costume design for ‘My Fair Lady’, the Ascot scene, 1964, signed Beaton and numbered in pencil 250, pencil and gouache depicting an elegant woman in black and white striped, tiered gown, cape and conical hat with large plumes, fabric detail note and swatches of black and ivory taffeta fixed to the base, 49 by 30cm within mount and frame

48 cecil Beaton costume design for Audrey Hepburn as Eliza doolittle, in the film ‘My Fair Lady’, 1964, in Beaton’s hand inscribed ‘Lisa’ Scene 62, in gouache and in pencil in another hand chg 8, ‘Louise’ and indistinct numbering concealed below mount, worked in gouache with an Edwardian style humble grey/brown day dress, matching swatch of fabric to lower corner, 48 by 30cm within mount and frame

This design appears in the Ascot scene of the film. £1500 - 2500

This is design is very similar but not identical to the dress worn by Audrey Hepburn in the elocution scene. It must have been an alternative version. Provenance for lots 48 to 56: These sketches are from the collection of the late Henry Sidoli who was employed by Warner Tone, a subsidiary of Warner Brothers who produced the ‘My Fair Lady’ film in 1964. He purchased them during his time with the company. £2000 - 3000

48 (detail) 49 cecil Beaton costume design for ‘My Fair Lady’, the Ascot scene, 1964, signed Beaton and numbered in pencil 12391, 8704, pencil and gouache depicting an elegant woman in white draped velvet gown with hobble skirt and large muff, grey hat with ostrich plume, swatch of velvet to base, and scrap of notepaper inserted with the name ‘Shirley Jones’, 49 by 30cm within mount and frame

51 cecil Beaton costume design for ‘My Fair Lady’, the Ascot scene, 1964, signed Beaton and numbered in pencil 244, 12422, pencil and gouache, depicting an elegant woman in white tulle gown applied with black tapelace roses, matching bonnet, fabric swatches to lower corner, 48.5 by 30cm within mount and frame

This design appears in the Ascot scene of the film. £1500 - 2000

This gown appears several times in the Ascot scene of the film. £1200 - 1800 49

52 cecil Beaton costume design for ‘My Fair Lady’, the Ascot scene, 1964, signed Beaton and numbered in pencil 214, pencil and gouache depicting an elegant woman in white draped seersucker crêpe gown with hobble skirt and large feathered muff and bonnet, long necklace, swatch of crêpe to base, 48 by 30cm within mount and frame

A slight variation of this design is worn in the Ascot scene of the film. £1200 - 1800 53 cecil Beaton costume design for ‘My Fair Lady’, Embassy ball scene, 1964, numbered in pencil 428, 12510, 879 and ‘carol’, pencil and gouache of an elegant bystander in black lace gown with pink satin cummerbund and bows to bodice, three silk and lace swatches to one corner, 48 by 30cm within mount and frame

A slight variation of this design is worn in the ballroom scene of the film. £1000 - 1500

55 54 cecil Beaton costume design for ‘My Fair Lady’, Embassy ball scene, 1964, numbered in pencil 414 and with note inserted with the name ‘Mc Baine’, pencil and gouache depicting an empire line pink satin gown with matching headband and stole, grey and pink swatches to the base, 48 by 30cm within mount and frame £800 - 1200 55 cecil Beaton costume design for ‘My Fair Lady’, Embassy ball scene, 1964, signed Beaton, numbered in pencil 412, 12519, 877,and ‘3 rows of ribbons’, pencil and gouache depicting an empire line pink satin gown with large grey-pink sash/bow to front, swatches to the base, 48 by 30cm within mount and frame £1000 - 1500 56 cecil Beaton costume design for ‘My Fair Lady’, Embassy ball scene, 1964, numbered in pencil 12518, 877, 431 and ‘Louise’, pencil and gouache depicting an empire line pink and lace gown with sequined trim, two swatches to the base, 48 by 30cm within mount and frame £800 - 1200

56 57 Edith Head costume design for Paula Kelly in ‘Sweet charity’, circa 1969, pencil and gouache of a beaded blue cocktail dress, with mauve and yellow petticoats and trim, signed in pencil ‘To Bill, Fondly Edith’ ‘There’s gotta be something better’ - and with pencilled construction details, mauve fabric swatch, 48 by 37cm within mount and frame; together with a framed poster for the film, 55 by 35cm, 21 1/2 by 13 3/4in in frame (2) £600 - 1000

57 17

58 Ava Gardner’s couture Balenciaga evening gown and Elizabeth Arden purse, 1963, Eisa labelled, of ivory silk cloqué, with fitted, sculpted bodice cut low at the rear waist, the skirt with bustleeffect created by a draw-string rouleaux cord and ties, bust 97cm, 38in, waist 66cm, 26in; the evening purse of beaded ivory satin; together with three press photographs showing Ava wearing this gown to the premiere of ‘To Kill a Mockingbird’ in London in 1963, accompanied by the star of the film Gregory Peck; and a dVd with footage of them at the premiere, (6) £5000 - 8000 58 (detail) 18

58 (detail)

59 Michael Jackson’s white felt Fedora, signed to the brim ‘Michael Jackson’ with a star, and the initials LA with an arrow, black grosgrain ribbon with bow, the inner leather headband stamped in gold ‘Michael Jackson’ and with uSA manufacture tag ‘size Large’; together with a letter of authenticity signed by Matthew Fiddes (2)

Provenance: This hat was given to the vendor Matthew Fiddes by Michael Jackson in 2008. He acted as bodyguard for Jackson over a period of 12 years after being introduced to the star by their mutual friend, uri Geller. In Mr Fiddes’ letter of authenticity he states that he and Michael Jackson became good friends. He asked Michael Jackson if he could have the ‘Billie Jean’ fedora that was displayed in Jackson’s own private neverland museum, but Jackson declined saying that he wanted to keep it - but that he could have this white fedora instead. The ‘LA’ and arrow written separate to the signature on the brim by Jackson were an instruction that the hat was to be returned to Los Angeles. He gave the hat to Mr.Fiddes and signed it in the Palm Springs hotel, Las Vegas in 2008 whilst he was recording a new album but asked if Matt would make a donation to charity which Fiddes duly did. Mr Fiddes believes this to be the last hat signed by Michael Jackson before his death in 2009. £7000 - 10000

59 (signature)

59 (label)

FASHIon & AccESSoRIES 1600s to 2000s

60 60 A pair of embroidered gentlemen’s mules, ottoman for the European market, 18th century, the uppers of green satin embroidered in chain-stitch in silver thread, coloured silks with stylised flowers and foliage, thick leather soles, the insole with remains of embroidered beige silk, 29cm, 11 1/4in (2) £3000 - 5000

61 A pair of embroidered gentlemen’s slippers, circa 1850, worked in wools with vine leaves, edged in scarlet ribbon, gently rounded toes, straight soles, 29cm, 11 1/2in £350 - 500

62 A pair of repoussé lady’s shoes, probably Indian for the European market, circa 1880-90, the leather upper entirely covered in chased white metal (probably low grade silver) adorned with fruits and blossom, with low curved heel and pointed toes, 15cm, 9 3/4in £500 - 900

63 A printed cotton day dress, circa 1855, with roller-printed design of small blue flowerheads and foliage, fan pleats falling from the shoulders coverge into shirring at the front waist, flounces to sleeves and skirt, bust 81cm, 32in, waist 61cm, 24in; together with a white trellis-weave muslin summer gown late 1850s-early 1860s, with wide pagoda sleeves, straight waistline, trimmed with blue ribbons and bows, ruffles to hem, bust 76cm, 30in, waist 56cm, 22in (2) £350 - 500 62 20

64 A fine and rare pair of gilded and painted carved wooden lady’s shoes, Italian, dutch or French, second half 17th century, of pierced and carved gesso and lacquered wood, the exaggerated pointed toes painted with tulips and dog roses, the upper with lace-effect piercings with faux latchets and eyelets for threading ribbons, foliate medallions and hearts, curved and gilded low set heels with faux stitch marks up the centre back and also to the sides of the upper, the interiors painted with faux ermine flecks, crimson painted soles with felt pads to heel and ball of foot, one applied with an old collection/ museum label, ‘mules bois sculpté et doré.Travail Venetian du XVIII S.’ 29cm, 11 1/2in long (2)

Literature: A single, similar carved wooden shoe is illustrated in ‘Schuhe’ by Saskia durian-Ress (1991) catalogue no 57, pp 59-61. £8000 - 12000

65 A mushroom silk damask dress, mid 19th century but of silk c.1760-70, with front pleats to bodice, bell shaped sleeves; together with a bag of fabric fragments, trimmings, sleeves and button-fronted bodice panels from the 1770s gown (qty) £400 - 600

64 (detail)

66 An Indian embroidered ‘visite’, circa 1875-85, of black wool with brilliantly coloured matching fringes, golden brown satin lining £350 - 500

64 (detail) 21

67 A fine gentleman’s nightshirt, reputed to have belonged to H.M. King charles I, English, second quarter 17th century, of fine lawn with wide collar, neck opening and cuffs edged in bobbin lace with scrolling flowers, fastened with pairs of small needlepoint covered buttons, of voluminous cut; together with a clipping bearing a description from a christie’s catalogue, lot 55, 28th February 1989

Provenance: ‘Rushbroke Hall, Suffolk. After H.M King charles I was imprisoned by cromwell, his Master of the Horse took charge of Queen Henrietta Maria and some of the King’s personal belongings. These were deposited at Rushbrook Hall, the home of Sir Thomas Jermyn, Treasurer to the Household of King charles I, and he then took the Queen safely to France. The travelling chests in which this shirt was stored were sold in 1901 for £10,000 and presented to H.M. King Edward VII’. The shirt remained with the family until the christie’s auction in 1989. £2000 - 3000

68 A rare gentleman’s nightshirt and nightcap, 18th century, the voluminous shirt of fine white linen with ruffle edging to collar, neck opening and cuffs, dorset buttons, chest 153cm; the tall conical cap of white cotton with overall false-quilted quatrefoil repeats, fold-over border, tufted tassel to the crown, 30cm, 11 1/2in tall (2) £1000 - 1500

70 A gentleman’s embroidered brown ottoman silk court coat, circa 1780, with stand collar, buttoning at upper chest, the borders worked in floss silks with naturalistic flowers, chest 86cm, 34in £500 - 800

69 A group of underwear, nightwear, caps and other accessories, mainly 1830s-40s, stockings dated 1841 and others (qty) £200 - 400

67 (detail) 22

71 A bicorne hat, circa 1790, of black beaver adorned with metal coils and tassels, silk ribbon, lined in glazed cotton, 45cm, 18in wide £400 - 600

72 A gentleman’s ensemble, French, early 19th century, comprising: green wool hunt coat c.1810-20, with paler green facecloth linings, lapels with sharp M notches, cut high and square at the waist, horizontally quilted chest panels, narrow kite-shaped back and deep armholes, pocket flaps concealed within the tails; the soft white leather breeches, c.1800-10, with narrow small-fall and bone buttons, the lower legs with extenders for wearing inside boots, mother of pearl buttons; the waistcoat of striped 1780s velvet with high stand collar c.1800 (3) £3000 - 5000

73 Mary of Modena’s stomacher, circa 1680, of tabby gold silk, with arrow-head shaped tip, attached to an ivory satin sleeve panel edged in pink and gold fringing, with hand written note ‘Stomacher and sleeve belonging to Queen Mary of Modena’, the stomacher 43cm, 17in long

72 (detail)

Provenance: ex lot 106, christie’s, 10th June 1997. Miss Weston inherited the stomacher from her great grandmother, who is thought to have acquired it in 1688. Miss Weston was a descendant of the chevalier John d’Esté, brother of Queen Mary Beatrice of Modena. Bequeathed by Miss Weston to Sophia Margaret Penn in 1764, a relation of Miss Weston and grandaughter of William Penn of Pennsylvania and wife of the most Rev. and Hon.William Stuart, Archbishop of Armagh and Primate of All Ireland. £250 - 400

74 A gentleman’s ensemble, late 18th century, comprising: ivory silk coat with pointed rear collar, narrow curving sleeves, diapered silk covered buttons, lined in dark mustard twill silk and linen, one functioning buttonhole, c.178090; a striped orange silk double-breasted waistcoat with mother of pearl buttons, with wide angular lapels c.1790; and a pair of sapphire blue silk breeches, with front-buttoning flies, wide fall, pocket to right hip, 1760s-70s (3) £1000 - 1500

78 (detail)

75 A rare fencing ensemble, French, late 18th century, comprising padded natural linen jacket with chamois breast and upper right arm, bone buttons down one side, stand collar, the tan calico breeches with similarly buttoned small fall, the wire mesh helmet with red morocco bindings and head brace (3) £2000 - 3000

75 (detai)

78 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, closed-front bodice panels with drawstring to neck, the sleeves with shaped elbows adorned with ruffles; together with a pink taffeta petticoat of 18th century silk but 19th construction (2)

76 An oyster-pink figured silk gown, circa 1815, with empire linebodice, curved front bodice seams, piped ribbon-bands to neck and cuffs, bust approx 86cm, 34in £300 - 500

77 A bronze silk taffeta day dress, circa 1840, with decorative rows of buttons and brown fringes, bust 77cm, 30in, waist 56cm, 22in; with a matching reticule pouch (2) £200 - 400

Provenance: originally part of the doris Langley Moore collection. £3000 - 5000

79 79 A fine gold brocaded striped silk robe à la Française, Italian or Spanish, circa 1770, with closedfront bodice and wide pannier sides with pocket slits, the silk woven with puce and silver bands within the textured cloth of gold stripes, pretty floral sprigs and trails, edged and trimmed with scalloped gold bobbin lace, the sacque falling in box pleats to a trained hem, the skirt lined in ivory taffeta; together with an associated puce quilted satin petticoat, early 19th century (2) £5000 - 8000

80 81 A printed muslin day dress, circa 1800-1810, self-striped and printed with foliate bands in shades of buff and blue, with apron-fall to bodice and skirt front, the bodice held in place by buttons and loops, empire line linen inner-bodice panels with draw-string, button fastened waistband, bust approx 28in, 71cm 80 (detail) 80 A brocaded silk robe à l’Anglaise, the silk probably Spitalfields, 1730s, the construction 1770s, of brilliant yellow figurative silk brocaded with trees in a landscape and outsized blooms, closed front bodice; together with a green quilted satin petticoat (2) £2000 - 3000

This dress has been on display at the Jane Austen museum over the last decade. It was originally the property of the late Reverend oRI Jones of Lasham, Alton and belonged to his great-great grandmother Mrs John Fox - born Sarah Lane in 1786. She was a descendant of the Lanes of Bentley Hall in Staffordshire. £500 - 800

84 A block printed cotton day dress, 1820s, front opening bodice with high waistline into which fanpleated gathers are caught front and back, long, narrow sleeves with ruffled cuffs, side slits for access to pockets; together with a plain white cotton day dress or petticoat, late 1820s, with no fastenings, similar tabbed gathers to the shoulders as the printed dress, double ruffled hem (2) £500 - 800

85 An aubergine silk taffeta cape, late 1820s-early 1830s, lined in pink silk and calico, padded, wide collar piped in brown; together with a printed cotton shawl c.1810 (2) £350 - 500 82

82 A rare Holland cotton lady’s summer coat, circa 1790, the collar, faux pocket flaps, cuffs, integral capelet to the shoulders edged in black velvet ribbon, kite shaped back seams, upper bodice lined in flannel, no fastenings, chest approx 66cm 26in £800 - 1000

86 A whitework embroidered gown, 1830s, with horizontal gathers, whitework bands to the bodice, long sleeves with puffed and ruffled mancherons, deep border of whitework to the skirt, repeated in a narrower scalloped border to the hem, bust 76cm, 30in, high waist 66cm 26in; together with a non-associated tulle veil (2) £800 - 1000

83 A fur lined short winter jacket, chinese, late 19th century, the blue gauze ground with counted stitch embroidery of coiling gilt dragons, blue and green scroll clouds, bats above a turbulent sea, lined in white rabbit, pale blue floss silk embroidered sleeve bands, chest 117cm, 46in; together with a black satin skirt embroidered with roundels, (2) £400 - 600

87 no lot

84 & 85 26

88 (detail)

88 88 A fine striped taffeta bridal gown and bonnet, circa 1845, of grey and ivory silk with wine foliate stripes, deep, gently curving waistline, pleats falling from the shoulders, with padded chest and rear left neck area, boned front and sides, lace bow cravat, the sleeves with slashed cuffs edged with ivory silk ribbon, with tulle inner cuffs, bust 74-76cm, 2930in, waist 53cm, 21in; the ivory satin bonnet with ruched and gathered sides, figured silk ribbons, blonde lace veiling and silk rosebuds to one side and orange blossom framing the face; together with scraps of the matching dress silk, an E. Hedges drapers trade card, family tree and hand-written notes written by descendants recording the provenance, (qty)

Provenance: This gown and bonnet belonged to Miss A. Griffiths of cirencester, Gloucestershire. She wore the ensemble at her wedding to Mr Edward Hedges, the leading draper in cirencester. They lived above the draperâ&#x20AC;&#x2122;s shop on the south side of Market Place. They had a daughter - Mary Elizabeth (b.1849) but Mrs Hedges tragically died in childbirth - the baby (a son) also perished. Her young daughter was brought up by her aunt Griffiths over the cooperâ&#x20AC;&#x2122;s shop in cirencester. ÂŁ800 - 1000

88 (trade card) 27

93 A rare Madeleine Vionnet beaded tunic dress, model 1759, AutumnWinter, 1921, scarlet embroidered silk label with thumb print, numbered 2071, of black crêpe de Romain, the front and back panels joined at the skirt side seams and embroidered in the round with a large girdle-like motif of linked circlets worked in gold and silver bugle beads, smaller chain-like repeats edge the front and back bodice panels and continue to form straps, these are cleverly prestud fastened to the left side of the outer bodice to ease entry into the dress, the outer bodice cut wide and straight at the neck and gently blousing into gathers at the waist, black crêpe camisole-like inner bodice and black silk lining to skirt, inner camisole bust 97cm, 38in, waist 87cm, 34in

89 A smoke grey-brown silk taffeta dress, early 19th century but altered in the late 1830s-early 1840s, front closing by hooks and eyes, inner tan cotton breast panels, long sleeves edged in ruffles, curving back seams, the skirt tightly gathered and fastened by prestuds; together with the remains of a black silk parasol c.1870; a cotton camisole; a muslin appliqué parasol cover c.1910; a gentleman's figured silk waistcoat with enamelled gilt buttons c.1845-50; and a chenille embroidered satin waistcoat c.1800 with later back (5)

Provenance: the Griffiths/Hedges family as lot 88. £250 - 300

90 A beaded ‘Aux chevaux’ cocktail dress, possibly a prêt à porter version by Vionnet et cie, for Wanamakers, American, 1926, of scarlet crêpe romain, adorned with black bugle and seed beads, rhinestones, bust 92cm, 36in

Literature: A similar gown is illustrated in ‘Madeleine Vionnet’ by Betty Kirke p.132 where she describes how the ‘Aux chevaux’ gown was probably one of the first commercial examples of haute couture designs being made as pret à porter for the mass market. The ‘Aux chevaux’ was first introduced by Vionnet into her 1921 Autumn-Winter collection. The u.S. copy appears in Women’s Wear daily in october, 1926 £600 - 800

90 91 A rare Raudnitz & co, Huet & cheruit Freres bodice, circa 1900, labelled to the waistband, ‘21 Place Vendome, Paris’, the boned silk taffeta bodice overlaid with blue satin, blue and white striped chiffon, rosebuds and rosettes in pastel silk, cloth of silver and lace £250 - 350

92 A fine beaded evening coat, early 1920s, of sturdy white tulle entirely covered with shimmering vermicular beadwork, with foliate motifs to the hem, shoulders and wide sleeve openings, falling in drapes to form a cocoon shape, £400 - 600

This model is reproduced in the Vionnet archive, Winter, 1921, volume 2, but with a gold inner camisole bodice. Vionnet gowns are rare. This is a particularly striking and beautiful example of the tunic gown which was a favourite style of hers in the early 1920s. The boldness of the gold beadwork contrasting with the fine black crêpe ground with large ‘girdle’ roundels to the hips and skirt and finer outlining ‘chains’ of beads to the bodice sides and straps results in a visually very dramatic gown. This is the only extant gown of this particular design to our knowledge. £5000 - 8000

ÂŠ Les Arts decoratifs, Paris

93 (detail)

93 (label)

93 29

94 A cut velvet opera cape and a gold cord wig, 1920s, the cape labelled ‘Made in Paris for Saks & company’, the art-deco lozengepatterned velvet changing from pale beige at the neck to deep cinammon at the hem, cloth of gold lining and scarf to neck, the side seams cut to emphasise the curve of the upper arm and elbows; the gold cord wig with centre parting and side plaits studded with rhinestones; and a pretty cigarette holder engraved with a young flapper (3) £500 - 800

95 A magenta velvet and gold lamé evening coat, late 1920s, with golden diapered panels to the front, wide sleeves, lined in grey silk damask, fur collar £350 - 500

96 Très Parisien fashion plates, 192122, gouache with ink on calque paper, including designs for Paul Poiret, Beer, Martial & Armand, 19 by 13cm, 7 1/2 by 5in on paper mounts with annotations (30) £200 - 300

97 An och Freres ski-suit, Swiss, late 1930s, of navy wool with white leather piping, comprising fitted jacket with belt, embroidered badge to one sleeve, ‘Suvretta, St.Moritz’, matching tapered skipants, reversible white leather waistcoat in embroidered wool with mountain blooms; and a printed fur and brown wool cardigan, chest approx 86cm, 34in, waist 66cm, 26in; together with a pair of och wooden skis and ski-poles (8) £400 - 600

The following two lots belonged to a Spanish noblewoman who was a close friend of Mariano Fortuny

98 A fine Mariano Fortuny black silk delphos, circa 1920-30, printed in scarlet along the selvedge seam ‘Made in Italy, Fabrique en Italie, Fortuny depose, the long sleeves and neckline edged in striped Murano glass beads; the matching satin belt stencilled with silver leaves, also with Fortuny signature, (2) £8000 - 12000

99 A fine Mariano Fortuny stencilled red velvet jacket, circa 1920-30, with large circular label ‘Mariano Fortuny Venise’, the rich deep red velvet stencilled with undulating foliate stripes in gold and silver, the jacket of long slim-fitting oriental shape, with pointed, curved cuffs, piped in grey silk and lined in grey satin, fastened by striped grey glass beads, bust 92cm, 36in £5000 - 8000

99 (label)

98 (detail)

99 (detail)

104 A Jean Patou navy cloqué silk evening gown, early 1930s, pink and white woven label, numbered 18.796, bias cut with triangular seam to waist with ties to the side, organza sleeves and low back panel, bust 86-92cm, 34-36in £400 - 600

100 A burnt orange crêpe evening gown, possibly a copy of a Schiaparelli, late 1930s, with gilt cords and baubles to the neck, similarly adorned belt, bias cut with full sleeves, bust 81-86cm, 32-34in

See ‘European designer Jewellery’ by Ginger Moro, p.85, for Schiaparelli necklace with similar bauble decorations. £350 - 500

101 A Ventura brown sequined evening ensemble, late 1930s, labelled ‘Ventura, Milano, Genova’, comprising: sleeveless crêpe evening gown the skirt covered in diamond shaped sequins, matching jacket, bust 86cm, 34in, waist 66cm, 26in (2) £400 - 600

105 A black sequined tulle evening gown, early 1930s, with smokegrey sequins, black bugle beaded integral bolero and graduated tiers to the skirt, bust approx 86cm, 34in, waist 72cm 28in £500 - 800

102

102 A Mariano Fortuny stencilled velvet jacket, circa 1920-30, circular Fortuny label to the lining, of soft amber silk velvet stencilled with ivy leaves to the shoulders, upper sleeves and cuffs in silver, re-lined in brown satin, chest 102cm, 40in £800 - 1200

103 A Jeanne Lanvin couture velvet cape, Autumn-Winter, 1921-22, woven black on white satin label, of darkest green velvet, the inside openings and bands to the fur collar embroidered with gold and black chain-stitched flowerheads, lined in quilted black satin £400 - 600

101 32

105

108

106 106 A Jeanne Lanvin couture printed silk summer dress, Summer, 1936, indistinctly dated, numbered 48870, printed with wheat sheaves in shades of green, each tied with a different coloured ribbon, edged in black silk and with massive black tasselled rope belt which is tied in a knot and fixed to the apex of ruched gathers at the front of the skirt, bust 81-86cm, 34-36in £600 - 800

107 A Paquin trapunto quilted bed cover, 1930s, woven ivory silk label, with overall design of quilted camelia blossom, 200 by 238cm £400 - 600

106 (label)

108 Feliks Topolski portrait of Madame chanel, Spring-Summer 1957, Paris haute couture collections series, signed and designated to the base, of coco languidly smoking a cigarette in her salon executed in pencil and ink; together with a copy of Topolski’s chronicle no 6 (90) Vol V, 1957 which includes a reproduction of this image on the cover, together with sketches of dior and other couture house collections of that season; and a poor condition chanel fashion sketch on calque paper c.1925 signed A.M. Perry (3) £2000 - 3000 33

THE coLLEcTIon oF HEIdEMARIE GARRIGuE-GuYonnAud Lots 109 to 131, 171, 177 This collection was formed by the celebrated beauty and model Heidemarie Balzer in the late 1960s and 1970s. She selected the garments purely for their aesthetic beauty and did not even realise that some of the couture pieces were labelled. The collection was not for display - but for her to wear. Although a German native she travelled the world and the combination of her stunning looks and superb vintage clothing made a memorable impact.

Heidemarie Garrigue-Guyonnaud 109 A bridal gown of cantonese embroidered silk, circa 1910, with chiffon puff sleeves, lavishly embroidered swathed silk overdress trimmed with fringes and tassels, chemical lace trim to hem, bust approx 92cm, 36in ÂŁ400 - 600

110 A black sequinned flapper dress, mid 1920s, the tulle ground entirely covered in sequins in varying sizes, points to hem, bust 92-97cm, 36-38in

Heidemarie was photographed wearing this gown in Italian Harpers Bazaar, december, 1971. ÂŁ200 - 400 110 34

111

113 (detail) 113 A gentleman’s court suit, French circa 1790, comprising: dark brown velvet tailcoat with magnificently embroidered and irridescent paste studded flowerheads and foliage, matching breeches and satin waistcoat, chest 86cm, 34in, waist 66cm 26in (3)

111 An elaborate tapelace dress, circa 1900, believed to have belonged to Mata Hari, of Princess-line, front fastening down one side, long trained skirt, bust approx 86cm, 34in, waist 66cm, 26in

This gown was sold to Heidemarie as having belonged to the infamous spy and temptress Mata Hari - though no proof was supplied. However, she was photographed wearing lace gowns of a similar nature, c.1900. £500 - 700

Heidemarie was photographed modelling this suit in Italian Harper’s Bazaar, december, 1971 £800 - 1200 114 A gentleman’s embroidered black velvet court coat, late 19th century, the high stand collar, front panels, cuffs and tails elaborately sewn with flowerheads in black silk, chest approx 92cm, 36in £400 - 600

112 A printed chiffon evening gown, early 1930s, with overall bamboo print in shades of grey and blue with gold brocaded leaves, blue and silver rhinestone belt panels to the side and buckle to the back, bust approx 86cm £300 - 500 113

115

118 & 119

115 An needlerun lace bridal/summer gown, circa 1830, with floral embroidered, tiered tulle skirt, Vpleats to front bodice, puff sleeves with satin piping, loosely tacked onto a modern calico petticoat, bust approx 86cm, 34in £600 - 1000

118 A sequinned flapper dress, circa 1928, the tulle ground covered in irridescent sequins, floral beaded panels in shades of pink-green to the neck, dropped waist and hem, bust 92-97cm, 36-38in £400 - 600

116 A pink beaded tulle tunic, mid 1920s, beaded and embroidered in gold thread, steel beads and pink beads, pointed hem front and back, 33cm, 13in wide £250 - 350

117 A printed gold lamé bias cut evening gown, 1930s, with vibrant orange, purple and yellow floral print, trained skirt, bust 92-97cm, 36-38in £200 - 300

119 A pale green beaded evening gown, circa 1929, the muslin ground covered with a shimmer of pearlised bugle beads with black and gold bead belt buckle medallion, hem falls in points at each side, bust 92cm, 36in £400 - 600

120 A printed silver lamé bias cut evening gown, 1930s, the silver blue ground with geranium print, bow to one hip, asymmetric neckline with silver garland strap, trained skirt, bust 9297cm, 36-38in £200 - 300

121

121 (label)

121 A rare, early Jeanne Lanvin printed muslin girl’s dress, circa 1916, narrow label to the wide petersham waistband, of blue muslin block printed with rose sprigs, flounced tiers to neck and skirt, bust 81cm, 32in, waist 58cm, 23in £700 - 1000

122 A rare and important Madeleine Vionnet evening gown, model 4113, Spring-Summer, 1925, of black crêpe romain, with Lesage embroidered droplet shaped motif to central bodice worked in silver strip and copper beads, the hips with similar, more rounded motifs, the hem falling in points at each side, bust 86cm, 34in

Literature: ‘Madeleine Vionnet’ edited by Pamela Golbin, pp.132135. The same model but in blue forms part of the Les Arts decoratifs, union Francaise des Arts du costume collection, inv.uF53-6-2. (See illustration on front cover) £8000 - 12000

122

122 (detail)

122 (detail) 37

123 123

123 (label)

124

123 A Madeleine Vionnet tiered black silk skirt (originally a dress), 1936, printed orange on ivory satin label with thumb-print, the back and sides adorned with graduated tiers of taffeta, plain front, waist 71cm, 28in

124 A Paul Poiret beaded ivory silk crêpe de chine cocktail dress, circa 1927, large woven satin label, adorned with silver bugle beads and rhinestones, with clear glass fringed over-skirt, silver lace edged chiffon petticoat, bust 8692cm, 34-36in £700 - 1000

Literature: ‘Madeleine Vionnet’ by Betty Kirke, p.184 for a photograph by Lipnitzki showing the dress with a bodice with twists at the shoulders. £700 - 1000

124 (label)

125 A black satin dinner gown, attributed to Vionnet, circa 1925, of complex construction, with integral scarf ties to neck, horizontally banded skirt, multiple vertical seams to rear bodice, long slim sleeves with ties to wrist, bust 86-92cm, 34-36in

This gown is similar to a black satin gown in the Metropolian Museum of Art collection, inv.1975.296.2. £400 - 600

126 A black beaded dress and evening coat, late 1920s, the dress with irridiscent black beads overall with asymmetric hem, large 19th century jet beaded medallion to the chest, bust approx 86cm, 34in; the tulle evening coat covered in black and silvery seed beads, with draped batwing sleeves and foliate designs to the shoulders and hem (2) £600 - 900

127 A Paul Poiret orientalist dress, circa 1922, large woven satin label, of bronze coloured metallicwoven silk, the fabric gently draped across the hips front and back and caught into elaborately embroidered and beaded hip medallion from which draped swags fall, with chunky gold beads to the shoulder straps, simple black silk inner camisole, bust 86cm, 34in

A dress of identical construction, but slightly different fabric forms part of the Metropolitan Museum of Art collection, inv.1978.277, ÂŁ4000 - 6000

127

127 128 A Molyneux couture pale pink crĂŞpe evening gown, circa 1936-8, labelled Molyneux, 5 Rue Royale, Paris, adorned with bands and fringeds of pale ivory silk cord, bust 86cm, 34in ÂŁ300 - 500

127 (detail)

128 (label)

127 (label)

128 39

129

130

132

129 A douillet-doucet gold lamé evening gown, 1930s, labelled douillet-doucet 47 Rue Pierre charron, Paris, of black and gold lattice-effect weave, low gently gathered decolletage with ties to waist, full sleeves, bust 92cm, 36in

130 A gold sequined evening gown, 1950s, the yellow muslin ground entirely covered with gold and silver sequins, some of differing textures, pink and grey beaded flowerheads, bust 86cm, 34in

VARIouS oWnERS

upon the death of the couturier doucet in 1929, the company merged with that of douillet (founded in 1900). £500 - 800

Heidemarie was photographed wearing this dress in Italian Harper’s Bazaar, december, 1971 £200 - 300

129 (label)

131 A sequined yellow satin kaftan with the Eiffel tower, probably 1950s, with silver beaded tower, gold sequined aeroplane, green and gold sequined cuffs and hem, chest 112cm, 44in £400 - 600

132 Seven Façon-Marrec designs for dior, 1947-48, mainly in ink and watercolour, comprising two Spring 1948 sketches, one of a full skirted coat with a xerox of its reproduction in a magazine; four Autumn-Winter 1948; and a line drawing of a ball gown, Spring 1948, mainly 50 by 33cm, 19 1/2 by 13in (8) £600 - 1000

133 A Jean dessès couture forest green tweed day suit, circa 1950, labelled and numbered 7459, the jacket with unusual diamond lozenge inserts to the waist which also form pocket vents, the long, slim pencil skirt with tab-shaped seams to either side of the rear kick pleat, chest 86cm, 34in, waist 66cm, 26in (2) £400 - 600

134

136

134 A Madame Grès couture steel grey wool day dress and conical silk faille hat, circa 1952, labelled, the slim fitting gown with tie to neck, notched sleeves, a horizontal pleat of fabric runs across the rear hips and ascends at the front waist, the black hat, labelled, with feather aigrette to the tip, bust 86cm, 34in, waist 61cm, 24in (2) £2000 - 4000

136 A christian dior couture spotted black black ball gown, A-line collection, Spring-Summer, 1955, labelled and numbered 53165, the bodice cut low across the shoulders, light boning,with lining and underskirt of pale blue organza, above two tulle and ivory silk integral petticoats, bust 92cm, 36in, waist 66cm, 26in

137 An Adrian camel wool day suit, circa 1945, labelled and ‘in British Samek material’ and ‘Marshall Field & co., 28 Washington St’, with pronounced padded shoulders overlaid with curved tabs of fabric fastened by buttons, pencil skirt, chest 92cm, 36in, waist 66cm, 26in (2) £450 - 600

135 A Lanvin couture black silk gazar cocktail dress, mid 1950s, labelled Lanvin Paris, the bodice with ruffled folds of silk to shoulders and sleeves, cross-over panels to back bodice, integral corset and tulle petticoats, bust approx 86cm, 34in, waist 61cm, 24in £400 - 600

Literature: ‘dior in Vogue’ p.136 for a photograph of this gown. Vogue in 1955 described this collection as ‘The most wanted silhouette in Paris...the prettiest triangle since Pythagoras’ £3000 - 5000

138 A black jersey cocktail dress, attributed to Madame Grès, 1940s, with interwoven panels to the waist and bodice, above vertical pleats on the skirt, zip fastened to the back, padded shoulders, bust approx 102cm, 40in, waist 92cm, 36in £400 - 600

136 (label)

140 A Bruyere couture black slubbed silk ball gown, mid 1950s, labelled, the bodice and upper skirt with beaded and sequined bird of paradise plumes studded with smoked pear-shaped rhinestones, the over-skirt held in a drape at one side, bust 92cm, 36in, waist 66cm, 26in £300 - 500

139

141 An Yves Saint Laurent for christian dior couture black velvet evening coat, Autumn-Winter, 1959, labelled and numbered 100727, double breasted, of voluminous cut with large black glass beaded buttons, vertical vented pockets, bracelet length sleeves, quilted lining, chest 92cm, 36in £500 - 900

139 A christian dior couture fourreau cocktail dress and jacket, ‘Aimant’ collection, Autumn-Winter, 1956, labelled and numbered 82029, comprising: slim-line columnar empire line cocktail dress, of orientalist peach and black printed satin, lavishly adorned with black seed beads, nacré slivers, brass and copper embroidery in the form of small buildings and figures, probably by Brossin, vertical bands of seed beads and black sequins run up the sides of the gown and continue over the straps, with non-corseted organza lining; the voluminous matching jacket with wide lapels and lining of black velvet, bust 97cm, 38in, (2) £1500 - 2500

139 (label) 42

142 142 A striking donald Brooks couture black moss crêpe evening gown, late 1960s, labelled, emblazoned to the front with large pearl, rhinestone and couched gold thread star bursts, bust 82-86cm, 32-34in £400 - 600

143 Two donald Brooks couture cocktail gowns, late 1960s, labelled, one a ruffled ivory organza halter-neck with green bow to waist, the other of pink and silver lamé brocatelle with silver bugle beaded diapered hem, busts approx 86cm, 34in (2) £350 - 500 141

144 An Yves Saint Laurent for christian dior couture flame red taffeta evening gown ‘Izmir’, ‘curving Line collection’, Autumn-Winter, 1958, bearing defilé labels handwritten with the model numbers 2355-2357, ‘Izmir’ Gloria M.Jane’, comprising organza lined fitted bodice with matching orientalist pantaloons and a bouffant trained skirt which could also be worn as a cape, bust 86cm, 34in, waist 61cm, 24in (3)

This and the following lot were modelled being worn with matching Roger Vivier for dior ‘pagoda’ orientalist shoes £3000 - 5000

144 (label)

144 145 An Yves Saint Laurent for christian dior blue floral chiné taffeta evening gown ‘Sultane’, ‘curving Line collection’, Autumn-Winter, 1958, bearing defilé labels handwritten with the model numbers 2351-2353, ‘Sultane’ Gloria M.Jane’, comprising organza lined fitted bodice and a bouffant trained skirt which could also be worn as a cape; together with a skirt formed from the original pantaloons but also with the fabric remnants of the pantaloons, bust 86cm, 34in, waist 61cm, 24in (qty) £800 - 1200

145

145 (label) 43

151 & 152

146 146 A Madame Grès couture chiné satin orientalist gown, circa 1960, labelled, with inner-kaftan-like dress with vertical slit to neck, ballooning skirt with leg holes to the sides, which attaches to the outer-dress which folds across the front to fasten at the shoulder, wonderful psychedelic weave with silver ottoman style brocade, bust approx 86-92cm, 34-36in £800 - 1200 147 A Veneziani cloth of gold evening gown, early 1960s, labelled Veneziani, Milano, with boned bodice, adorned with deep band of lace smothered in pink, blue, gold bugle beads and seed pearls, bust approx 86cm, 34in, waist 66cm, 26in £250 - 350

148 A Paco Rabanne metal tunic, probably late 1960s or 1970s, with pierced r-shaped cut-out to the front hem and tag embossed proto 02, handn68, with rectangular white painted platelets forming the main body, triangles and lozenges for the straps, bust approx 86cm, 34in. £400 - 600 149 A Marc Bohan for christian dior black wool day ensemble, early 1960s, boutique labelled and numbered 327/002, the fitted sleeveless dress with short boxy jacket with sable collar, bust 86cm, 34in, waist 69cm, 27in (2) £350 - 500 150 A ‘Mondrian’ style wool minidress, circa 1965, a high street imitation of Saint Laurent’s iconic design, with bold red and yellow colour blocks within a black ribbon grid, ivory wool ground, bust 92cm, 36in; together with a pair of black Avenger’s-girl style leather boots c.1964 (3) £500 - 800

151 A Rudi Gernreich for Harmon knitwear black bikini, 1969, labelled and size 8, with scalloped edges interlaced with knitted braids (2)

Provenance: Galina Golikova wore this matching bikini as part of her bridal trousseau, when she married the pop artist Gerald Laing on board the QE2 in 1969. See KTA 29.11.11, lot 80 for the Gernreich wedding dress which was sold for £4200. £400 - 600 152 Two Pucci bikinis, late 1960s-early 1970s, labelled and size 8, also with Saks labels, comprising: green and blue underwired top with matching shorts; multicoloured top similar, the briefs with integral skirtlet (4) £350 - 500 153 A Molyneux couture beaded evening jacket, circa 1960, labelled ‘Molyneux Paris’, of black linen adorned with large pink and green blister beads, cork discs, white beads and gold braid, chest 86cm, 34in £400 - 600

154 A rare André courrèges couture futuristic ball gown, 1968, labelled, of white jersey, crisscross bands to bodice and hips inset with panels of metallic sequins in shades of acid green, electric blue, the conical skirt with hooped hem, front slit, lined in white cotton, bust 86cm, 34in

This model was photographed by Jeanloup Sieff for Vogue in 1968. £5000 - 8000

154 155 An André courrèges ice blue wool jersey coat, late 1960s, labelled and numbered 410141, with curved tri-angular patch pockets, white plastic buttons, chest 86cm, 34in £350 - 500

156 A christian dior hound’s-tooth checked wool coat, probably Spring-Summer 1960, boutique labelled, with fringed hem, of loose cut, chest 102cm, 42in £400 - 600 154 45

157 & 158 157 A Pierre Balmain couture black and wine silk gazar evening gown, early 1960s, labelled and numbered 131273, with wide boat neckline, velvet high waistband, adorned overall with black beads and pendants, bust 86-92cm, 34-36in £400 - 600

158 An Hubert de Givenchy couture black velvet and satin cocktail dress, circa 1960, labelled and numbered 70316, the boned strapless bodice with sweetheart neckline, adorned with silk cord scrolls, jet beads, the ground scattered with chenille pompoms, the hem edged in ostrich, bust approx 92cm, 36in £600 - 800

162 159 An ossie clark cut velvet evening dress, late 1960s, printed black on white label and size 8, the keyhole opening, cuffs and hem trimmed in velvet, bust 86cm, 34in £250 - 400

160 An ossie clark ‘Lamborghini’ printed satin jacket, late 1960s, printed label and size 8, with bright scarlet oriental print, chest 81cm, 32in £300 - 500

161 An Yves Saint Laurent scarlet wool evening cape, 1970s, Rive Gauche labelled, with batwing sleeves, gold cord buttons and silk tassels to the closure £300 - 500

162 A Madame Grès couture blue crêpe toga-gown, circa 1970, labelled, and also with defilé label, navy blue to the front, the reverse with royal blue vertical band, with draped sleeve on one side only, slit to the thigh at side seam, bust approx 86cm, 34in £800 - 1000

163 An ossie clark/celia Birtwell ‘candy Flower’ and ‘Floating daisies’ printed moss crêpe dress, late 1960s, the pale pink ground with cinammon and black print, bust 82cm, 34in

Provenance: José Fonseca who was a close friend and benefactor of ossie clark, and who set up the modeling agencies ‘English Boy’ and ‘Models 1’ in the late 1960s. £350 - 500

164 & 166 164 An early Zandra Rhodes ‘knitted circle’ print chiffon dress, circa 1968, labelled, with two tiers of chiffon edged in pearls cascading from the top-stitched gold satin upper bodice, also applied with small pearls, star sequins and rhinestones, with ruched silk under-dress with tabbed hem of chiffon edged with pearls, bust approx 86-92cm, 34-36in £600 - 800

165 A Thea Porter printed chiffon ensemble, 1970s, labelled and size 12, printed with Persian horsemen and clouds, comprising jacket, flounced skirt, lined in blue silk, blue silk sash, chest 92cm, 36in, waist 71cm, 28in (3) £300 - 500

167 & 168 166 A fine Zandra Rhodes ‘Indian’ Feather print chiffon ensemble, circa 1970, labelled, comprising: loosely cut bodice with finely pleated yoke, wide sleeves, the hem with feather cut-outs, over matching skirt with elasticated waistband, bust approx 97cm, 38in, waist 66cm, 26in unstretched (2) £400 - 600

167 An ossie clark/celia Birtwell for Radley printed moss crêpe halterneck gown, 1972-3, labelled and size 14, with colourful delaware print, ties to neck, button fronted and back-less, bust approx 8692cm, 34-36in £600 - 1000

168 An ossie clark/celia Birtwell printed crêpe summer dress, late 1970s, with narrow gold and black ossie clark label, with tiered skirt, cross-over back straps, bust approx 81cm, 32in, waist 61cm, 24in £450 - 600

169 A Thea Porter couture pale peach chiffon crêpe kaftan top and matching skirt, 1970s, labelled, appliqued to the front with cinammon red lilies and butterflies, piped in gold braid; a petticoat, waist 76cm, 30in; together with a catherine Buckley chiffon kaftan, the batik print by Margaret Alldridge, labelled (4) £400 - 600

Lulu has confirmed that this is indeed the outfit she wore for her marriage to the hairdresser John Frieda. In her memoirs she records ‘The wedding was at Hampstead Register office, that october (1976) and Bill Gibb, a Scottish designer, created an Arabian style gown in pale cream wool for me. We did three fittings to make sure everything was absolutely right.’ The dress was purchased in an antiques/second hand shop in Margate in 1991. The shopkeeper stated that the dress had belonged to Lulu (who had been appearing in the Winter Gardens the previous season there). £350 - 500

170

170 (detail)

171 An ossie clark snakeskin maxi coat, late 1960s, lycodonomorphus rufulus, labelled, with sharp lapels, angled zip fastening, broad belt

170 The Bill Gibb ivory wool ensemble worn by Lulu for her wedding to John Frieda in 1976, labelled, comprising: halter neck gown, the collar with beaded palmettes and fringes in shades of grey, handkerchief point to the front bodice hem, the pleated skirt edged in pastel ribbons; the matching full length coat with similarly beaded shoulders, rear yoke and cuffs, bust approx 8186cm, 32-34in; together with a newspaper article written by Lulu showing her photographed in the gown (3)

Literature: ‘The ossie clark diaries’ edited by Henrietta Rous where ossie describes discovering a stash of snakeskins and decides to use them to make garments, ‘They were exotic, with added glamour attached to wearing part of a dangerous animal and the association with fetish in clothing oneself in another creature’s skin’. 170 (detail)

171

Provenance: Heideimarie Garrigue-Guyonnaud collection £700 - 1000

172 & 173 172 An ossie clark ‘traffic light’ dress, early 1970s, satin label, with black moss crêpe bodice with brilliant yellow, puce and scarlet tiered, graduated flamenco style skirt and sleeve panels, bust approx 86cm, 34in £400 - 600

173 An ossie clark for Radley printed chiffon summer dress, mid 1970s, labelled and uK size 12, simple pinafore-style with ties to shoulders, three tiers of differently patterned celia Birtwell chiffon, bust 86-92cm, 34-36in £350 - 500

175 & 176 174 A Zandra Rhodes printed chiffon and beaded evening gown, 1980s, labelled, with matching yellow rayon jersey petticoat, bust 8692cm, 34-36in; together with a Zandra Rhodes ‘Reverse Lily’ print chiffon bodice with sea-shell sequins to the neck and pearl edging, and two matching skirts, one with unpicked waist, 1973 (5)

A similar 1973 ensemble is photographed in ‘The Art of Zandra Rhodes’ p.106. £200 - 400

175 An ossie clark/celia Birtwell printed chiffon dress, circa 1973, labelled and size 8, empire-line with appliqued satin shoulders, floating chiffon sleeves, contrasting print to bodice, bust 86cm, 34in

Provenance: José Fonseca who was a close friend and benefactor of ossie clark, and who set up the modeling agencies ‘English Boy’ and ‘Models 1’ in the late 1960s. £600 - 1000

176 An ossie clark ‘Ziggy Stardust’ ivory damask crêpe dress, early 1970s, woven label, and size 10, the fabric with diamond lozenge repeats, the dress cut in a spiral with flounces descending from shoulders to hem, bust approx 86cm, 34in £700 - 1000 49

179 179 A pair of rare Westwood/Mclaren black patent ‘SEX’ stilletoes, circa 1976, the insoles stamped ‘Especially for SEX, 430 Kings Road, chelsea, Made in England’, with metal studded uppers, the ankle straps with buckles and bondage loops, uK size 4 1/2 (2) £450 - 600

THE GARY TuRnER coLLEcTIon Lots 180 to 190 177 177 An Yves Saint Laurent ‘Lips’ print dress, circa 1971, Rive Gauche labelled and size 38, of black crêpe with zips to cuffs, bust 86cm, 34in

Provenance: Heideimarie Garrigue-Guyonnaud collection £500 - 700 178 An ossie clark evening gown and matching kaftan, late 1970s-early 1980s, narrow black and gold label, comprising: black and white celia Birtwell printed silk crêpe bias cut gown, the printed chiffon kaftan with cut outs to the shoulders with cross hatch patterned silk trim, bust approx 86cm, 34in (2) £350 - 500

Gary Turner was a regular at Sex and Seditionaries in the Kings Road and latterly at World’s End before setting up his own boutique specialising in new Romantic and Westwood clothing in Margate in the early 1980s. He frequented clubs such as the ‘Goldmine’, Lacy Lady, Global Village and Billy’s. For an expanded biography and testimonials please see our website listing for this lot.

180 (label) 50

180 180 A Westwood/McLaren ensemble, 1975-6, comprising: SEX black and white striped cotton peg-leg trousers, high waisted with belt loops, the legs cut very full and narrowing at the turn-up hems, waist 72cm, 28in; together with a Seditionaries green and red striped mohair sweater, c.1975-6, black Seditionaries label to right cuff, chest 92cm, 36in (2) £500 - 800

183 (label)

183 A Vivienne Westwood/Malcolm McLaren Sex/Seditionaries green cotton parachute top, circa 1976, bearing both Sex and Personal collection labels, also black ribbon label to breast pocket, rubber buttons, buckles and loops, contrasting brown sleeve, chest 107cm, 42in £800 - 1200 181 181 A Westwood/McLaren ensemble, circa 1975-6, comprising: transparent black nylon top with pink SEX label, chest 81cm, 32in unstretched; and a pair of red cotton drill jeans, black on white printed Seditionaries Personal collection label, with blue plastic pockets and zips to the buttocks, waist 71cm, 28in (2) £500 - 900

182 A Westwood/McLaren ‘cambridge Rapist’ t-shirt, circa 1975-6, Seditionaries ribbon label to left sleeve, printed design inside-out, with green mask portrait, musical notes, picture and death announcement of Brian Epstein in shades of pink and green, bust 92cm, 36in £300 - 500

184 A Westwood/McLaren pair of tartan bondage trousers, circa 1976-77, Seditionaries Personal collection label, the red ground with blue and green plaid, zippered crotch from front to back, blue webbing belt, zips to rear legs with bondage buckles and strap, the blue towelling bumflap with black ribbon label, waist 71cm, 28in; together with a black wool home-made kilt attachment which could be worn with the trousers (3) £800 - 1200

185 A Westwood/McLaren ‘Prick up Your Ears’ t-shirt, 1978-79, signed ‘Seditionaries’ in the print, with Joe orton text and homo-erotic print in shades of green and blue, chest 97cm, 38in £350 - 500

183 & 184 186 A Westwood/McLaren ‘destroy’ tshirt, circa 1978-79, un-labelled, with large colourful swastika and anti-christ slogans; together with a Boy ‘Gary Gilmore Memorial Society’ t-shirt c.1977, designed by Genesis P orridge, chests 97cm, 38in (2) £300 - 500

187 A Westwood/McLaren striped cotton shirt, circa 1976, ‘dirty stripper’ label, with peter-pan collar, blue and black stripes with pink sprigs, chest 112cm, 44in £400 - 600

188 A Westwood/McLaren Seditionaries ‘Wake up one Morning’ t-shirt, circa 1975-6, unlabelled, the inside-out t-shirt colourful printed text, ‘Fuck’ painted across the front, one sleeve intentionally ripped off, chest 92cm, 36in £350 - 500 51

189 (detail)

189

189 A Vivienne Westwood ‘Pirate’ collection ensemble, AutumnWinter, 1981-82, comprising: striped cotton waistcoat and trousers, in green, black and grey, both with World’s End labels; a voluminous white self-striped cotton shirt, labelled and a xerox newspaper cutting of Gary Turner wearing this ensemble (4) £600 - 1000

VARIouS oWnERS

190 A Vivienne Westwood ‘Pirate’ collection madras-striped waistcoat, Autumn-Winter, 198182, World’s End label, size M, double-breasted and lined in cream flannel, chest 92cm, 36in £200 - 300

191 A Vivienne Westwood ‘Pirate’ collection ensemble, AutumnWinter, 1981-82, World’s End labelled, comprising: scarlet damask pirate shirt, matching skirt with broderie anglaise trim to hem, draw-string gathers at the waist; yellow and black squiggle print sash with tassels, blue jersey arrow print stockings; and a pair of rare square-toed silver and crimson brocade pirate shoes, the fabric in imitation of 18th century silk (7) £2000 - 3000

191 52

191

191 (detail)

192

192 A rare Vivienne Westwood sheepskin armour jacket, ‘Time Machine’ collection, AutumnWinter, 1988-89, Red label, size 40, comprising waistcoat with optional buckle on/off sleeves, orb engraved faux horn buttons, chest 112cm, 44in £700 - 1000

193

194

195 An Azzedine Alaïa rare hooded dress, circa 1986, labelled and size L, of chocolate brown knit with single zip fastening that circles the body starting at the right hip and ending at the left breast, the integral hood with scarf ending on one side, bust approx 86cm, 34in.

193 A Thierry Mugler brown sheepskin jacket, 1980s, labelled and size 38, with padded shoulders, ridged, pneumatic panels to the upper arms, curved seams below the breast, zip fastened, chest approx 102cm, 40in, waist approx 77cm, 30in £500 - 800

Grace Jones, the model and performer, was know for wearing Alaïa’s signature hooded knit gowns. He also designed her wardrobe for the Bond film ‘A View to a Kill’ in 1985. Literature: ‘Azzedine Alaïa in the 21st century’, Groninger Museum catalogue p.16 for an identical dress. £700 - 1000

194 An Azzedine Alaïa sheepskin jacket, 1980s, labelled and size 40, of soft buff suede, of loose, blousing cut, wide fleece lapels, diagonal zip fastening, curving waistband which hugs the hips, chest approx 117cm, 46in, waist approx 76cm, 30in £400 - 600

195A A Thierry Mugler black sequined cocktail suit, 1980s, labelled and size 40, comprising fitted jacket cut higher at front, with slim skirt, chest 86-92cm, 34-36in, waist 71cm, 28in, (2) £200 - 300 195 53

196

197

198 A Thierry Mugler black velvet and chiffon evening gown, early 1990s, blue label and size 36, the boned bodice with curved cut outs to the breasts, integral velvet shorts, and draped bustle-like chiffon overskirt, bust approx 81cm, 32in, waist 61cm, 24in £1500 - 2500

196 A fine claude Montana black jersey evening gown, 1980s, gold on white label, with one rounded curving shoulder and sleeve, the other with exposed shoulder and draped pleats, curving waist seam, long narrow skirt that slightly flares at the hem, bust 82cm, 32in £700 - 1000

199 A Thierry Mugler mauve ombré satin cocktail dress, 1980s, blue label and size 38, the boned strapless bodice with off the shoulder full sleeves, over tulip shaped skirt changing to rose pink at the hem, criss-cross lacing to the back, bust approx 81-86cm, 32-34in, waist approx 61cm, 24in £400 - 600

197 A fine Thierry Mugler pleated cloth of gold evening gown, circa 1987, labelled and size 38, with fan pleats radiating from the centre waist front and back, with exaggerated angular shoulders and horizontally pleated sleeves, bust approx 92cm, 36in £1000 - 1500 199 54

198

200 200 A fine Thierry Mugler pleated gold lurex and grey wool jersey evening gown, circa 1980, blue label, size 40, with fan-shaped panel to neck, cuffs, ancient Egyptian style pleats to hips and centre skirt, bust 92cm, 36in £1500 - 2500

201 201 A fine Thierry Mugler black taffeta and chiffon evening gown, circa 1980, blue label and size S, the boned strapless sheath with overlay of vertical pleated tulle fanning out from the waist, with horizontally pleated tulle cummerbund, chiffon skirt with trained fishtail hem, bust approx 81cm, 32in, waist 61cm, 24in £2000 - 3000

202 Yohji Yamamoto fashion catalogues, 1980s, comprising Autumn-Winter collection, 1986; another with colour images printed onto laminate; Pour Homme, 1987-88; and five comme des Garçons ‘Six’ catalogues, 1990 including Line Vautrain, Mens and Women’s wear; Enzo cucchi; nos 5,6,7, (8) £250 - 350 55

203 & 204 203 A commes des Garçons ‘beggar’ coat, circa 1982-83, gold and black satin label, of loose, voluminous cut, open-weave wool in black and ivory with floating scarf-like lapel panels that attach at the hem, wide sleeves

Literature: ‘comme des Garcons’, Tokyo, chiyodaku 1986, photographs by Peter Lindberg of similar garments, and ‘Since Meiji: Perspectives on the Japanese Visual Arts 1868-2000’, J.Thomas Rimer, university of Hawaii Press, 2011. £2500 - 3500

206 204 A comme des Garçons ivory tousled knit tunic dress, probably early 1990s, labelled ‘Tricot comme des Garçons’, with wide, scooped neck, irregualr collar, the knitted ground looped and embroidered with cotton wool cords, cotton strands, chest approx 107cm, 42in £2000 - 3500

205 A collection of Yves Saint Laurent Rive Gauche catalogues, AutumnWinter 1981-82 - Autumn-Winter 1996-97, including AutumnWinter, 1984-85 with sketches by Antonio (23) £400 - 600

206 A Thierry Mugler faux crocodile leather ensemble, november, 1987, labelled and size 38, the jacket cut wide at the padded shoulders, with narrow waist, reptilian panels to the front, sleeves, back shoulders narrowing to a point at the centre back, broad panel also to the pencil skirt, chest approx 92cm, 36in, waist 64cm, 25in (2)

Literature: ‘Thierry Mugler, Fashion, Fetish, Fantasy’ p.30 for a model wearing a similar ensemble from the same collection. £1000 - 1500

207 & 208 207 A Thierry Mugler ‘Les Milteuses’ communist dress, Autumn-Winter, 1986-7, labelled and size 38, of grey gabardine, with royal blue stand collar, pointed pocket flap and closure fastened by studs, flounce to hem, fins down the sleeves, bust approx 97cm,36in, waist 71cm, 28in

This gown is reproduced in ‘Icons of Fashion The 20th century’ by Prestel and also ‘Thierry Mugler Fashion Memoir’ by Francois Baudot. £600 - 1000

209 & 210 208 A Thierry Mugler mustard yellow wool coat, mid 1980s, labelled and size 38, with massive shoulders, graduated gathered skirt cut short at the front, broad curving waistband with two gilt bar fasteners, chest approx 8692cm, 34-36in, waist 76cm, 30in £400 - 600

209 A John Galliano chocolate brown gabardine coat, 1987, labelled John Galliano, England, doublebreasted with large pocket flaps, multi-pleated and loosely draped skirts falling from the dropped zig-zag waist, chest 92cm, 36in £600 - 1000

210 A John Galliano grey cotton shirt, circa 1983-5, of voluminous cut, with wooden buttons, wide sleeves with shirred and ruched cuff openings fastened by a single button, chest approx 153cm, 60in

For a similar shirt see KTA 21.6.2011 sale lot 167. £600 - 1000

211 A John Galliano black satin evening gown, probably 1990s, Paris labelled, the strapless boned bodice with accentuated vshaped waist, the peplum forming a satin criss cross to the front of the bias-cut multi-panelled trained chiffon skirt, bust approx 86cm, 34in £400 - 600

212 A Zandra Rhodes printed chiffon ‘ZigZag shell’ ensemble, 1973, labelled, comprising: ivory chiffon stole/bodice with pearlised shell shaped sequins to the breast, printed in ivory with shell repeats, frond-like hem, the matching skirt with printed overlay panels, sequined halter-neck bra; and a Graham Smith white jersey turban with matching sequins, bust approx 86cm, 34in (4)

Literature. ‘The Art of Zandra Rhodes’, p.119. Bianca Jagger was photographed by norman Eales modelling this ensemble (without the bra-top) £600 - 1000

213 A Zandra Rhodes ‘Ayers Rock’ collection printed silk jacket, 1974, labelled, with contrasting quilted green satin collar and openings, adorned with frogging and lace edged bows; together with an Ayers Rock ivory print on ivory chiffon skirt with quilted waistband; and a pair of Lily of the Fields ivory printed chiffon harem pants, waist 64cm, 25in (3) £400 - 600

nikki Squire

THE nIKKI SQuIRE coLLEcTIon Lots 212 to 251: The singer, songwriter nikki Squire was married to (and also wrote music for) the musician chris Squire of the band ‘Yes’. She lived a rock ‘n’ roll lifestyle between London and the united States.

214 A Zandra Rhodes yellow jersey top, 1972, labelled, with blue over-stitched ‘lettuce’ edging, frills and flowers, bust approx 92cm, 36in; together with a pair of black ultra-suede chaps with pastel stencilled ‘hatched’ panels and signatures to pockets, waist 66cm, 26in (2)

Her striking looks, ankle-length hair and wardrobe of cutting edge fashion from commes des Garcons, Azzedine Alaïa, Thierry Mugler and others made her stand out from the crowd. She liked to combine vintage (when few others were wearing it) with contemporary accessories to create a distinctive and unique look. This fusion of contemporary with sublime vintage fashion can be seen in this collection.

Literature: ‘The Art of Zandra Rhodes’ p.74 for a photograph of a similar top. £200 - 300

212 58

215 215 A chanel beaded cape, circa 1927, the black chiffon ground adorned with zig-zag bands of pewter grey and gold bugle beads, the rear panel with deep V-panel inset with beadwork, graduated front hem, beaded ties to neck

For a chanel cocktail dress and matching stole of similar design see KTA, 10.7.2007 lot 103, sold for £25000 hammer. £1000 - 1500

216 A Bill Gibb embroidered wool ensemble, circa 1974, labelled and size 10, comprising: pleated halter-neck top with embroidered deco-style shell motif, matching jacket with curved embroidered pocket flaps and flared trousers with topstitched detailing, bust approx 86cm, 34in, waist 64cm, 25in (3) £300 - 500

217 & 219 217 A sequined flapper dress, French, circa 1928, the ivory muslin ground adorned with pearlescent and gold sequins, the waist and skirt adorned with large flowerheads, trained, graduated skirt to the back, bust 97cm, 38in £600 - 1000

218 A beaded and sequined flapper dress, circa 1928, the pale apricot muslin ground spangled overall with clear glass seed beads, with black, gold and pearlescent beads and sequins to the bodice and skirt, bust 92cm, 36in £400 - 500

219 A ‘cobweb’ sequined flapper dress, French, circa 1928, the pale green muslin ground adorned in delicate shades of green-silver sequins, with scalloped, graduated hem, bust 97cm, 38in £600 - 1000

220 Two 1940s evening gowns, one of black crêpe with sequined and beaded bird of paradise, massive shoulders and draped skirt, the other of beige crêpe with scroll embroidered sleeves and peplum, busts 82-86cm, 32-34in, waists 61-66cm, 24-26in (2) £400 - 600

221 221 A fine Azzedine Alaïa black leather coat, 1987, labelled and size size 40, prestud fastened, with integral bolero bodice, with slashed leather edging and back tabs revealing the yellow leather lining, zig-zag top-stitched edging bands, the rear skirt with semicircular godet insertions within an arched band, bust 86cm, 34in

For a link showing nikki Squire wearing this coat when performing ‘To the Rescue’, 1987 go to http://www.youtube.com/ watch?v=RFob2nYPwok £1000 - 1500

221 (detail 222 ‘The People of the Labyrinths’ printed leather jacket, 1980s, with fluorescent orange and pink slogans and pictures, large red zips, chest 137cm, 54in; together with a red and black teddy-boy style jacket with elaborately beaded collar and pockets (2) £200 - 300

223 A Jean-Paul Gaultier doublebreasted jacket with ruffled sleeves, late 1980s-early 1990s, Femme labelled, size 42; together with a Maille labelled jersey top with integral glove-sleeves; and a black cotton skirt (3) £200 - 300

224 An Azzedine Alaïa rubberised tulle blouse and skirt, late 1980s-early 1990s, labelled, the blouse with elasticated waistband, matching multi-gored skirt trimmed with velvet bows; together with an Alaïa citron satin trench coat, 1980s, labelled and size 38, double-breasted, of voluminous cut with tie belt, chest 127cm, 50in; together with an image of a similar coat being modelled in ‘Style Elle nos Années 80’ by F.Baudot and J. demachy’, (4) £200 - 400

225 An Alexander McQueen herringbone weave coat, 1990s, labelled, of polyamide and wool, with sharp lapels, narrow tapering skirt, single button to fasten, chest 92cm, 36in £200 - 300

226 226 A Thierry Mugler purple suede and black patent jacket, SpringSummer, 1989, blue label and size 40, with curved waistline, cuffs and shoulders, arching collar, with black patent cobweblike appliques, chest approx 92cm, 36in; together with a pair of black Alaïa leggings (2)

226 (detail) 228 An Azzedine Alaïa black leather ‘zipper’ dress, late 1980s, labelled and size 40, with wide biker-style lapels, curving diagonal front opening, wide shoulders, bust approx 102cm, 40in, waist 76cm, 30in £300 - 500

Literature: ‘Thierry Mugler: Fashion, Fetish, Fantasy’, edited by claude deloffre, p.127 for a catwalk photograph of the same jacket in yellow. £600 - 1000

229 An Azzedine Alaïa flecked grey wool jacket, Autumn-Winter, 198787, labelled, with top-stitched faux corset panels, chest 86cm,34in; together with a black knitted Alaïa skirt (2)

Literature: ‘Azzedine Alaïa in the 21st century’, Groninger Museum catalogue p.20 for a steel-grey version. £200 - 300 230 An Azzedine Alaïa striped charcoal wool suit, circa 1987, labelled and size 12, finely striped in pale and dark blue, the jacket cut shorter at the back with laced ties, the skirt cut with intricate chevron banded back pleats, chest 86cm, 34in, waist 66cm, 26in (2)

227 An Azzedine Alaïa cloth of gold cocktail dress, early 1990s, labelled and size 12, the bodice with scarf-like pointed ties to the front, the skirt formed from draped swags of fabric, bust 92cm, 36in £300 - 500 228

For a film of a pink version of this film being worn on the catwalk see: www.youtube.com/watch?v= Bfj1xELl8lk. It appears at 4.12 mins. £350 - 500 61

235 A Yohji Yamamoto black wool tailcoat, late 1980s-early 1990s, labelled, with deep V front, fastened by two buttons, the sleeve fronts cut in one with the front panels, pointed tails; together with a long wool skirt with pointed back panel which shows through the tails of the coat, chest approx 86cm, 34in (2) £450 - 600

236 A Yohji Yamamoto quilted black nylon cocoon coat, late 1980searly 1990s, labelled and size M, of loose cocoon shape, lined in polar-bear printed fluorescent yellow wool, Japanese kimono style diagonal neckline, large buttons to fasten £350 - 500

231 & 232 231 A Yohji Yamamoto ivory rayon dress, probably early 1990s, labelled and size M, buttonfronted with wide armholes, curved hips and hobble skirt with draped bustle to the back, bust approx 86-92cm, 34-36in £450 - 600 232 A Yohji Yamamoto polka dot rayon dress, probably early 1990s, labelled and size M, with raglan sleeves, elasticated cuffs, chunky rubberised closure, the skirt in draped bustle to the back, bust approx 92cm, 36in £450 - 600 62

233 A Yohji Yamamoto printed rayon ensemble, late 1980s-early 1990s, labelled, comprising: polka dot under-blouse with spaghetti straps, long sleeves, buttonfronted long panel; the over tunic with ethnic print in shades of grey with ties to breast, open midriff and draped lower skirt panel, bust approx 86cm, 34in (2) £250 - 350 234 A comme des Garçons midnight blue velvet evening coat, 1991, labelled and size S, of batwing shape with large rosette to side of shawl collar, silk ties to fasten £300 - 500

237 A Yohji Yamamoto black gabardine pinafore dress, late 1980s-early 1990s, labelled, with multiple straps, gored and flared skirt; together with a long black rayon coat of trapezoid shape, front buttoning, wide sleeves and pointed pleat to rear hem (2) £250 - 350

238 A Yohji Yamamoto black rayon coat-dress, late 1980s-early 1990s, labelled, size M, zip fastened to the front bodice, with inner nylon jersey tulle and nylon jersey dress and petticoat; together with a Yamamoto tiedyed jersey tunic, slashed to the waist, in blue and red, (2) £400 - 600

239 A comme des Garçons transparent black viscose tunic and separate sleeves, 1993, the tunic with plunging décolleté, black felted wool panel to the trapeze shaped skirt; together with a pair of sleeves, 1993, with white elastic cross-strap, white cotton cuffs (2) £400 - 600

240 A comme des Garçons transparent black viscose jersey coat, 1993, labelled and size S, with shaped lapels, the hem of the coat turning back and attaching across the shoulders and underarms with broad elastic bands, forming a long draped cowl at the back, chest approx 86cm, 34in £400 - 600

241 A comme des Garçons black satin jacket and wool skirt, 1995, labelled and size S, the singlebreasted jacket completely overlaid with swathed tulle, the skirt with tulle ruffle to hem, chest 92cm, 36in, waist 71cm, 28in a pair of black Yamamoto lace up boots, size 39 (4) £600 - 900

242 A comme des Garçons black wool ‘gymslip’, 1995, labelled and size S, the front skirt caught in irregular pleats, bust 92cm, 36in; together with a single-breasted black wool jacket with knitted wool sleeves, 1993, labelled size S, chest 102cm, 40in (2) £300 - 500

239 & 240 243 A comme des Garçons black seersucker bias cut gown, 1993, labelled and size M, woven with stripes of nylon and rayon, with deep band of felted wool to the hem, deep décolleté and armholes, unfinished dress edges, bust approx 86cm, 34in £200 - 300 244 A comme des Garçons lace shift dress, early 1990s, labelled and size M, the hem woven in contrasting pink, bust 97cm, 38in £200 - 300

245 A comme des Garçons black velvet and wool coat, probably late 1980s, labelled and size with black wool gaberdine hem, the skirt with pleats and cut higher at the back, belt slots through to fasten one side only; together with a red and white striped wool bolero jacket, 1988 with angular puff sleeves, labelled and size M (2) £300 - 500

248 A comme des Garçons grey wool shift dress, 1994, labelled and size S, with raw, unfinished edges, bust 86cm, 34in; together with a black wool blazer, 1993, labelled and size M, with gilt buttons, elongated grey and blue striped wool sleeves, chest 92cm, 34in (2) £300 - 500

249 A comme des Garçons Paisleyprinted flannel dress, early 1990s, labelled size M, with crumpled green acrylic skirt panel, grey suiting fabric and felted wool sleeves; together with a nylon gauze blouse with ruffled rosette front, 1991, bust approx 86cm, 34in (2) £200 - 300 246 246 A comme des Garçons embroidered tulle gown, late 1980s-early 1990s, labelled and size S, with integral cream calico petticoat, cut away at the back to reveal the buttocks, the tulle overdress with pleats to front skirt and irregular hemline created by tulle ruffles to one side, bust approx 86cm, 34in £400 - 600

247 A comme des Garçons black polyester bias-cut dress, 1993, labelled and size S, composed of horizontally joined transparent and taffeta bands, raw edges to neck, hem and cuffs, bust approx 86cm, 34in £250 - 350

252 250 A Martin Margiela ‘dissected’ dress, 1990s, the dress formed from two vintage-style dresses in blue and black crêpe seemingly joined at the centre front and back, the asymmetric hem with additional patchwork of fabrics in blue and black, bust 86cm, 34in £300 - 500

251 A Yohji Yamamoto black rayon dress, late 1980s-early 1990s, labelled, with draped sash that buttons to one shoulder; together with a blue and black tie-dyed nylon jersey shoulder-less dress with long sleeves, busts approx 86-92cm, 34-36in (2) £300 - 500

VARIouS oWnERS 252 A Romeo Gigli limited edition sequined ‘serpent’ dress, AutumnWinter 1998-99, hand embroidered in gold thread label, ‘Romeo Gigli 5/30’, with wired, shaped ‘wings’ to bodice front, the figure-hugging gown entirely covered with matt sage-green sequins, the skirt hem tapering and coiling to form a serpent-like tail, size 42, bust approx 86cm, 34in £600 - 1000

253 A Romeo Gigli limited edition feather bustier, circa 1995, labelled and embroidered in gold thread ‘Romeo Gigli, 2/30’, of cinnamon-red and sage-green cockerel and peacock plumes, size 44, bust approx 92cm, 36in £350 - 500

256 A Leon Visson white mink full length coat, 1980s, labelled ‘49 Faubourg St Honore, Paris’, with banded full sleeves, hooks to fasten, lined in ivory silk, chest 92cm, 36in, length shoulder to hem 127cm, 50in £600 - 800

257 A christian dior silver fox cape, 1980s, Paris labelled, two foxheads with jet beaded eyes to front shoulders, curved, graduated hem, with black suede backed integral waistcoat, length from base of neck to hem 102cm, 40in £500 - 800 254

261 Lots 258 and 259 are being sold in aid of cancer research

254 An Yves Saint Laurent black sequined and tulle evening gown, Autumn-Winter, 1983, Rive Gauche labelled, size 44, comprising black sequined camisole top edged in satin, the columnar sequined underskirt with satin waistband, tulle overskirt with flounced hem, bust 86-92cm, 34-36in, waist 66cm, 26in (2) £800 - 1000

255 An oscar de la Renta ball gown, Autumn-Winter, 2008, labelled and uS size 8, of heavy black faille appliqued with cascades of gold maple leaves, embroidered with gold coils, bust 92cm, 36in, waist 71cm, 28in £250 - 400

258 ∆ A leopard skin and mink coat, circa 1970, with wide black mink lapels and hem, double breasted, lined in satin, chest 92-97cm, 36-38in £800 - 1200

259 A chinchilla coat, probably late 1970s-early 1980s, with deep collar, curved lapels, single hook to fasten, chest 97cm, 36in £1200 - 1800

260 An ivory mink parka-style jacket, with tasselled ties to neck, deep pockets, hood, lined in ivory silk, chest 112cm, 44in £400 - 600

261 A John Galliano for christian dior haute couture pale lavender lace dress, from his first collection for dior, Autumn-Winter, 1997, labelled and numbered 29311, the thirties inspired gown cut on the bias with ruffles of the lace to the front bodice, tiny buttons to the side fastening, tiered godets of lace undulate and descend the back of the skirt, over two layers of old rose-lilac crêpe de chine, bust 86cm, 34in, with matching fringed silk shawl (2) £800 - 1200

262 An Yves Saint Laurent couture grey satin evening gown, probably 1980s, labelled and numbered 072168, with wide cummerbundlike waist-band, bust 102cm, 40in £200 - 300

263 An Yves Saint Laurent couture embroidered and beaded jacket, late 1970s-early 80s, labelled and numbered 32167, the silk organza ground embroidered in gold thread and sequins, with a tracery of seed pearls enclosing gold bugle beads and rhinestones, lined in ivory satin with rhinestone buttons, bust 92cm, 36in £800 - 1200

264 A Victor Edelstein burnt orange satin ribbon dress, 1990s, labelled, with interwoven crisscross ribbons to bodice front, striped satin and chiffon skirt, bust approx 86cm, 34in £200 - 300

265 An Yves Saint Laurent ‘flapper’ style dress, 1990s, Rive Gauche labelled, comprising under-dress of black crêpe de chine and crêpe, the over-tunic with sequined and beaded fringed panels, bust 82cm, 32in £350 - 500

266 An Yves Saint Laurent couture scarlet lace and satin cocktail ensemble, 1980s, the scarlet embroidered raffia lace bodice with wide scalloped neckline, long sleeves, over slim satin skirt with tie belt to waist, bust 107cm, 42in, waist 71cm, 28in; together with a deep purple velvet Saint Laurent cocktail suit, defilé labelled, the jacket with short peplum and jet beaded buttons, bust 92cm, 36in, waist 64cm, 25in (5) £350 - 500

269 An Yves Saint Laurent couture navy jersey and polka dot evening gown, Winter 1982, labelled and numbered 45380, with wide balloon sleeves, ribbon ties to the shoulders, bust approx 92cm, 36in £500 - 700

270 A Gianni Versace leopard and baroque print cocktail dress, Spring-Summer, 1992, labelled and size 42, with ‘jewelled’ shoulder and back straps, bust 92cm, 36in; together with the Metropolitan Museum hardback catalogue by Richard Martin (2)

263

267 An Yves Saint Laurent couture ivory silk crêpe cocktail dress, 1980s, labelled and numbered 66904, of classicly simple cut, lightly padded shoulders, gently draped plunging neckline, matching belt with rhinestone inset buttons, bust 86cm, 34in, waist 71cm, 28in (2) £400 - 600

268 An Yves Saint Laurent ‘Le Smoking’ ensemble, late 1980searly 1990s, Rive Gauche labelled, comprising high waisted grain de poudre wool trousers with satin trim and bow to waist; the matching bolero with satin lapels, bust 86cm, 34in, waist 72cm, 28in (2) £250 - 400

Richard Martin illustrates the full length version of this gown in his catalogue on p.18 in which he describes Versace’s landmark designs. £400 - 600

271 A Gianfranco Ferre for christian dior couture scarlet velvet and gazar evening gown, 1996, with Vshaped high waisted bodice, deep centre pleats to the skirt front, the rear skirt falling in long origami-like pointed pleats, bust 86cm, 34in £500 - 700

272 An Yves Saint Laurent black cloqué silk cocktail dress, 1980s, Rive Gauche labelled and size 40, with loose scooped neckline, 3/4 sleeves, hem edged in ostrich with large satin bow £300 - 500

273

274

275 An Alexander McQueen ‘padlocked’ cocktail dress, precollection, Autumn-Winter, 2003, labelled and size 40, the beige satin upper bodice sectioned by gilt zips, adorned with braided panels with stiffened leather ribs, gilt keys and padlocks to the bust and centre-front dropped waist, above pleated chiffon skirt, bust 86cm, 34in, waist 71cm, 28in £1200 - 1800

273 An Alexander McQueen printed chiffon evening gown, AutumnWinter, 2004, labelled and size 40, with boned and wired empireline bodice, the draped silk chiffon with reptile and fur prints in shades of pink-grey, bust approx 86cm, 34in £1500 - 2500

274 A fine Alexander McQueen cape dress, one of the sixteen designs made for his final collection, Autumn-Winter, 2010, metal label and size 40, of heavy scarlet and yellow gazar, woven with heraldic beasts, the wide gothic sleeves attached to the lower skirt sides, so that as the sleeves lift so do the skirt sides, bust approx 92cm, 36in; together with an image of the gown being modelled (2) (See illustration on the back cover) £5000 - 8000

275

274

276 A John Galliano printed silk foulard cocktail dress, circa 2000, labelled and GB size 10, with draped 30s inspired bodice and flounced skirt, rhinestone studded buckle, bust 86cm, 34in £300 - 500

278 A christian Lacroix couture evening jacket, 1980s, labelled, of gold and black brocatelle with pink satin peter pan collar; together with a dior boutique short sequined jacket and camisole top; a dior boutique brown wool stole edged in fox; and a dior boutique (but special order) oyster satin lace trimmed satin negligee and nightgown (6) £250 - 350

279 An Alexander McQueen ‘Plato’s Atlantis’ collection snakeskin printed organza dress, SpringSummer, 2010, grey label and size 38, with python-like photo-collage print in brilliant colours, internal flesh coloured boned corset-like bodice, bust 81- 86cm, 32-34in, waist 61cm, 24in; together with a catwalk image of the dress, (2)

McQueen said of this collection that it predicted a future in which ‘the ice cap would melt...the waters would rise and ...life on would have to evolve in order to live beneath the sea once more or perish... Humanity (would) go back to the place from whence it came’. ‘There is no way back for me now. I am going to take you on journeys you’ve never dreamed were possible’.

277 277 An Alexander McQueen 'Irere' collection evening gown, SpringSummer, 2003, labelled and numbered size 42, the boned bodice lined in red satin, swathed and overlaid with printed scarlet, yellow and blue feather plumes, with layered, panelled skirt, two floating panels to the rear shoulders, bust 86cm, 34in, waist 66cm, 26in, together with an image of the gown being modelled, together with a catwalk image of the gown, (2)

A similar gown from the same collection is illustrated in 'Alexander McQueen Savage Beauty', Metropolitan Museum catalogue, pp.170-171. £2000 - 3000 68

Literature: Metropolitan Museum ‘Savage Beauty’, pp.184-195. £3000 - 5000

277

279

279 (detail)

280 280 An Alexander McQueen bottle green velvet and bugle beaded evening gown, ‘In memory of Elizabeth Howe, Salem 1692’ collection, Autumn-Winter, 2007, labelled and size 46, the ambergold beading applied in tress-like bands down the front and back of the gown, trained skirt, bust 92cm, 36in , waist 77cm, 30in; together with a catwalk image of the gown, (2) £10000 - 20000

279

280 69

281 (detail) 281 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, also bearing press sample label, the silver-grey bugle beads forming a star-burst effect to the upper bodice which scatter as they descend down the trained skirt, bust 86cm, 34in, waist 66cm, 26in; together with a catwalk image of the gown, (2) £10000 - 20000

281 70

282 A fine Alexander McQueen cape dress, one of the sixteen designs made for his final collection, AutumnWinter, 2010, metal label, of figured charcoal-grey silk damask, the graduated cape with arm slits, slotted belt, capelet and high collar with flap to conceal hook and eye fastenings, richly embroidered in gothic style in gilt threads with rampant lions and scrollwork, concealed button fastening to the front, the back with large central pleat, bust approx. 86-92cm, 3436in; together with an image of a similar example being modelled at the time (2)

Sarah Burton said of Alexander McQueen working on his final collection ‘He wanted to get back to the handcraft he loved, and the things that are being lost in the making of fashion. He was looking at the art of the dark Ages, but finding light and beauty in it. He was coming in every day, draping and cutting pieces on the stand’. Sarah Mower wrote of this collection ‘He had ordered fabric that translated digital photographs of paintings of highchurch angels and Bosch demons into hand-loomed jacquards, then taken the materials and cut stately caped gowns and short draped dresses. In its ornate surface narrative ... instead of aggression, they transmitted the grace of the medieval Madonnas and Byzantine empresses McQueen had been studying.’ (See illustration on the back cover) £20000 - 30000 End of Sale 282 71

condITIonS oF BuSInESS FoR BuYERS 1. Introduction (a) The contractual relationship of Kerry Taylor Auctions Ltd &. and Sellers with prospective Buyers is governed by:(i) these conditions of Business for Buyers; (ii) the conditions of Business for Sellers displayed in the saleroom and available from Kerry Taylor Auctions Ltd; (iii) Kerry Taylor Auctions Ltd’s Authenticity Guarantee; (iv) any additional notices and terms printed in the sale catalogue, in each case as amended by any saleroom notice or auctioneer’s announcement. (b) As auctioneer, Kerry Taylor Auctions Ltd acts as agent for the Seller. occasionally, Kerry Taylor Auctions Ltd may own or have a financial interest in a lot. 2. definitions “Bidder“ is any person making, attempting or considering making a bid, including Buyers; “Buyer“ is the person who makes the highest bid or offer accepted by the auctioneer, including a Buyer’s principal when bidding as agent; “Seller“ is the person offering a lot for sale, including their agent, or executors; “KT” means Kerry Taylor Auctions Ltd of 249-253 Long Lane, London SE1 4PR, company number 7173571 “Buyer’s Expenses” are any costs or expenses due to Kerry Taylor Auctions from the Buyer; “Buyer’s Premium“ is the commission payable by the Buyer on the Hammer Price at the rates set out in the Guide for Prospective Buyers; “Hammer Price“ is the highest bid for the Property accepted by the auctioneer at the auction or the post auction sale price; “Purchase Price“ is the Hammer Price plus applicable Buyer’s Premium and Buyer’s Expenses; “Reserve Price“ (where applicable) is the minimum Hammer Price at which the Seller has agreed to sell a lot. The Buyer’s Premium, Buyer’s

Expenses and Hammer Price are subject to VAT, where applicable. 3. Examination of Lots (a) KT’s knowledge of lots is partly dependent on information provided by the Seller and KT is unable to exercise exhaustive due diligence on each lot. Each lot is available for examination before sale. Bidders are responsible for carrying out examinations and research before sale to satisfy themselves over the condition of lots and accuracy of descriptions. (b) All oral and/or written information provided to Bidders relating to lots, including descriptions in the catalogue, condition reports or elswhere are statements of KT’s opinion and not representations of fact. Estimates may not be relied on as a prediction of the selling price or value of the lot and may be revised from time to time at KT’s absolute discretion. 4. Exclusions and limitations of liability to Buyers (a) KT shall refund the Purchase Price to the Buyer in circumstances where it deems that the lot is a counterfeit, subject to the terms of KT’s Authenticity Guarantee. (b) Subject to condition 4(a), neither KT nor the Seller:(i) is liable for any errors or omissions in any oral or written information provided to Bidders by KT, whether negligent or otherwise; (ii) gives any guarantee or warranty to Bidders and any implied warranties and conditions are excluded (save in so far as such obligations cannot be excluded by English law), other than the express warranties given by the Seller to the Buyer (for which the Seller is solely responsible) under the conditions of Business for Sellers; (iii) accepts responsibility to Bidders for acts or omissions (whether negligent or otherwise) by KT in connection with the conduct of auctions or for any matter relating to the sale of any lot.

(c) Without prejudice to condition 4(b), any claim against KT and/ or the Seller by a Bidder is limited to the Purchase Price for the relevant lot. neither KT nor the Seller shall be liable for any indirect or consequential losses. (d) nothing in condition 4 shall exclude or limit the liability of KT or the Seller for death or personal injury caused by the negligent acts or omissions of KT or the Seller. 5. Bidding at Auction (a) KT has absolute discretion to refuse admission to the auction. Before sale, Bidders must complete a Registration Form and supply such information and references as KT requires. Bidders are personally liable for their bid and are jointly and severally liable with their principal, if bidding as agent (in which case KT’s prior and express consent must be obtained). (b) KT advises Bidders to attend the auction, but KT will endeavour to execute absentee written bids provided that they are, in KT’s opinion, received in sufficient time and in legible form. (c) When available, written and telephone bidding is offered as a free service at the Bidder’s risk and subject to KT’s other commitments; KT is therefore not liable for failure to execute such bids. Telephone bidding may be recorded. 6. Import, Export and copyright Restrictions KT and the Seller make no representations or warranties as to whether any lot is subject to import, export or copyright restrictions. It is the Buyer’s sole responsibility to obtain any copyright clearance or any necessary import, export or other licence required by law, including licenses required under the convention on the International Trade in Endangered Species (cITES).

7. conduct of the Auction (a) The auctioneer has discretion to refuse bids, withdraw or re-offer lots for sale (including after the fall of the hammer) if (s)he believes that there may be an error or dispute, and may also take such other action as (s)he reasonably deems necessary. (b) The auctioneer will commence and advance the bidding in such increments as (s)he considers appropriate and is entitled to place bids on the Seller’s behalf up to the Reserve Price for the lot, where applicable. (c) Subject to condition 7(a), the contract between the Buyer and the Seller is concluded on the striking of the auctioneer’s hammer. (d) Any post-auction sale of lots shall incorporate these conditions of Business. 8. Payment and collection (a) unless otherwise agreed in advance, payment of the Purchase Price is due in pounds sterling immediately after the auction (the “Payment date”). (b) Title in a lot will not pass to the Buyer until KT has received the Purchase Price in cleared funds. KT will generally not release a lot to a Buyer before payment. Earlier release shall not affect passing of title or the Buyer’s obligation to pay the Purchase Price, as above. (c) The refusal of any licence or permit required by law, as outlined in condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per condition 8(a). (d) The Buyer must arrange collection of lots within 10 working days of the auction. Purchased lots are at the Buyer’s risk from the earliest of (i) collection or (ii) 10 working days after the auction. until risk passes, KT will compensate the Buyer for any loss or damage to the lot up to a maximum of the Purchase Price actually paid by the Buyer. KT’s assumption of risk is subject to the exclusions detailed in condition 5(d) of the conditions of Business for Sellers.

(e) All packing and handling of lots is at the Buyer’s risk. KT will not be liable for any acts or omissions of third party packers or shippers. 9. Remedies for non-payment Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction,KT may in its sole discretion exercise 1 or more of the following remedies:(a) store the lot at its premises or elsewhere at the Buyer’s sole risk and expense; (b) cancel the sale of the lot; (c) set off any amounts owed to the Buyer by KT against any amounts owed to KT by the Buyer for the lot; (d) reject future bids from the Buyer; (e) charge interest at 4% per annum above The Bank of England’s Base Rate from the Payment date to the date that the Purchase Price is received in cleared funds; (f) re-sell the lot by auction or privately, with estimates and reserves at KT’s discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such resale; (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 worldwide for the purposes outlined in condition 11(a) and to Sellers as per condition 9(i). 12. Miscellaneous (a) All images of lots, catalogue descriptions and all other materials produced by KT are the copyright of KT. (b) These conditions of Business are not assignable by any Buyer without KT’s prior written consent, but are binding on Bidders’ successors, assigns and representatives. (c) The materials listed in condition 1(a) set out the entire agreement between the parties. (d) If any part of these conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect. (e) These conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English courts, in favour of KT.

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

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

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

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

GuIdE To PRoSPEcTIVE BuYERS Purchasers will be charged a premium of 20% on the hammer price. The premium is subject to VAT at the prevailing rate. There is no VAT charged on lot prices unless otherwise specified in the catalogue by the following symbols Property with a † symbol These items will be sold under the normal uK Vat rules and VAT will be charged at 20% on both the hammer price and buyer’s premium. Property sold with a ‡ symbol. These items have been imported from outside the Eu to be sold at auction under temporary importation. VAT will be charged at 5% of the hammer price and 20% on the buyer’s premium. Property sold with a ∆ symbol. These items require a cITES licence to export outside of the Eu. These cost £59 each and we are happy to assist our clients with applications. Payment Payment is due immediately after the sale in Pounds Sterling and may be made by Banker’s draft, cashier’s cheque, Personal cheque, Wire transfer, credit cards, debit cards, cash and Traveller’s cheques. Payments should be made to Kerry Taylor Auctions. cash payments will not be accepted above £6,000 or $10,000. Payments in person can be made in the saleroom on the day of the sale, after this payments must be made by post, credit, debit card or wire transfer credit cards Most major credit card brands are accepted, however surcharges will be added as follows to cover the charge made to us by our bank: Visa and uK Mastercard 3.1%; AMEX 2.6%; Eu Mastercard 3.1%; International Mastercard 3.6%. For payments over £20,000 the cardholder must be present. There is no charge for using debit cards. Please note it may be advisable to notify your credit card provider of your intended purchase in advance, to reduce delays caused by us having to seek authority when you come to pay.

Payment by cheque If payment is to be made by cheque and the cheque exceeds the cheque card guarantee limit, then goods can only be collected on the day of the sale if the buyer is known to us, or if accompanied by a letter from your bank to guarantee your cheque. cheques often take as long as eight days to clear. We reserve the right to hold goods until a cheque is cleared. Electronic & Wire Transfers Wire transfers can be made to Bank of Scotland 59 Bath Street Glasgow G2 2dH account number: 06607706 account name: Kerry Taylor Auctions sort code: 12-24-81 Iban: GB19 BoFS 1224 8106607706 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.

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.

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.

dESIGn And PRoducTIon Jamm design Ltd www.jammdesign.com

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. Bullit courier company are our appointed shippers. They can supply competitive worldwide quotations for the packing and shipping of purchases using FedEx and will also offer a cost effective registered post service for uK clients with shipment values of less than £1,000. They can also assist in the application for any export licence should they be required. Buyers are reminded that it is their resposibility 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

Bullit courier company Tel: 00 44 (0)845 226 8556 email: info@bullitcouriers.com attention Mr Gary Martin

We are now accepting consignments for our upcoming sales (provisional dates): Tuesday 2nd October 2012 - General antique and vintage fashion and textiles 4th December 2012 - Passion for Fashion

A Yuki for Rembrandt jersey evening gown, late 1970s. Estimate ÂŁ350-500

Please check our website nearer the time as dates may change www.kerrytaylorauctions.com Kerry Taylor Auctions, 249-253 Long Lane, London SE1 4PR