Kerry Taylor

Passion for Fashion 24th June 2014

Kerry Taylor

Kate osborn

Lucy Bishop

Contact

Payments

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

Purchasers will be charged a premium rate of 25% up to ÂŁ50,000 on the hammer price and 20% above. The premium is subject to VaT at the prevailing rate. see page 71 for details.

sale number: KT021

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

front cover: lot 98 frontispiece: lot 16 Back cover: lot 107

storage, Collection and shipping Logistics

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

online Bidding www.liveauctioneers.com/kerry-taylor-auctions

see inside back cover for details and a map.

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

Kerry Taylor auctions Ltd incorporated in England

registered no oC7173571

VaT no 835506036

Passion for Fashion Auction Tuesday 24th June 2014 at 2pm

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

Exhibition Sunday 22nd June - 12 noon to 4pm Monday 23rd June - 9am to 5.30pm Tuesday 24th June - 9am to 11am

1

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

See page 71 for more information.

2

1 A Gucci brown crocodile handbag, 1960s, crocodylus porosus, stamped ‘Gucci’ in gold to the interior and with suit of armour tag to zip, with gilded sliding clasp, kid interior, 23cm, 9in long £600 - 800

2 An Hermès Constance black crocodile handbag, 1968, crocodylus porosus, with gilt metal H-lifter clasp, stamped to the interior ‘Hermès, Paris’, adjustable shoulder strap, 23cm, 9in long £3500 - 5000

3 An Hermès canvas and Barenia leather Birkin, 2003, blind stamp G, with gilt hardware, padlock, fob with keys, 29cm, 11 1/2in long £3000 - 5000

3

4 An Hermès ‘Herbag’, modern, with tan leather flap and fob, with interchangeable black canvas and ecru canvas pouches, with silvered closure and padlock, 30.5cm, 12in long, with velvet storage bags (qty) £350 - 500

5 An Hermès black goat leather Kelly bag, 2004, blind stamp H, with palladium hardware, padlock and keys, detachable shoulder strap, 29cm, 11 1/2in long £2000 - 3000

5 2

6 An Hermès bronze goat leather Birkin, 2001, blind stamp E, with silver palladium hardware, 35cm, 13 3/4in long £1500 - 2000

7 An un-used Gucci vanity case, 1990s, with bamboo handle, 21 1/2cm, 8 1/2in long £150 - 250

6

8 A fine Hermès tan leather and canvas ‘Eperon’ handbag, 1952, signed to the gilt closure and stamped in gold to the interior ‘Hermès Paris, 24 Faubourg St Honore’, with initials ‘H.B.C’, with hinged spur-shaped gilt brass clasp which secures the pinned heel shape, rounded, rigid sides, lined in soft calf leather, large gilt brass pins secure the handle at the sides, with its original box, accessories (mirror, stamp holder, powder case, comb) and the original Hermes ribbon and gift card dated 1952, 23cm, 9in high (2) £800 - 1000

9 An Hermès canvas and calf leather Birkin, circa 2003, blind stamp indistinct, with palladium hardware, padlock, fob with keys and foul weather cover, 35cm, 13 3/4in long; with storage bag and box (3) £3000 - 5000

8

10 An Hermès white leather collier de chien belt, circa 1980, maker’s stamp on reverse, max length 71cm, 28in; and a red and tan leather belt with enamelled badges (2) £350 - 500

9 3

11

11 An Hermès brown toga Birkin, 2002, blind stamp F, with gilded hardware and padlock, fob with keys, with original box, foul weather cover, flannel storage bag, copy of original receipt, and plastic protectors to closure tabs, 35cm, 13 3/4in, in original box £4000 - 6000 12 A Coppola e Toppo (1946-1986) turquoise bead multi-strand necklace, 1960s, signed on the clasp, the beads of graduated length with ornate garnet beaded and turquoise clasp, min. length 23cm, 9in

This lot is sold in aid of The Martlet’s Hospice. £500 - 700

4

13 A Chanel four-strand necklace, signed and dated 1984, pearl-effect beaded strands, with medallions inset with pearl, red and amethyst coloured stones; together with a pair of Chanel earrings in similar style with differently coloured stones, signed and dated 1984 (3) £400 - 600 14 A pair of Stefano Marazzini heel-less ‘Mirages’ shoes, Italian, 1959, maker’s details to insole, of brown leather with fringed pom-poms, the soles embossed 7 1/2 (2) £200 - 300 15 A pair of black and white leather fetish shoes, 1930s, with towering black and white patent striped elevated platforms and 23cm, 9in heels, t-bar fronts and heel straps, embossed to the sole size 40 (2) £600 - 1000

16 A fine and rare pair of Vivienne Westwood red, white and blue super-elevated mock croc and leather Gillie shoes, 1993, with orb logo and Westwood stamp in gold to the insoles, each in original white cardboard box, UK size 5, 27cm, 10 1/2in high; together with a Vivienne Westwood ‘Catwalk Breakdown’ CD featuring a blue pair of Gillie shoes on the cover, with favourite tunes selected by Vivienne (qty)

Naomi Campbell famously fell over wearing a blue pair of these Gillie shoes during Westwood’s ‘Anglomania’ A/W 1993 collection catwalk show in Paris. £1500 - 2500 17 A pair of Lawler Duffy for Alexander McQueen clear plastic brogues, SpringSummer, 1997, labelled, size 9 (2) £200 - 300

15

16

5

BALLET 18 Dame Margot Fonteyn’s dance dress for the ballet ‘Giselle’, circa 1962, with stamped and inked label ‘Royal Opera House, Production: Giselle, Act1; name: Fonteyn’, with pale blue fitted bodice edged in ivory braid and with criss-cross lacing to the front, tiered pale blue and ivory organza skirt and petticoats similarly trimmed; the separate white organza chemise with puffed sleeves (2)

Provenance: Sotheby’s May 1999, lot 110, originally sold in aid of the National Youth Dance Trust. £1000 - 1500

18 (label)

19 A tutu worn by Dame Antoinette Sibley for a Royal Opera House production of ‘Sleeping Beauty’, 1960s, the R.O.H. label inscribed ‘Sibley, Sleeping Beauty, Act II, Vison’ (sic), of pale blue and silver stretch damask, with hand-painted leaves, the front with large rhinestones, embroidered tulle scrolls, the tulle overskirt spangled with plume shaped iridescent sequins £400 - 600

18

6

FASHION 1700s-2000s 20 A fine pair of brocaded silk shoes, 1721, of dark green and ivory silk brocade woven with pink and blue carnations, edged in green braid, with white leather rand, pink damask heels, sharply pointed toes, lined in soft tan leather, the tongues backed in Chinese-yellow silk, 25cm, 10in long; together with an excerpt copy of the Kenwrick family tree (3)

Provenance: The pattern of the silk is commensurate with the wedding date of the original owner - Miss Mary Oliver Field of Bristol (b.1695, d.1742) who married the Reverend Edward Kenwrick in Offenham, Worcs on the 26th December, 1721. She probably had a sumptuous gown to match.

Mary’s mother gave her £200 as a wedding present to rebuild the rectory at Atherstone on Stour, Warwickshire (her new husband’s parish), a 3-storey doubled fronted Georgian brick building still in existence today. Her husband Edward (b.1694, d.1762) was vicar at Atherstone between 1719 and 1762. The shoes have remained in the family and are being sold by a descendant. £3500 - 5500

20

21 A pair of voided velvet lady’s shoes, circa 1770, with rounded toes, pink moiré heels and ribbon edgings, the velvet woven with beige and black repeats on a pink ground, lined in white kid, 23cm, 9in long (2)

The shoes are made from velvet normally found on men’s suitings of the period. £800 - 1200

22 A gentleman’s lawn shirt, late 18th-early 19th century, with high collar, frills to neck opening, chest 153cm, 60in £400 - 600

23 A brocaded crimson satin waistcoat, French, 1760s, the brocaded pockets and edges woven to shape, fastened and adorned with silver thread and purl wire covered buttons, back panel of crimson wool with ivory linen gusset added to widen £400 - 600 21

7

24

24 A rare brocaded silk robe à la Piémontaise, 1770s, the silk woven with delicate foliate stripes, the bodice with tabbed front hem, trimmed in tufted pink, brown, green and gold fly braid, with padded, ruched bands to the front skirt openings, pleated drape falling desending over the fourreau back and culminating in polonaised skirt drapes, two silk covered buttons to the rear waist, bust approx 92cm, 36in £1200 - 1800 25 A quilted pale green satin petticoat, second half 18th century, with two pocket slits, overall design of shamrock repeats with tulips and other blooms to the hem, ribbon binding to waist, lined in glazed wool £600 - 800 26 Lucile Studio fashion sketches, circa 1916, two signed, lawn summer dress with swagger stick; and a grey taffeta day dress with polonaised skirts and fichu, an Hellenic inspired gown in pink and yellow, 37 by 19 1/2cm (5)

See KTA lot 65A June 2013 for sketches by the same artist for the 1917 Seers Roebuck catalogue, one of which was dated 1916. £400 - 600

8

24 & 25

27 Three Lucile studio robe de style designs, circa 1918-20, depicting gowns in silver lace, pink gauze with blue flowers and peach silk with transparent yellow cape, including smaller inked rear views, 36.5 by 19 1/2cm (3) £300 - 500

28 A fine velvet plush gown, circa 1887, the boned bodice with engraved buttons, striped cotton lining, elaborately draped and pleated skirt with pronounced bustle, bust approx 82cm, 32in, waist 59cm, 23in; and a matching fragment (3) £400 - 600

29

30 (detail)

31

31 A rare gentleman’s navy wool tailcoat, circa 1815, double-breasted with M-notched lapels, kite-shaped rear seaming, black silk covered buttons, sleeve is gathered at the shoulder, high collar, quilting to inside chest and lower neck areas, brown velvet added to line the cuffs, brown chintz lined pockets concealed within the tails, chest 97cm, 38in £1500 - 2500

29 A gentleman’s embroidered green velvet court coat and matching ivory satin waistcoat, French, circa 1790, heavily embellished with floss silk flowerheads and foliage; together with a pair of later black satin breeches (3) £1000 - 1500 30 A Doucet lilac satin afternoon dress, circa 1900, with gold on ivory woven label to the waist ‘21 Rue de la Paix’ numbered 6806, the S-form bodice with high neck, the bodice infilled with pleated turquoise velvet panel, the sleeves and skirt with ivory velvet strapwork and ecru guipure spangled with sequins, goffered chiffon flounce to hem, bust approx 92cm, 36in, waist 71cm, 28in (2) £600 - 1000

32 A Paquin ivory crêpe and lace debutante or bridal gown, circa 1900, with large woven purple on ivory Paris and London label to the waist, the S-shaped boned bodice with with ruched chiffon insert and bows to the front closure, chemical lace trim studded with pastes, long, narrow lace sleeves, matching skirt with flounced hem, bust approx 86cm, 34in, waist 61cm, 24in (2) £500 - 900

30

9

33 A Charles Frederick Worth bottle-green brocaded satin gown, circa 1890-93, woven signature label to the waist-stay, the rich, lustrous fabric woven with large black plume repeats, the bodice with low curved basque to the front and shorter tabbed panel to go over the bustle at the back, with button-fronted ivory satin faux internal waistcoat panels, Elizabethan-style sleeves with puffs to the top, and looped/slashed effect bands exposing ivory satin facings; with open-robe style trained over-skirt with concealed pocket to left hip, ivory satin lining; the inner skirt with vertical ivory satin band centre-front and starched muslin back panels, bust 99cm, 39in, waist 68cm, 27in; together with a volume handwritten with details of the Bronwydd library collection (3)

Provenance: Lady Lloyd of the Bronwydd Castle and estate, Cardiganshire. Katherine Helena, daughter of Alexander Dennistoun of Golfhill, Glasgow (b.8.2.1851, d.4.4.1933) married Sir Marteine Owen Mowbray Lloyd, 2nd Baronet in 1878. Sir Marteine at 26 had inherited the estate from his father just a year earlier and with it massive inheritance tax debts (£100,000 in 1877). They had three daughters and one son - Marteine Arundel Keymes Lloyd who died at the Battle of the Somme in 1916. Lady Lloyd died in 1937 and the castle fell into disrepair. She gave the dress to a family servant and it remained in their family until recently.

33 (label)

33 (detail)

Gustave Beer was the first couturier to open a fashion house on Place Vendôme, which he did c.1905. Known for conservative, lady-like fashions and fine lingerie his success was partly due to the aggressive sales techniques of his vendeuses who were known to visit all the best hotels of Paris to in order to solicit foreign tourists for business. Like many great pre-war houses, it struggled with the more minimal gamine looks of the 1920s. In 1929 Beer merged with Drecoll becoming Drecoll-Beer. From 1929 to 1930, L’Officiel shows Drecoll-Beer having moved to 24 Place Vendôme. When Drecoll merged with Agnes in 1931, the Beer name was finally dropped. £500 - 900 36 A beaded tulle cocktail dress, circa 1915-20, adorned with zig-zagged steel beads, vermicular black sequins and large pink carnation palmettes, with beaded rope belt which slots through and ties over one hip, pointed side panels edged in beaded tassels, bust 102cm, 40in £350 - 400

A Worth dress with Elizabethan inspired sleeves and faux waistcoat panels appeared on the cover of Harper’s Bazaar in 1892. Mrs Astor was painted in a 17th century inspired dress by Worth, with basqued bodice and open-robe style skirt in 1890. £3000 - 5000 34 A Paquin couture green velvet tunic bodice, Winter 1912 collection, with large woven dated London/Paris label, numbered in ink 4878 to the waistband, with ivory chiffon inner chemise and taffeta corselet, pointed basque hem front and back, large chiné taffeta rose to the waist, ivory tapelace panel forming sleeves and capelet, black satin collar, low scooped back edged in paste florets, bust approx 86cm, 34in £300 - 500

37 An Edwardian whitework embroidered summer gown, circa 1910, of crisp white linen with insertions of Irish crochet, the ground with raised whitework leaves and palmettes, bust 92cm, 36in £300 - 500

33 (detail)

10

35 A rare and early Beer day and evening ensemble, circa 1905, labelled ‘Beer, 7 Place Vendôme’ to the waistbands, comprising day and evening bodices and matching over-skirt, of black Chantilly lace with ivory, rose-printed organza panels outlined in chain-stitch in fine gold thread, black velvet ribbon stripes, ivory tulle edgings with pale blue ribbon and chemical lace bands, black taffeta cummerbund waistbands, the evening bodice with wide neckline and flounced cuffs with paste inset buckles to the back, the day bodice with high neck and long sleeves trimmed with ribbons, bust approx 92cm, 36in, waist 66cm, 26in (3)

33

11

38

39

40

38 British Vogue magazines, 1923, a nearcomplete run,with two issues per month: comprising: early Jan, late Feb, early Marchlate June; late July, early August-early November, early and late December, including the April Royal wedding issue and the Paris collections issues in October (20) £1500 - 2000

41 A rare Boué Soeurs embroidered pink silk chemise, 1920s, woven yellow on ivory satin label ‘Boué Soeurs, 9 Rue de la Paix, Paris, expressly for Franklin Simon & Co’, with ecru filet lace edging and floral embroidery to the bodice, a typical ribbonworked rose to one shoulder, and ivory slotted ribbons, scalloped tulle to the hem, bust approx 92cm, 36in

39 British Vogue magazines, 1924, a near complete run, with two issues per month comprising January-early February, March-early May, June-early December (21) £800 - 1200

The Boué sisters were famous for their use of lace, fine silks, delicate embroidery and ribbon-work blossoms. They were among the first Paris couturiers to set up a fashion house in America, seeing opportunities there during difficult European trading conditions midst World War I. They set up a fashion house in New York in 1915.

Their grandson Phillipe Montégut stated in an article in the 1980s that the Boué sisters were the first to introduce to America the idea of fine lingerie, ‘When they came over in 1915, American women, outside of the very rich, who were the only ones to travel to Paris, were garbed in the plain and sedate underwear of the previous century.

Boué Soeurs immediately popularized ornate and laced lingerie, distributing their models throughout the United States through the better department stores’. £500 - 600

40 British Vogue magazines, 1925, a complete run of the first six months (12) £800 - 1000

41 (detail) 12

41

41 (label)

42 (detail)

42

42 A rare Gabrielle Chanel gold lace cocktail dress, circa 1924, the gold lame slip with yellow on ivory satin woven ‘Gabrielle Chanel’ label, numbered 6571, the underslip with lace trimmed hem and lead weights, the gold guipure over-dress edged in gold braid and with gold lace flounce running across the rear dropped waist and down the sides, bust 81cm, 32in

42 (label)

43 A Drecoll couture black lace cocktail dress, circa 1929, brown on ivory woven label ‘Drecoll, 136, Ave des Champs-Elysees, Paris’, the satin-backed crêpe slip with criss-cross lace and chiffon panels to the front and bow to one hip, floating handkerchief panels to the skirt, bust 86cm, 34in £600 - 800

44 A couture beaded and sequined evening gown, circa 1925, of red chiffon with deep V openings front and back revealing black satin integral slip, outlined with arched bands in dark grey sequins and black bugle beads, the ground covered with triangle repeats similar, the hem of the chemise with larger triangle bands £200 - 300

Provenance: purchased from a Surrey antique shop in the 1990s by a student nurse to wear to a 1920s party . £5000 - 6000

13

46 A fine couture gold sequined ‘flapper’ dress, circa 1927, un-labelled, the tulle ground applied with embossed golden sequined scales edged in pearl beads, which increase in size from neck to hem, bust 92cm, 36in £1000 - 1500 47 An Haute Nouveauté de Paris flapper dress, circa 1928, purple on white woven label, the black chiffon ground covered with graduated stripes in matt-gold sequins, with sequined and beaded three dimensional poppies to the hem, bust 102cm, 40in; together with a poor condition beaded black tulle full length gown c.1925 with fabulous deco-beaded hem (2) £450 - 600

45

45 A couture evening coat, probably Lanvin, circa 1928-30, formed from gold and ivory Syrian brocade, with padded top-stitched ivory velvet collar and lining, chest 92cm, 36in

48

48 A Callot Soeurs couture ivory tulle and bronze lamé flapper dress, Summer, 1927, the matching oyster pink satin slip with printed gold on ivory silk label ‘Callot Soeurs, Paris, Eté 1927, Nouvelle Marque Deposee and indistinctly numbered ‘96199’, the bodice adorned with silver and opalescent sequins, fine gold strip areas to the ground, the dropped lame waistband applied with curving tulle skirt panels, bust 76cm, 30in (2) £400 - 600

Provenance: a gift to the vendor from the actress Julie Christie. £800 - 1200

48 (label)

45 14

46

49

49 A fine and rare Gabrielle Chanel couture embroidered rose taffeta evening coat, circa 1924-5, with woven ‘Gabrielle Chanel’ label, ink numbered indistinctly 19447, couched and embroidered with gold thread coiling flowers and scrolls, stand collar, the front with gently gathered skirt panels, the back with draped blouse-effect caught into the rear dropped waist seam, wide orientalstyle sleeves with side slits, no fastenings, lined in pink chiffon, chest 117cm, 46in ÂŁ8000 - 12000

49 (label)

49 (detail) 15

52 A beaded cloth of gold over-dress, early 1920s, with criss-cross bodice, wide sash belt, three short pointed floating panels to the front and a long tabard-like train to the back, fastening by prestud to inner waistband £350 - 500 53 A fine black beaded velvet opera coat, 1920s, the dark brown/black ground with ruched and padded shawl collar, flounces to cuffs, the ground entirely covered in black bugle beads in flame-like formations, the shoulders and front bands in faceted irridescent seed beads, lined in shocking pink silk moiré, chest approx 114cm, 45in £1000 - 1500

50

54

50 A beaded black chiffon flapper dress with ‘ribbon’ skirt, circa 1924, adorned with topaz-coloured seed bead roundels edged in black bugle beads, bust 112cm, 44in

54 An orientalist beaded satin cocktail dress, late 1920s, bearing a woven ivory satin Premet label, with diagonal waistline, tiered skirt, adorned with bright turquoise seed beads with chinoiserie chrysanthemum motifs and foliage, studded with rhinestones and silver bugle beads, graduated flounce to skirt lined in turquoise satin, bust 86cm, 34in £600 - 800

Gabrielle Chanel introduced a black flapper dress with ribbon hem in 1924. £500 - 600 51 A beaded and sequined couture evening jacket, circa 1928, the black chiffon ground adorned with chequered bands in white sequins and fur, with stylised star and moon motifs in silver bugle beads, blister beads and tiny sequins, chest approx 102cm, 40in £600 - 800

53 16

54 (label)

57 A Callot Soeurs couture ivory satin bridal gown with integral train, 1927, un-labelled, with embroidered curleques to the neck and waist, V to back which is framed by the train which has metal strip embroidered bands to the reverse, front split to skirt which would have revealed the petticoat, bust 76cm, 34in; together with a quantity of wax orange-blossom (qty) £600 - 800

56 (label)

55

56

55 A Callot Soeurs couture pink and gold beaded and embroidered flapper dress, 1927, the matching oyster pink satin slip with printed gold on ivory silk label ‘Callot Soeurs, Paris, Nouvelle Marque Déposée’ and indistinctly numbered in ink ‘21? 086’, the pale rose tulle worked with large flower-heads in opalescent sequins, pink seed beads and pearls, the ground threaded with gilt strip, the skirt falling in petal-like tiers, bust 76cm, 30in (2) £450 - 600

Lots 48, 55-57 were all purchased by the same woman as her wedding trousseau 56 A Callot Soeurs couture black tulle and pearl beaded flapper dress, 1927, the matching rose-pink satin slip with printed gold on ivory silk label ‘Callot Soeurs, Paris, Hiver, 1927-28, Nouvelle Marque Déposée’ and numbered in ink ‘2741’, the transparent tulle adorned with pink metal and pearl beaded arabesques with gold stem-stitch tendrils, the skirt falling in elaborate beaded petal-like tiers, bust 76cm, 30in (2) £800 - 1200

57 17

58 (detail)

62 A printed lamé robe de style, mid 1920s, the silver ground with mottled pink and blue floral ground, the skirt with large ribbon-work bow and flowers above a silver tulle flounce, with internal hooped net panniers, bust 85cm, 34in £250 - 350 63 A Callot Soeurs embroidered orientalist cocktail dress, 1926, un-labelled, embroidered in floss silks in shades of blue and white with Chinese-style flowerheads and foliage, with draped, pointed rear skirt panel; together with a pale blue silk petticoat, bust 92cm, 36in (2)

58

58 A Maria Gallenga stencilled velvet medieval style dress, circa 1925, the black silk velvet printed overall in gold and silver with birds and lions, with gold lamé lined hanging sleeves, bust 102cm, 40in £1000 - 1500

60 A Babani striped silk and gold lamé ensemble, late 1920s, labelled, comprising: tunic top banded in black edged yellow stripes, above a tightly pleated skirt with draw-string waist, bust 107cm, 42in (2) £200 - 300

59 A Maria Gallenga stencilled jade-green velvet stole, 1920s, with gold and silver Ottoman-inspired repeat palmettes along its length, lined in green satin, 86 by 112cm £300 - 500

61 A black taffeta robe de style, circa 1926, with rhinestone and seed-beaded trompe l’oeil bow to the bodice front, shirring to waist, tulle puff sleeves, the hem faced in ivory taffeta, with integral black taffeta hooped panniers, bust 92cm, 36in; together with a dark brown satin dress c.1918-20, labelled 'Ferle Heller', with tiered skirt and trimmed with ribbons (2) £300 - 500

18

For an identical gown see Metropolitan Museum of Art collection, accession number: C.I.44.64.14a, b. £400 - 600 64 A Donguy couture evening coat, mid 1920s, large brown satin label woven ‘Donguy, 14 Rue de Castiglione, Paris’, of geometricweave silver lamé lined, inset and bordered in rich peach silk velvet, with silver embroidered edges, chest 102cm, 40in £400 - 600

65

65 A fine Edward Molyneux couture evening ensemble, circa 1928-29, printed silk label ‘Molyneux, 3 Rue Royale’, and indistinctly numbered 32553, of sumptuous ivory velvet, the dress with drapes to the dropped waistline, trimmed with large velvet roses inset with pearls and rhinestones with bugle beaded, pearl and rhinestone leaves, bust 86cm, 34in; the matching coat also covered with lavishly embroidered and beaded roses front and back, plain satin collar, lined in ivory satin, chest 107cm, 42in (2) ÂŁ3500 - 5500

65 (label)

65 (detail) 19

66 (detail)

66 A Molyneux couture apricot and black crêpe marocain evening ensemble, circa 1938, with printed black on white Molyneux labels to both jacket and dress, the jacket with three pockets each concealed by a large black sequined camelia, the dress bodice with sequined buttons, bust approx 92cm, 36in, waist 71cm, 28in (2) £700 - 1000 67 A Liberty poppy-print and gold brocaded silk evening coat, circa 1930, labelled ‘Liberty Paris, 3 Bvd des Capucines’, the sleeves cut in one with the front and back, edged and lined in deep crimson velvet £400 - 600 68 A Chanel couture black sequined tulle bodice, early 1930s, narrow woven brown on tan label stamped 28426, with peterpan collar, single rhinestone studded button to fasten, popper fastening at left waist, inner waistband of black crêpe, bust 97cm, 38in £600 - 900

69 An Alex black satin evening gown, circa 1930, labelled ‘Alex, 8, Rue Miromesnil, Paris’, formed from separately seamed horizontal panels which gradually increase in width from bodice to skirt, rows of bows also in sizes to one side, bust approx 81cm, 32in; together with petticoat and a satin edged chiffon capelet (3)

Monsieur Alex worked for major Paris fashion houses before setting up his own couture business at 8 rue de Mirosmesnil in 1930.

Germaine Krebs who at this time called herself Mademoiselle Alix (and who later became known as Madame Grès) worked with Julie Barton who registered the couture house 'Alix Barton' at the same address just three years later. This seems to have been a merging of the two women's names.

It is probable that Alix and Alex were well known to one another as they shared the same building and trade. It is possible that Alix assisted both Monsieur Alex as well as Julie Barton in the early years of her career, but she revealed very little of her early history. In a rare interview (she hated giving them) with American Vogue Madame Grès was asked if 'Alix' was her first name to which replied that indeed it was and that it had been given to her by someone 'close'.

It is tempting to speculate that this may have been Monsieur Alex?

Literature: ‘Madame Grès, La Couture a l’Oeuvre’, exhibition catalogue at the Musee Bourdelle by the Musee Galliera, 2011. pp179-180. £400 - 600

66 (label) 20

66

70 ∆ A Paquin leopard skin stole, 1930s, narrow woven label, lined in black silk with quilted end panels, edged in Colubus monkey fur, approx 135cm, 50in long £250 - 350 71 A black taffeta bias cut evening gown, circa 1934, possibly Lanvin, with trapunto-quilted pointed breast panels, the straps interlacing at the back, bust 81cm, 32in; together with a poor condition ivory taffeta gown, possibly Lanvin, 1933, with multiple pleated taffeta looped bows to the shoulders and flounce to the skirt, with matching pleated belt (3)

Reference: ‘Mode 1933’ album, p19, Collection Maciet, Bibliothèque des Arts Décoratifs, Paris for a photograph of taffeta dress with looped bow shoulder details and flounced skirt similar to the ivory gown in this lot. Also see ‘Lanvin’ by Dean L. Merceron p111 for a fashion sketch of a black taffeta gown ‘La Duse’ from Vogue 1933 of the same model.

Provenance: the same collection as lot 72 £500 - 800

72

72 (detail)

72 A Jeanne Lanvin couture medieval inspired black crêpe evening gown, Autumn-Winter, 1936-37, the large woven label with red date stamp and numbered to the reverse 37573, the front panel emblazoned with a geometric lattice of layered and domed, facetted silver sequins, zig-zag bias cut seams to bodice sides, with floating ‘girdle’ panel to the front skirt, adjustable rear-fastening belt with buckle, bust 86cm, 34in £3500 - 5000

72 (label)

21

73

74

75

73 A Madeleine Vionnet couture bias-cut velvet evening ensemble, Autumn-Winter 1938, the dress with printed purple on ivory satin label with thumb print and numbered 73245, with radiating darts forming cups to breasts and shoulders, the ribbon straps are stitched to the base of these front and back, no fastenings; the matching bolero jacket inset with scalloped red velvet band, slightly padded shoulders, bust approx 86cm, 34in (2) £2000 - 3000

74 A black satin bias cut evening gown, attributed to Lanvin, circa 1934, with angular trapunto-quilted sleeves, embroidered in a square to follow the shape, soft, cowl neck and fluid bias cut skirt, bust approx 92cm, 36in

75 A Madeleine Vionnet couture black velvet bias-cut evening coat, model no 6689, Spring-Summer 1934 collection, navy on ivory printed satin label, numbered 97932, with X-shaped back seams which are echoed in the satin lining, full sleeves, fox collar, fastened by hook and eye, bust 92cm, 36in £3000 - 5000

Lanvin frequently used this top-stitched trapunto finish in her garments. See ‘Lanvin’ by Dean L. Merceron pp 205-209.

Page 209 shows an evening coat with angular trapunto-quilted sleeves which are reminiscent of this dress.

Provenance: the same vendor of lot 72 the labelled Lanvin gown. £800 - 1200

73 (label) 22

75 (label)

76 ‘Plaisir de France’, 1936

76 (detail)

76 A Chanel couture pale pink/beige evening gown of Dognin lace, 1936, un-labelled, the shoulder straps and hem appliquéd with single lace flower-heads, with tiered skirt, press stud fastened to one side, matching belt, bust 86-92cm, 34-36in (2)

79 An Alfred Lenief crimson velvet evening jacket, early 1930s, large woven black on white label with tassel, with ruched and gathered shawl collar and sleeves with ruffles, lined in silk, chest 107cm, 42in

Alfred Lenief worked for Paul Poiret before leaving to set up his own establishment at 374 Rue St Honoré, Paris. His assistant designer was Marie-Georgette, the Baroness Fouquier. £200 - 300

Literature: PLAISIR DE FRANCE, June 1926, p28 (photo PH. Pottier). The mention on the p29 : ‘A gauche (page 28), nous voyons deux ravissantes robes de CHANEL. L’une bleu sombre et l’autre rose pâle.’Dentelle de Dognin’ £3000 - 5000

80 A black and gold sequined tulle evening gown, circa 1930, with bugle beaded ‘girdle’ and central medallions, gold curleque ground, vertical centre-strap to back, flounced hem, bust 92cm, 36in

77 A Madeleine Vionnet couture brown felted wool coat, circa 1937, printed orange on ivory thumb-print label and numbered 1096, with angular sleeves and shoulders, V-point seaming to centre-back forming an A-line to the hem, complex seams to centrefront fastening, hook and eye closures, lined in brown silk, chest approx 97cm, 38in £700 - 1000 78 A Lanvin couture raspberry-pink pleated satin evening cape, early 1930s, large gold and black woven label, separate numbered bolduc to side seam 4645, composed of joined horizontal panels of goffered silk with arm slits incorporated within the banding, gilded and enamelled button to fasten £500 - 700

Provenance: Purchased from the estate of Mrs Matilda Dodge Wilson (1883-1967) at an auction of the contents of her mansion, Meadowbrook, in the early 1970s. The daughter of working class parents she was employed at Dodge Autos in 1902, caught the eye of Mr John Dodge Upton and married him five years later. Upon his death in 1920 she inherited his fortune. She remarried lumber baron Alfred G. Wilson in 1925 and when he died in 1962 inherited that fortune also! £450 - 600 76

23

82 A rare Lanvin man’s black wool tuxedo suit, late 1940s, labelled and dated ‘Sept. 15th 1949. Mr Michel Flamant’, long double breast jacket with satin silk lapels, double pleated pants with buckle to rear waist, satin ribbon side stripes, chest 102cm, 40in, waist approx 76cm, 30in (2) £400 - 600 83 A Madame Grès purple draped silk jersey evening gown, circa 1945, un-labelled, the front bodice with intricate pleats, hook and eye fastening, the bodice back draped in a capelet-like cowl over V-shaped opening, bust 81cm, 32in, waist 56cm, 22in

A similar short black version of this gown was sold by KTA 25.6.2013 lot 71. £1200 - 2000

81

81 (label)

84 A Jacques Fath for Joseph Halpert charcoal grey wool ‘New Look’ suit, circa 1949, retailed by Lord & Taylor, double-breasted with peplum-style faux pocket flaps, pencil skirt with handwritten tag to the interior ‘Chirosiane’, waist 56cm, 22in (2) £300 - 500

81 An early Jacques Fath ball gown and matching cape, probably Spring-Summer, 1948, the gown labelled ‘Jacques Fath, Paris’, of deep rose-pink satin, zip-fastened centre-front and with zips to both cuffs, the bodice embroidered with stylised flowers and seeds, large elliptical topaz coloured pastes, chunky beads and raised couched threads and braids and scattered silver and gold sequins, the gently gathered skirt which culminates in a padded, quilted band at the hem; the matching cape with similar quilted detailing to the angular collar and hem, bust 91cm, 36in, waist 71cm, 28in (2)

85 A Balenciaga couture pleated goffered chiffon and silk crêpe dinner dress, probably Autumn-Winter, 1948, Paris labelled and numbered 41282, the bodice and draped skirt front horizontally pleated, with cap-sleeves, integral boned corset, floating panels of un-pleated chiffon to each hip, over a heavy silk crêpe column, bust 112cm, 44in, waist 92cm, 36in

Jacques Fath gowns of similar lines formed part of the Spring-Summer 1948 collection which were illustrated in Femina. £1200 - 1800

In Balenciaga’s Autumn-Winter 1948 collection he presented a number of black dinner gowns with boned bodices and pleated skirt details; a black taffeta example was immortalized in British Vogue, November, 1948 by the illustrator Eric. £1500 - 2500

83

24

81 (detail)

86 A fine and important Balenciaga couture evening ensemble with ‘matador’ passementerie, circa 1948, un-labelled, of gold backed aubergine silk velvet, the bodice with spectacular shaped collar adorned with three dimensional gold braided florets and fronds which are further embellished with gold sequins and coils of purl wire, the hem and collar edged in black ‘Spanish’ fringing, four buttons to fasten, the slender skirt with fixed draped pleats to the front culminating in bustle-like ties to the back which reveal the gold backing to the tails, bust 86cm, 34in, waist 61cm, 24in (2)

Balenciaga’s Autumn-Winter 1948 collection featured draped effects on skirts with ties or floating panels to the side. His collections between 1943-47 frequently included highly embellished ‘bullfighter’ bodices and boleros with lavish beading and fringing.

This ensemble is important not only as an early example of Balenciaga’s oeuvre but also for its spectacular embellishment and elegance. £5000 - 8000

85

86

87 A Pierre Balmain couture navy wool and black taffeta dinner dress, circa 1949, labelled and numbered 64080, the bodice with complex interwoven taffeta sash, padded shoulders, two pockets, one concealed below the taffeta lined floating panel to one hip, bust 86cm, 34in, waist 58cm, 23in £500 - 700 88 A Bruyère couture black taffeta evening/hostess gown with shell-like sequined buttons, late 1930s, with narrow brown and ivory ‘22 Place Vendôme, Paris’ label, with concealed button closures below the sequined florets, broad lapels form wings over the shoulders, tie to front waist, bust 96cm, 38in, waist 71cm, 28in £400 - 600

86 (detail) 25

LOTS 89-92 - A GROUP OF ITEMS WHICH PERSONALLY BELONGED TO ELSA SCHIAPARELLI 91 Elsa Schiaparelli’s Kenneth Jay Lane earrings, 1960s, signed ‘KJL’ to the reverse, with gold bugle bead and pearl beaded pendants with green glass droplets; a magazine article related to Lane; together with her coral coloured bead necklace probably 1930s; and copies of nursing invoices (6)

Provenance: see lot 89 £400 - 600 92 A pair of shocking pink silk pedal pushers and a sun visor which belonged to Elsa Schiaparelli, 1960s, together with a first edition of ‘Shocking Life’ by Elsa Schiaparelli 1954; ‘Shocking’ by Dilys Blum, Yale Press 2004; and copies of nursing receipts (6)

Provenance: see lot 89 £200 - 300

89 (embossed initials)

89

89 Elsa Schiaparelli’s black ostrich skin travel jewel case, probably 1960s, the lock stamped ‘Gross England’, lined in tan suede with lift out tray with compartments, embossed with her initials in gold, complete with foul weather cover, 31cm, 12in long; together with copies of nursing care receipts and obituaries (qty)

Provenance: given by Elsa Schiaparelli to her nurse Madame Kiledjian in Paris in the early 1970s during her final illness. Sold with the lot are copies of invoices for providing nursing services to Elsa Schiaparelli dated 9th and 16th November, 1973. Elsa Schiaparelli passed away on the 15th November, 1973. £2000 - 3000

90 (detail)

90 Elsa Schiaparelli’s prescription sunglasses, American, 1957, signed to one arm ‘Schiaparelli’, the blue-tinted lenses below white and blue awning-style panels with pastel blossom to the sides, in original case, with copies of original nursing invoices; and copy of an American advert showing a similar pair, 14cm long (5)

Provenance: see lot 89 Please note there are export restrictions on this lot outside of the EU. £5000 - 8000 26

90

VARIOUS OWNERS 93 A fine Schiaparelli couture and Lesage embroidered salmon-pink faille bolero jacket, circa 1948, red on white ‘Schiaparelli 21 Place Vendôme, Paris’ label, heavily embellished with pearlised sequins, appliquéd with puckered ombré velvet amoeba-shaped motifs with radiating gilt tinsel strip aureolas, and dotted with iridescent celluloid bell-shaped pendants studded with crystals, the jacket with wide collar, slightly flared hem, full sleeves caught into cuffs, each with prestuds to adjust the opening on the inside, lined in salmon-pink silk, bust approx 92cm, 36in Provenance: previously owned by Mrs Chance Vought, widowed and later married to Artario Prochet. She wore the jacket to a ‘Come as a Song’ party as ‘Bolero’. She was best friend of Schiaparelli’s daughter, GoGo Berenson and godmother of GoGo’s two daughters Marisa and Berry Berenson (she hosted both their weddings).

The ‘red label’ is unusual - the typography normally found on Schiaparelli’s Paris and London labels is black on white. The red label has very occasionally been found on garments dating from the 1930s and 40s and it is possible that it denoted a special order, VIP or friend.

The quality and sheer volume of decoration on this jacket is outstanding. Its condition is remarkable when taking into consideration the delicacy and fragility of the numerous iridescent pendants and the vermicular tracery of shimmering sequins. £12000 - 18000 93

93 (label)

93 (detail))

93 (detail)

93 (back) 27

94

96

94 A group of photographs, articles, catalogues, ephemera and perfume bottles relating to Elsa Schiaparelli, including a photograph of the be-turbanned designer

by Piaz of Paris, signed by her ‘love Elsa’, 1930s; a Metropolitan Museum catalogue ‘Inventive Clothes’; two small ‘Shocking’ perfume bottles; notes from the Duchess of Devonshire ‘She did make wonderfully original clothes, so much so that you had to be quite bold to wear them in England. In France they always looked perfect’, others

by Lady Diana Cooper and Lady Diana Mosley (qty) £100 - 150

94 (signature)

28

95 A Schiaparelli parure, late 1950s-early 1960s, signed, comprising: pearl choker necklace with large central pink lozenge shaped facetted stone with pearl-drop pendant, with pair of matching ear-rings, 31cm, 12in long; and a shocking pink lace and pale blue rayon satin jewellery wallet (3) £400 - 600 96 A Schiaparelli couture blue velvet evening coat, circa 1952, with printed black on white Paris label, numbered 2656, of voluminous cut, double-breasted, the large blue enamelled copper disc buttons studded with metal stars, close-set below the short collar and then widening to follow the curve of the front closure panel which is inset with two pockets, belt to the back, lined in pale blue satin, chest approx 107cm, 42in £3000 - 5000

96 (label)

96 (detail)

97 A rare Elsa Schiaparelli evening jacket, Autumn-Winter, 1937-38, similar to the one she wore for her photographic portrait by Horst P Horst for Vogue in 1937, un-labelled, of black velvet, the front opening with eight looped fasteners and corresponding pink glass bunch of grape droplets, two further decorative droplets to the left front hem and three to the right hem, Lesage embroidered with broad metal strip and finer gilt cord and applied with layers of small cast gilt metal vine leaves, concealed pockets to the front below the lower vine leaf clusters, padding to the shoulders, lead weights to hem, bust 86cm, 34in

Women’s Wear Daily on August 5th, 1937, described this collection as ‘full of modern baroque whimsy’.

This is a shorter, simplified version of the jacket worn by Schiaparelli for her portrait

by Horst; for that occasion she accessoried it with a towering, undulating hat. The decoration, buttons and embroidery are identical. It differs only in that this example does not have long pendant front pockets but small concealed ones, hidden behind the embroidery near the front waist area.

Also the braid stops and returns at the base of the front opening rather than continuing all the way round the back. It is an extremely rare jacket and obviously was a favourite design of Schiap’s as she chose it for the Vogue portrait. This photograph was used on the cover of a Christie’s auction catalogue of Elsa Schiaparelli’s personal effects, Paris 2013. £15000 - 20000

97

97 (detail)

97 (detail)

97 (detail) 29

98 A rare and important Schiaparelli midnight blue slubbed ‘Rococo’ scroll appliqué wool/silk evening jacket, Summer, 1937, with white petersham ‘Schiaparelli London’ label, boldly adorned with cream patent leather scrolls hand painted in oils with spots and lines, two small pockets are concealed within the strapwork at the front, large central Dali-esque stylised lips buckle at the waist, chest 92cm, 36in; together with a group of photographs and articles relating to the original owner, the American actress Peggy Hamilton, and a copy of the Daily Sketch 1937 showing the jacket being modelled ‘Mrs Warfield’s smart fashion choice’ (qty)

Wallis Warfield Simpson (later the Duchess of Windsor) chose this model for part of her wedding trousseau. She was photographed by Beaton wearing a similar jacket with matching dress the day before her wedding to the Duke of Windsor at the Chateau de Candé, France in May 1937. In the photographs which were later reproduced in Vogue, (and which also included the Dali lobster print organdy dress in the same session), the willowy Duchess, coiffed to perfection and with stern expression, was the epitome of refined elegance. Beaton photographed her again in a more formal studio setting wearing the jacket in June 1937.

Provenance: a gift to the vendor’s mother in 1974 by the American actress Peggy Hamilton. £10000 - 15000

98

98 (label) 30

98 (detail)

99

99 An early Christian Dior couture black and gold brocatelle cocktail dress, early 1950s, with Dior black on white label stamped 16935, the bolduc handwritten 27810, of heavy fabric with wool inter-linings, the cross-over bodice with bow to one side, zip fastened to the back, long slim skirt, couture-finished but un-lined, bust 86cm, 34in, waist 48cm, 19in £2000 - 3000

99 (label)

102

100 A Balenciaga white ermine evening jacket, probably 1950s, Paris label and numbered 36.316, with fur covered buttons, curved front hem, two sloping pockets, lined in ivory satin, chest 112cm, 44in £500 - 700

102 An Yves Saint Laurent for Dior couture deep rose silk faille cocktail dress, AutumnWinter, 1958, labelled and numbered 96158, with integral corset to bodice, large twisted bow to bodice front with fringed sash ties, bust 86cm, 34in £2000 - 3000

101 A Maggy Rouff couture sequined satin evening gown, late 1950s, with large woven label, princess-line, the bodice top and straps formed from pleats of ivory satin, adorned overall with cloud motifs formed from floret-shaped sequins, bust approx 92cm, 36in, waist 81cm, 32in £500 - 800

102 (label) 31

103 A Christian Dior black wool suit, circa 1953, labelled ‘Christian Dior Colifichets Paris’, the curvaceous jacket with cross-over curved shawl collar, and matching pencil skirt, chest 92cm, 36in, waist 64cm, 25in (2)

Literature: a similar model in red forms part of the summer,1953 couture collection, pictured in ‘L’Officiel’ n° 373/374, p125. £500 - 900 104 A Jacques Fath couture navy shantung afternoon ensemble, circa 1954, large black woven label, the slim dress with low scooped neckline in-filled with pleats of white organdy, the matching short bolero jacket with organdy ‘puritan’ collar and centre bow, bust 86cm, 34in, waist 61cm, 24in (2)

Provenance: Elizabeth Parke Firestone, Sotheby’s auction of her wardrobe, December 19, 1991, lot 466. £500 - 900 105 A Pierre Balmain couture black and white houndstooth checked wool suit, circa 1952, labelled and numbered 69154, asymmetrically buttoned jacket edged in black braid, matching pencil skirt, chest 92cm, 36in, waist 61cm, 24in (2) £500 - 800

103

103 (detail) 32

106 A Charles James for Samuel Winston black silk dinner dress, circa 1952, labelled, of complex construction, with V-shaped darts to front bodice, puckered, curved panels to the front shoulders, broad pleat of fabric descends between the rear shoulders and is caught at the waist before continuing to the hem, looped cuffs, with narrow patent belt, bust approx 97cm, 38in, waist 71cm, 28in (2) £600 - 900

106 (label)

106

107 A fine and important Balenciaga couture ball gown, Summer 1951, Paris labelled and numbered 38643, with cross-over fastening to front bodice, elbow-length sleeves, of ivory taffeta overlaid with tulle, handpainted to give a shaded-effect to the lace edged and sequined flounces which increase in size from bodice to hem, the hem cut higher at the front and trained at the back, flamenco-style, internally with rows of black taffeta ruffles to give extra fullness, bust 102cm, 40in, waist 66cm, 26in

Exhibited: ‘Balenciaga and Spain’ at the de Young Museum, San Francisco, 2011.

See Balenciaga archive image of a similar sleeveless gown from the same collection.

See back cover illustration. £10000 - 15000

107 (label)

107

107 (detail)

Image courtesy of the Balenciaga archive

107 (detail) 33

108

109

109 A Balenciaga couture lace evening gown, 1953, with ivory Eisa label, with V-neckline, pink chiffon over taffeta under-dress with beige guipure overlay with matching scalloped lace edging bands, bust 97cm, 38in, waist 66cm, 26in

108 A Carven black and white ball gown, Spring 1951, labelled, with boned, strapless bodice, the flounce to neck and skirt adorned with bands of black fernlike fronds, the skirt in graduated tulle layers from ivory - dark grey; with hooped tulle petticoat, bust 86cm, 34in; together with a contemporary image of the gown being modelled (3) £1500 - 2500

A similar gown of identical lace is illustrated in ‘Vintage Fashion and Couture’ by Kerry Taylor p78 £600 - 1000

108 34

110 (label)

110 A Christian Dior embroidered golden-yellow faille cocktail gown, Y-line collection, Autumn-Winter, 1955, labelled and numbered 78557, elaborately embroidered with entwined love birds with black bead eyes, musical trophies, ribbon-wrapped presents, bows and foliate trails in couched silver thread, rhinestones and opalescent sequins, bust 92cm, 36in, waist 66cm, 26in £3000 - 5000 111 A Christian Dior grey plaid wool ensemble, circa 1955, Boutique labelled and numbered 922206, comprising two jackets - one more fitted, the other of loose kimono cut, matching skirt, with studded mother of pearl buttons, chest 86cm, 34in, waist 71cm, 28in (3)

The buttons were made by François Hugo, who worked closely with Dior and Schiaparelli. An identical button is included in the Loïc Allio collection at the Musée des Arts Décoratifs, Paris. Literature: “Boutons”, Loïc Allio, Editions du Seuil, 2001, Paris. £400 - 600

110

112 A Christian Dior New York raspberry faille evening coat, late 1950s, labelled, with vented hip pockets, three-quarter sleeves, lined in oriental pink and blue on ivory floral brocaded satin, of voluminous cut, chest approx 122cm, 48in £400 - 600

113 A black silk faille cocktail dress, probably Dior Patron Original, circa 1955, unlabelled, the boned, strapless bodice with integral corset, wired sweet-heart neckline, broad pleats to either side of the front skirt, bust approx 92cm, 36in, waist 71cm, 28in

Dior used this neckline on several dresses in his Spring-Summer 1955 collection £350 - 500

110 (detail) 35

114

114 A Chanel couture ivory guipure lace gown and stole, late 1950s, labelled but lacking bolduc, the strapless boned bodice with integral tulle corset, with simple gros-grain ribbon tie to waist, crin stiffening to the hem, matching tri-angular shawl, bust 86cm, 34in (2) £800 - 1200 115 A Pierre Balmain couture black velvet and ribbon-worked dress, circa 1955, labelled and numbered 74224, the skirt with graduated velvet bands interspersed with tulle panels adorned with satin ribbon ruffles, with separate tulle petticoat, bust 92cm, 36in, waist 69cm, 27in (2) £400 - 600

36

116

116 An Antonio Castillo golden-yellow satin ball gown, 1951, labelled and also with Bergdorf Goodman dated label to the waist with client details, the strapless boned bodice and full skirt overlaid with delicate bands of gold lace, with integral layered tulle petticoats, bust 92cm, 36in, waist 66in, 26in

Spanish-born Antonio Castillo designed for Elizabeth Arden between 1945 and 1950. In 1950 he was tempted away as head designer of the auspicious house of Lanvin in Paris. This dress bears just the Castillo name so was perhaps designed independently by him for Bergdorfs as part of a deal agreed before he joined Lanvin. £600 - 1000 117 A Christian Dior London beaded black organza dance dress, circa 1956, labelled and numbered 02161, the strapless bodice with boned integral crêpe de chine lining, the gown covered with large sunflower-like beaded motifs, with matching stole, bust 86cm, 34in (2) £600 - 800

118 A Jean Dessès black wool dinner dress, circa 1953 - 1955, pink ribbon label ‘les boutiques Jean Dessès Paris’, boned bodice, double breasted closure, wrap effect, buttoned on the bodice and the skirt with internal zip fastening, bust 92cm, 36in, waist 66cm, 26in £150 - 250 119 A Guy Laroche black silk crêpe tabard dress, 1959, Paris labelled, the over-dress caught at the sides with cobweb embroidered buttons, draped low cowl back over slim skirt, bust 86-92cm, 34-36in

This model is photographed in ‘L’Officiel du Mode’, October, 1959 p188. It is described ‘Cette tunique de grande allure est fendue sur les côtés et retenue par trois boutons.

Elle se drape joliment dans le dos et glisse doucement sure le torse. Pas de manches.

Décolleté discret.’ £350 - 500

121

120

120 A Christian Dior black ‘Princess de Cleves’ silk velvet evening gown, probably SpringSummer, 1957, Patron Original label and numbered 45129, the bolduc numbered 677966 and model name tag, with broad puffed sleeves, corsetted bodice, full skirt over horsehair, tulle and silk petticoats, bust 82cm, 32in, waist 61cm, 24in

121 (label)

For a similar dress see The Metropolitan Museum of Art: http://www.metmuseum.org/collections/se arch-the-collections/94751?img=0 £2500 - 3500

121 A Marc Bohan for Jean Patou couture mother of pearl beaded cocktail dress, late 1950s, pink and ivory woven label and numbered 71486, of open-weave pearlised lurex and linen, the boned strapless bodice and skirt covered in three dimensional carnations with mother of pearl petals, other blooms and foliage in pearl beads, rhinestones and fine gold chain-stitch, bust approx 86cm, 34in £600 - 1000 122 A Claire McCardell by Townley Chagall-print cotton dress, American, circa 1955, labelled, the ‘Evening of Enchantment’ print with musicians and blossom, blister-pearl buttons, bust 86cm, 34in £400 - 600

121 (detail) 37

125 Three pairs of ‘moon boot’ suede spats, mid 1960s, designed to fit over a normal shoe with elasticated stirrup straps and back zips, in navy with pink and lilac roundels; pale blue with gold stripes; and navy and orange with tan stripes (6) £350 - 500 126 A Pierre Cardin navy patent leather ‘Moon Girl’ belt, mid 1960s, signed to belt and reverse of buckle, the brushed metal disc buckle with polished metal medallion, maximum waist size 74cm, 29in £300 - 500 127 A good Pierre Cardin futuristic necklace, mid 1960s, signed Pierre Cardin on the reverse, with abstract metal platelets, one adorned with domed pewter medallion, choker chain to fasten, 16cm, 6 1/2in high £800 - 1200

128

128 A Pierre Cardin pale blue wool coat-dress, 1967, labelled ‘Pierre Cardin Paris ‘collection’ modeles exclusifs pour l’Allemagne’, of sky-blue wool, the roll collar with prestud fasteners, large gilt zip, the broad concertina pleats falling from the shoulders

123

123 A Fontana Sisters ‘Moon Landing’ minidress, 1969, labelled ‘Sorelle Fontana, Roma, size 44’, composed from strips of navy and white linen appliquéd with iridescent blue and white shaped plastic plaques outlined in seed beads, lined in ivory silk, bust 86cm, 34in

Cardin made a similar model in cream for Mia Farrow in her first starring film role in ‘A Dandy in Aspic’. See Augusta Auctions, October 2008, lot 767. £600 - 1000 129 An Yves Saint Laurent couture ivory wool jersey ensemble, circa 1969, labelled and numbered 013598, the dress yoke, sleeves and hem adorned with facetted gilt rivets, matching jacket with top-stitched bands and cream resin buttons, bust 92cm, 36in (2) £600 - 800

This model is illustrated full page on ‘Lo Stile dell’Alta Moda Italiana’ by the Fondazione Micol Fontana p110. £1000 - 1500 124 A Courrèges couture evening gown or bridal gown, circa 1962, labelled and numbered 103440, the empire-line bodice with bow to raised waist, the skirt formed from circular organdy panels front and back with scalloped edges, matching collar, bust 81cm, 32in £250 - 350 127

38

130 A Paco Rabanne chain-linked armour-plate mini dress, circa 1967, with printed black metal tag to the interior, the dress formed from square metal plates which elongate down the skirt, linked by metal loops, chest approx 86cm, 34in ÂŁ5000 - 7000

39

134

131

131 A Courrèges window-pane checked wool mini-dress, 1968, Paris labelled and numbered 11181, the yoke, patch pockets and belt in contrasting apple-green wool, bust 81cm, 32in £500 - 800

132 A Tiziani couture beaded ivory gazar cocktail dress, the design probably by Karl Lagerfeld, mid 1960s, Roma label, the empire-line bodice and hem adorned with a lattice of bugle beads and rhinestones in shades of mauve, pink and green, the skirt with shimmering stripes of gold beads, bust 86cm, 34in

Karl Lagerfeld created outfits for the Italian couture house Tiziani from 1963 to 1969.

Elizabeth Taylor was a big fan of this label. £400 - 600 133

133 A rare and early Sylvia Ayton/Zandra Rhodes printed crêpe mini-dress, circa 1966, labelled Sylvia Ayton, Zandra Rhodes, size 10, printed in pink and grey with Zandra’s ‘Mr Man’ designs, bust 79cm, 31in; together with a photograph of the vendor wearing the dress at the time (2) £450 - 600

40

134

134 A Pierre Cardin printed wool mini-dress, 1969, labelled Paris & New York, with contrasting brown collar and curved pocket bands with two buttons, printed with organic abstract forms, bust 97cm, 38in

Literature: ‘L’Officiel’ no 569-570, September 1969 p.91 with a photograph by Roland Bianchini. Also Panorama Jardin des Modes Haute Couture Collections, AutumnWinter, 1969-70, p62. £600 - 900 135 An Andre Courrèges for Harrods pink and white checked wool ensemble, 1968, bearing both Courrèges Paris and Harrods London labels, comprising double breasted jacket, tunic top with cap sleeves and front pockets, both with rear belts; and a pair of matching trousers, bodice bust 97cm, 38in, waist 76cm, 30in (3) £350 - 500

137 A Pucci printed pink silk jersey evening gown, late 1960s, labelled and size 12, with design of flowers and cockerels, bust 92cm, 36in; together with two Pucci silk scarves; and a floral cotton bikini, bolero and wraparound skirt (7) £200 - 300 138 A Pierre Cardin couture apple-green sequined silk crêpe cocktail dress, 1967, black on white Paris label, of Abrahams silk crêpe, the neckline and hem appliquéd and embroidered by Jean-Guy Vermont in opalescent sequins with spiked motifs in shades of yellow, blue and green, bust 86cm, 34in £600 - 800

139 136

136 (detail)

139 (detail)

136 A Pierre Cardin for Elizabeth Arden pink wool futuristic cocktail ensemble, 1969, with Elizabeth Arden label, the dress with top-stitched waistband hem and angular neckline, with massive silvered metal bullseye plaques with domed black metal centres to waistband hem sides and jacket front, prestud fastenings to front closure, bust 92cm, 36in (2) £600 - 800

139 A Pierre Cardin quilted rose-satin minidress, 1969, labelled Paris & New York, of Abrahams satin, quilted with a futuristic ‘necklace’ motif to the bodice, the hem with circular repeats, bust 92cm, 36in

A similar dress is illustrated in ‘L’Officiel’, September, 1969, no 569, pp376-7. £600 - 800 138

41

141 A Pierre Cardin apple-green wool coat, early 1970s, un-labelled, with pointed collar, topstitched closure panel, yoke and pockets, large metal prestud fasteners, chest 102cm, 40in £600 - 1000

140

141

144

140 A Pierre Cardin sage green and red doublefaced wool-jersey ‘Cosmos’ suit, late 1960s, labelled ‘Pierre Cardin Boutique, Paris’, with chunky steel off-centre front closure zip, pocket, and cuffs, and trouser pocket, chest 97cm, 38in, waist 71cm, 28in (2) £1200 - 1800

142 A Thea Porter printed muslin ‘gipsy’ dress, 1969, woven green and yellow lily motif label, in contrasting red and black prints, edged in gold braid, with key-hole opening to decollete, bust 86cm, 34in £500 - 700

144 A Pierre Cardin tweed ‘Cosmos’ suit, late 1960s-early 1970s, labelled ‘Pierre Cardin, Paris’, in heather-pink and blue wool, with large metal closure zip, pocket openings with rouleaux edgings, matching trousers, chest 92cm, 36in, waist 76cm, 30in (2) £600 - 1000

143 A Chanel couture blue tweed suit, circa 1960, un-labelled, with lion’s head gilt buttons, ivory and blue braid edgings, chain-weight to jacket, with quilted blue silk lining, chest 97cm, 38in, waist 71cm, 28in (2) £500 - 700

140 (label) 42

145 A Roberta di Camerino printed jersey dress, circa 1969, labelled to the shoulder, printed with trompe l’oeil criss-cross swirls, in shades of green and purple, bust 92cm, 36in £300 - 500

146

146 (detail)

149

146 An Yves Saint Laurent couture crystal beaded and silver lace evening gown, Spring-Summer, 1967, labelled and numbered 21836, the silver guipure ground emblazoned overall with sparkling crystal beads and sequins, pendant glass droplets to the sleeves, lined in silk and organza, bust 81cm, 32in, waist 61cm, 24in

147 A Nina Ricci black silk ball gown, circa 1960, labelled ‘Mademoiselle Ricci’, with central bow to waist, graduated flounce at waist from front to back, bust 86cm, 34in £300 - 500

149 An Yves Saint Laurent couture ivory silk crêpe sheath, late 1960s, labelled and numbered 10487, with internal corset, edging band of deep crimson sequins, bugle beads, metallic threads, interspersed with long hot-pink bugle beads, bust 92cm, 36in £1500 - 2500

A similar dress is illustrated in ‘Yves Saint Laurent’ exhibition catalogue at the Petit Palais, p116. £2000 - 3000

146 (label)

148 A Marc Bohan for Christian Dior couture cocktail dress, Slim-line collection, SpringSummer, 1961, the date partially unpicked on the label and indistinctly numbered 108963, of layered eau de nil organza, the bodice embroidered with silver-strip banding, studded with rhinestones and crystals and with crystal pendants, matching bow belt, bust 86-92cm, 34-36in, waist 71cm, 28in (2) £300 - 500

149 (label) 43

152 An Yves Saint Laurent couture brown linen summer ensemble, early 1960s, labelled and numbered 1458, the simple shift dress with diagonal seams descending from the bust darts on either side, with matching cape lined in brown chiffon, bust 86cm, 34in (2) £450 - 650 153 A Tezzoli Cecchini couture black and cerise satin evening gown, circa 1960, labelled, with boned strapless bodice, the back with cerise lined floating panels and silk roses, bust approx 86cm, 34in £400 - 600 154 A Jean Dessès couture draped red chiffon cocktail gown, circa 1960, labelled and numbered 7417, with integral corset, a drape of fabric falling from one shoulder, narrow skirt, bust 81-86cm, 32-34in £600 - 800

150

155

150 A Balenciaga couture ‘sari’ gown, 1960, Paris labelled and numbered 77068, with boned gros-grain integral corset, broad single shoulder strap, columnar skirt, floating panel falling from the rear shoulders, with matching Germaine Guerin clutch bag and Monasterola of Turin shoes, bust 81-86cm, 32-34in, waist 56cm, 22in (4) £800 - 1200

155 A Guy Laroche couture pink beaded sheath, circa 1960, Paris labelled and numbered 8247, entirely covered in a lattice of pale pink seed beads with white beaded cluster centres, bust 92-97cm, 36-38in £450 - 600 156 An Yves Saint Laurent couture sequined cocktail trouser ensemble, late 1960s, labelled and numbered 019909, comprising white sequinned top edged in ivory crêpe, matching ivory silk crêpe wide legged trousers, bust 92cm, 36in, waist 69cm, 29in (2) £400 - 600

151 A Carven couture fuchsia ottoman evening dress, circa 1967-1968, large woven label, princess-line, the sleeveless bodice with necklace like bands to the neck adorned with wood, rhinestone and leather floral pendants, bust 92cm, 36in £500 - 700

154 44

157 A Chanel couture ivory tweed and mongolian lamb lined coat, 1960, narrow woven Chanel label and numbered 13360, double-breasted with top-stitched ribs to sleeves, chest 102cm, 40in £600 - 1000

160 ∆ A sable coat, labelled Liska, Vienna, three quarter length, of loose-cut, lined in brown silk, chest approx 142cm, 56in £5000 - 8000 161 ∆ An ocelot coat with sable collar, late 1960s, with hook closure, lined in brown silk, chest 107cm, 42in £600 - 1000

158 A Chanel couture gold lurex-weave jacket, 1969, white on black silk label, numbered 37795, of textured gold chevron-patterned fabric with zig-zag sequined bands, black and gilt buttons, lined in gold satin, chainweighted hem, chest 92cm, 36in

162 ∆ A Dior couture leopard and arctic fox cape, circa 1965, bearing large black satin Dior label £700 - 1000

Marisa Berenson was photographed wearing a cardigan of similar fabric in Vogue teamed with black trousers, see ‘Chanel in Vogue’ by Bronwyn Cosgrave p148. £500 - 700 159 A Pierre Balmain beaded gold cloqué evening gown, circa 1960, the broad petersham inner waistband with woven label numbered 134658, woven with golden spots, the cross-over bodice edged with large turquoise coloured stones, and entirely covered with small gilt filigree pendants, copper, seed pearl and turquoise beads, with rouleaux tie belt, bust 86cm, 34in £1000 - 1500

159

158

162 45

163

165

163 A Marc Bohan for Christian Dior couture black faille cocktail dress, Autumn-Winter, 1962, labelled and numbered 116481, with integral boned corset, front opening revealing chemisette of large disc sequins and beads, the slim skirt with functional pockets and button front detailing, bust 86cm, 34in, waist 71cm, 28in £1200 - 1800

165 An Yves Saint Laurent couture bridal gown, early 1970s, labelled and numbered 36364, of moiré silk taffeta, with demure pearl buttons to fasten, zips to the narrow cuffs, the trained skirt flowing from tight pencil pleats at the lower waist, layered ivory taffeta petticoats, bust 81-86cm, 32-34in, waist 64cm, 25in

164 A Balmain couture embroidered ivory gazar cocktail dress, mid 1960s, with woven red label, appliquéd with chenille floral motifs with cutwork centres, rear zip, bust approx 86cm, 34in £400 - 600

46

The vendor informs us that this was a défilé model purchased after the show but never worn. £1000 - 1500 166 A Marc Bohan for Christian Dior couture red silk crêpe dress, Spring-Summer 1977, labelled and numbered 08727, horizontally pleated waist, matching tie belt and slip, bust approx 77cm, 30in (3) £350 - 500

165 (label)

167 A Chanel couture golden lace dress, circa 1974, large black on white label, bold numbered 48283, with round neck braceletlength sleeves, columnar inner skirt and asymmetric overskirt, matching crêpe de chine slip, bust 92cm, 36in (2) £500 - 800

172 A Pierre Cardin couture brown silk crêpe sheath, Spring-Summer, 1979, labelled, with broad satin ribbon edging and bow to rear neck, provocative low back, bust approx 86-92cm, 34-36in

Cardin’s Spring-Summer 1979 collection was awarded the Golden Thimble (Cardin was to win this award three times during his career). £350 - 500

168 A Chanel couture beaded pink silk jersey evening jacket, 1976, labelled but not numbered, with black and red striped beaded borders and floral motifs, lined in chiffon, chest 92cm, 36in £400 - 600

173 A Rudi Gernreich black jersey evening gown, Spring-Summer, 1975, labelled Rudi Gernreich for Bob Cunningham, the single sleeve with silvered metal cuff engraved ‘Chris den Blaker for Rudi Gernreich’, bust approx 86cm, 34in £600 - 1000

169 A Loris Azarro royal-blue jersey evening gown with jewelled collar, 1970s, labelled, the collar and two circlets below of black and blue celluloid studded with crystal beads in shades of blue, clear and black, bust approx 86cm, 34in £500 - 800

170

170 A Cazaubon/Dudel for Chanel couture ivory silk crêpe dress and matching fox trimmed evening coat, 1974, labelled and numbered 51999, comprising: simple slip-style dress, the coat with quilted silk lining, self covered buttons and deep collar and hem of Arctic fox, bust 92cm, 36in (2) £1000 - 1500 171 A Halston red jersey evening ensemble, mid 1970s, black on white Halston label, comprising draped over-tunic with low cowl to front, halter-neck ties worn over a separate midi-skirt, bust approx 86cm, 34in, waist 66cm, 26in (2) £500 - 700

169

173 47

174 A Chanel couture blue tweed ensemble, circa 1972, labelled and numbered 45.418, the jacket with lion’s mask buttons, chainweighted hem, navy moss crêpe cuffs with top-stitched detailing, with matching navy crêpe bodice and skirt with broad pleats, bust 92cm, 36in, waist 68 1/2cm, 27in (3) £600 - 1000 175 A Chanel couture tweed suit, early 1970s, labelled and numbered 59142, trimmed with wine bouclé wool banding, with gilt lion’s mask buttons, lined in quilted silk, with matching scarf and A-line skirt, chest 92cm, 36in, waist 71cm, 28in (3) £600 - 800 176 A Ted Lapidus men’s floral blazer jacket, Spring-Summer, 1974, labelled, of groovy floral printed cotton, silk braid trim, chest 102cm, 40in

Literature: This jacket is photographed in ‘L’Officiel’, 1974, no.05, p55. £400 - 600 177 Bill Gibb/Kaffe Fassett ‘Byzantine’ collection poncho-like robe, AutumnWinter, 1976-77, labelled, in two contrasting knits with patch pockets, scarlet rope ties to neck and over-stitching to the skirt with slits to the sides, narrow cuffs; and a pair of matching mitts (3) £400 - 600 178 A Givenchy couture navy and mango-red shantung gazar evening ensemble, SpringSummer, 1972, black on white woven label and numbered 48721 and 48715, empireline with A-line skirt, the matching coat lined in taffeta, bust 92cm, 36in (2) £600 - 1000 179 An Ossie Clark/Celia Birtwell yellow moss crêpe dress, mid 1970s, with Ossie Clark Radley label, size 34, with Floating Daisy print panels to the bodice, bust 86cm, 34in

The Property of a Lady £200 - 300 180 A Bill Gibb ‘piano-key’ knit ‘kimono’ maxicoat and matching sweater, Spring-Summer 1974, labelled, in black and tan knit, sweater chest 81cm, 32in; together with a Quiana ivory jersey draped evening gown and jacket with sequined and beaded papyrus blooms, labelled, bust approx 81cm, 32in (4) £200 - 300

48

178

181 A Biba striped gold and black lurex waistcoat and flares, circa 1970, printed artnouveau label, zip fastened horizontally striped waistcoat, the trousers with wide flares and vertical stripes, bust 81-86cm, 32-34in, waist 61cm, 24in (2)

The Property of a Lady

182 An Ossie Clark/Celia Birtwell printed chiffon ‘Milky Way’ wrap-over dress, 1970, printed black on white label and size 8, with ruffles to bodice arm seams which form an integral capelet at the back, contrasting floral prints in pale pink on powder blue, bust approx 81cm, 32in

The vendor recalls wearing this ensemble, bra-less in Paris in the 1970s and literally stopping the traffic. £300 - 500

Vogue illustrated the Milky Way gown in July 1970, price £40. £350 - 500

The Property of a Lady

185 A Lagerfeld for Chanel couture cream boucle wool jacket, 1989, labelled and numbered 68478, edged in brown and white silk threaded cotton braid, with enamelled daisy buttons, quilted silk lining, chest 86cm, 34in £350 - 500 186 A Lancetti couture black velvet cocktail dress, 1980s, of loose, smock-style the wide neckline outlined in sequins and beads with central tassel, large patch pockets and hem-band similarly worked £300 - 500 187 An Yves Saint Laurent costume design for The Queen, probably mid 1980s, in pencil and coloured crayon, inscribed ‘La Reine, Acte III, velours noir, passementerie’, and signed lower corner, depicting a black satin gown with tassel pendants and embroidery, 34 by 26cm in a frame £1000 - 1500

183

187 (signature)

188

188 An Ossie Clark/Celia Birtwell printed chiffon dress, early 1970s, Quorum labelled and size 10, with lightly padded shoulders, the skirt falling in contrasting-printed chiffon tiers, bust approx 86cm, 34in £800 - 1200

183 A Thea Porter chiffon kaftan, mid 1970s, couture labelled, piped and edged in scarlet satin, with yellow velvet ribbons down the front and back, the hem/sleeves inset with a patchwork of Chinese embroidery, colourful silks and brocades; together with a gold sequined and embroidered abayah robe (2) £800 - 1000

189 A fine Zandra Rhodes Shell patterned quilted jacket, India Revisited collection, 1985, bearing sample label, of black velvet with padded gold satin quilted borders and cuffs, embroidered in high relief with gold thread, beads and sequins

184 An Ossie Clark/Celia Birtwell floral printed navy crêpe evening dress, 1971, printed Radley label, the bodice with pleats and centre-front opening, tie to neck, wraparound skirt with ties and low back, bust approx 92cm, 36in £500 - 700

This seems to be a re-working of the original shell patterns first introduced by Zandra into her collections in 1972. £400 - 600 187

49

190 A Christian Lacroix couture purple taffeta and velvet cocktail dress, circa 1988, labelled and numbered 90830, with wide satin neckline, asymmetric hem to skirt revealing black lace underskirt, bust 91cm, 36in, waist 76cm, 30in £200 - 300

194 A Lancetti couture black linen and white soutache braided cocktail suit, 1980s, labelled, comprising: long jacket with elaborately adorned pockets and lapels studded with black beads; matching bustier, belt, plain linen skirt and a black chiffon blouse with silk camellia, bust 8692cm, 34-36in, waist 66cm, 26in (5) £250 - 350

191 A Christian Lacroix couture cocktail ensemble, Autumn-Winter, 1987-8, woven gold label, comprising hound’s tooth checked tweed jacket with lace bustle and cuffs, with chiné satin skirt in matching colour palette; and a stiffened petticoat, chest 86cm, 34in, waist 66cm, 26in (3)

195 A Lancetti couture black velvet cocktail dress with elaborately beaded and sequined skirt, 1980s, labelled, applied with pink, mauve and gold sequined paisley motifs, flowerheads and foliage, outlined in gold bugle beads and with large beaded tassel to lower flowerhead, bust 86cm, 34in £600 - 800

This was purchased from Lacroix’s first couture show in 1987. A similar ensemble was included in the Gros & Delettrez auction of the Danielle Lucquet de Saint Germain collection, lot 136, 14.10.2013. £1200 - 1800 192 A Lancetti couture scarlet silk cocktail suit, 1980s, with elaborate black velvet appliqué and strapwork to the key-hole bodice opening and rear shoulders, zip-fastened with pendant tassel and matching skirt, bust 86cm, 34in, waist 66cm, 24in; together with a Lancetti couture pleated ivory organza and black shantung cocktail dress, with large wired lace bow to front, bust 86cm, 34in (3) £500 - 800

192

193 A group of Lancetti couture cocktail separates which can be mixed and matched, 1980s, comprising: ivory shantung jacket with circular front neckline, crystal buttons; navy shantung skirt; black chiffon and lace edged skirt, two black silk crêpe bodices, ivory silk crêpe evening coat, average bust size 86cm, 34in, waists 66cm, 26in (6) £350 - 500

191 50

195

198 A Lancetti couture black beaded black silk cocktail ensemble, 1980s, labelled, the sheer tulle bodice covered in black beaded flowerheads, with matching bow-belt and bolero jacket, bust 87cm, 34in (3) £400 - 600 199 A Karl Lagerfeld for Chanel couture shot pale green-grey taffeta silk evening dress, circa 1990, large black on white woven label and 69565, with integral corset, the skirt cut short at the front and long at the back, with bouffant swags of fabric, the waist adorned with an organza camelia in shades of green, bust 86cm, 34in £500 - 700

196

200

196 A fine and rare Gianni Versace couture cocktail dress, probably Autumn-Winter, 1991-2, with Atelier label, the white gauze ground entirely covered with rhinestones, raised silver purl embroidered leaves, ivory satin stitched palmettes and scrolls, the broad waistband with cushion-shaped rhinestones forming a Greek key band, criss-cross straps, bust approx 81-86cm, 32-34in £1000 - 1500

200 An Yves Saint Laurent couture pink ostrich cocktail dress, circa 1990, un-labelled, strapless with boned integral corset, lined in pink satin, bust approx 86cm, 34in, waist 56cm, 22in £600 - 800 201 A Lancetti couture black wool crêpe cocktail suit, 1980s, labelled, the shoulders and back panel completely covered in gold bugle beaded arabesques studded with rhinestones, chest 92cm, 36in, waist 66cm, 26in; together with Lancetti couture black silk crêpe dinner dress with jet beaded tulle bodice panel, cuffs and hem, matching belt, bust 92cm, 36in (4) £400 - 600

197 A Lancetti couture elaborately beaded black tulle cocktail gown, 1980s, the bodice densely embroidered and beaded with flowers and foliage, dropped waistline with flared skirt, bust 86cm, 34in £400 - 600

199 51

206

202

202 An Yves Saint Laurent couture ivory moiré and gold lace bridal gown and accessories, circa 1985, labelled and numbered 50493, the embroidered lace and white satin floral and heart shaped appliques by Mme Andrée Brossin de Méré, with leg o’mutton sleeves, full skirt with long train, gold voile veil and gold and silk flower headdress/garland with ribbon streamers, bust 86cm, 34in (3) £1000 - 1500

204 A Jean Paul Gaultier salmon pink stretch satin ‘Corset’ dress, late 1980s, labelled ‘Jean Paul Gaultier Junior, size 42’, with original retail tag, bust approx 86cm, 34in £400 - 600

203 A good Antony Price brocade cocktail ensemble, 1980s, with yellow on black woven label, comprising tightly sculpted dress, matching jacket with faux fur collar and peplum hem, bust 86cm, 34in (2) £200 - 300

Literature: Taschen ‘Fashion, the Collection of the Kyoto Costume Institute’ Volume II pp540/541 for a similar example. £350 - 500

52

205 A Jean Paul Gaultier stretch-jersey dress printed with body contours, SpringSummer, 1996, Maille labelled, with stark black on white print, bust approx 86cm, 34in

206 A Jean-Paul Gaultier painted and embroidered silk gauze jacket, SpringSummer, 1994, printed label with Imperial crown and radiating arrows ‘Paris’ below, cut in 18th century style with irregular shell buttons, painted in silver and green with snakes, Masonic/mystical symbols, chest 36cm, 92in £800 - 1200 207 A pair of Gianni Versace black leather gloves, early 1990s, adorned with rows of gilt Medusa head buttons; together with a Versace cloth of gold jacket with Medusa buttons; and a Sophie Sitbon gold velvet bustier with detachable sleeves, labelled and size 40 (4) £200 - 300

210 A rare and early John Galliano ‘Incroyables’ collection waistcoat, 1984, un-labelled, cut wide and loose and made from contrasting striped, sprigged and paisley fabrics with penny coin buttons to fasten

Joan Burstein was so impressed with Galliano’s student degree show at Central St Martins that she purchased the ‘Incroyables’ collection and displayed it in the Browns window. Galliano, with the help of friends, made clothes at home in order to re-stock the shop which sold out in days. As a young student with no backers, he didn’t have a commercially produced label at that point. This waistcoat was purchased from Browns at this time. £600 - 1000

208

210

208 A Gianni Versace black leather studded jacket with Madonna and child icon to the back, Autumn-Winter, 1991-2, large woven Versace labels, with faux astrakhan collar, adorned with a lattice of silver and pearlised studs, the icon also with coloured rhinestones; together with a pair of Versace black leather shorts with gilt studs and buckles, chest 102cm, 40in, shorts waist 63cm, 25in (2) £500 - 800

211

211 An early John Galliano striped wool bustledress and matching hats, probably Autumn-Winter, 1986, labelled John Galliano 1, the dress with narrow neck slit, stiffened hem to the full skirt which rises to a bustle at the back, bust 86cm, 34in; the small bonnets with wired grosgrain edges and swallow tail bows (3) £600 - 1000

209 Three Versace printed silk shirts, mid 1980s, labelled, one pale blue printed with neo-classical figures; ‘South Beach Miami’ printed with cadillacs and palms; the third printed with timepieces, chests 123cm, 48in (3) £300 - 500 210

212 A John Galliano cream wool suit and matching dress, 1980s, London labels, the jacket labelled John Galliano 1, the other pieces John Galliano, the jacket with outsized handkerchief concealing breast pocket, padded shoulders, cut with long tail on front right side only; the highwaisted skirt with diagonal bias cut flounce, elongated at the front; the dress cut as an elongated jacket with lapels to the upper bodice, high waist, bust 92cm, 36in, waist 68 1/2cm, 27in (3) £400 - 600

53

LOTS 213-224 THE CLARE HOWARTH COLLECTION Clare Howarth worked as Vivienne Westwood’s personal assistant, during her ‘Nostalgia of Mud’ collection (Autumn-Winter, 1981-82), which was Westwood/McLaren’s first catwalk show during Paris fashion week, during the Punkature (Spring-Summer, 1983) and Witches collections (Autumn-Winter, 1983-84) collections.

Many of the pieces were given as gifts but rarely, if ever, worn.

213 A Westwood/McLaren muslin vest with Keith Haring ‘Buffalo Girl’ rubberised print, ‘Witches’ collection, Autumn Winter, 1983-4, cropped short at the back, the side panels held back by velcro tabs; together with a pair of white cotton shorts with World’s End label, waist 66cm, 26in (2) £400 - 600 214 A Westwood/McLaren navy cotton sweatshirt, with Keith Haring ‘Buffalo Girl’ rubberised print, ‘Witches’ collection, Autumn Winter, 1983-4, World’s End label, with ivory stockinette sides, chest 132cm, 52in £500 - 700 215 A Westwood/McLaren navy cotton sweatshirt, with Keith Haring rubberised barking dog print, ‘Witches’ collection, Autumn Winter, 1983-4, with ivory stockinette sides, angular, points to sleeves, chest 132cm, 52in £500 - 700 216 A Westwood/McLaren navy cotton tubular skirt, with Richard Hambleton ‘Shadow Man’ rubberised print, ‘Witches’ collection, Autumn-Winter, 1983-4, World’s End label, with ivory stockinette sides and expandable waistband £500 - 700

223 (detail) 54

217 A Westwood/McLaren cotton tunic and calico culotte skirt, ‘Savages’ collection Spring-Summer, 1982, World’s End label, with ethnic print in pink and grey, bust 117cm, 45in, waist 71cm, 28in (2) £200 - 300 218 A group of Westwood/McLaren printed cottons, 1981-82, comprising ‘Savages’ collection: pink and grey Aztec print, 95 by 274cm; a length of marble-effect cotton in shades of pink and blue, 120 by 135cm, and two similar fragments; red, blue orange and grey ethnic abstract print, 95 by approx 234cm; ‘Pirate’ collection: squiggle print cotton in peach on white, 95 by 168cm; a length of plain white cotton shirting and a length of black damask suiting fabric, 100 by 94cm (8) £300 - 500 219 Westwood/McLaren ‘Punkature’ collection separates, Spring-Summer, 1983, World’s End labelled, comprising: pyjama-striped shirt with deep cuffs and wide neck; a grey cheese-cloth and black dish-cloth bodice with green rope ties; and a power-station patterned knit sweater (3) £200 - 300

220 An un-used length of Westwood/McLaren Blade Runner printed cotton, ‘Punkature’ collection, Spring-Summer, 1983, with pale blue and wine-red scenes from the Ridley Scott film and gold toile de Jouy style overlays, 95 by 248cm £400 - 600 221 An unusual Vivienne Westwood fleshcoloured leather tunic and skirt, ‘Hypnos’ collection, Spring-Summer, 1984, World’s End label to skirt, comprising tan leather short tunic top, small small pouched pockets to the shoulders, the side flaps with wallet-like pockets, loops to fasten centre-front, the skirt with off-centre Piratelike zip-fly, neon orange velcro belt wraps around to fasten, adjustable sizes (2)

This was a show piece and never put into production. £400 - 600 222 An un-used length of Westwood/McLaren Blade Runner printed cotton, ‘Punkature’ collection, Spring-Summer, 1983, with pale blue and pink scenes from the Ridley Scott film and gold toile de Jouy style overlays, 95 by 4m 25cm £400 - 600

223

223 A Westwood/McLaren ‘Nostalgia of Mud’ (Buffalo) collection printed cotton jersey toga dress, Autumn-Winter, 1982-3, World’s End labelled, the pink gown cut shorter at the front and with long train-like panel printed in dark brown with Matisse inspired motifs, bust approx 112cm, 44in

224 A pair of rare Westwood/McLaren unworn leather sandles, ‘Punkature’ collection, Spring-Summer, 1983, fastened by thongs, 28cm, 11in long (2) £300 - 500

See V&A catalogue ‘Vivienne Westwood’ by Claire Wilcox p60 for an identical gown being modelled in 1982. This collection was the first to be shown on the catwalk in Paris. The printed design is derived from Henri Matisse’s ‘Femmes et Singes’ series of lithographs, 1905-1907. £2000 - 3000

VARIOUS OWNERS 225 A Westwood/McLaren black damask suit, ‘Pirate’ collection, Autumn-Winter 1981-82, World’s End labelled, the jacket with flared hem, sleeves inset with pink and blue spotted panels; matching trousers with looped fly-panel, zip fastened, chest approx 107cm, 42in, waist 81cm, 32in (2) £600 - 1000 226 A Vivienne Westwood crown, ‘Harris Tweed’ collection, Autumn-Winter, 1987-8, Red label, of multi-coloured tweed with faux ermine band, lined in pink satin £300 - 500

226 55

JAPANESE FASHION 227 An Azzedine Alaïa printed silk over-dress, bra and shorts, circa 1986, labelled and size S, the silk with green, blue and brown fleeced cloud-like patterns, the over-dress cut with a deep curved opening, large foldover lapels with hook and eye and drawstring gathers to waist front; the culotte skirt with broad pleats; together with a green chiffon alternative over-dress (4) £400 - 600 228 A group of Azzedine Alaïa peppermintgreen knitted acetate garments, circa 1986, labelled and size S, comprising skirt with side-lacing, panelled skirt, dress with crisscross straps; two bodies with short sleeves and straps (5) £450 - 600 229 A Paco Rabanne silvered metal bodice, probably 1990s, with oval Paco Rabanne tag to the back, formed from a lattice of elliptical plates, edged in bells, bust approx 86-92cm, 34-36in £400 - 600 230 A Chanel couture black wool jersey and white petersham ribbon ensemble, circa 1990, labelled and numbered 66238, the dress with cross-over straps with large pearl buttons, matching jacket similarly fastened and trimmed, jacket chest 102cm, 40in (2) £500 - 800

231

231 A rare and early Issey Miyake printed silk ensemble, Autumn-Winter, 1976-7, with early red, white and blue label, comprising: colourfully striped crêpe de chine harem trousers and shirt with draw-string to waist and matching ‘apron’ skirt printed with skeletal figures, floating head in a jungle background (3)

See Metropolitan Museum of Art collection accession number: 1977.405.8a, b for a similar ensemble but lacking the apron. £600 - 900 231 (detail) 56

232 A Yohji Yamamamoto black silk culotte dress, Spring-Summer, 2001, labelled and size 1, with simple straps to the bodice, the lower skirt divided into two harem-style leg openings with draw-strings and zipper linking between the two and a separate skirt section with draw-string to form a hobble skirt £400 - 600

233 A Rei Kawakubo/Comme des Garçons ‘Rising Sun’ dress, Spring-Summer, 2007, printed black on white ribbon label and size S, the segmented white tulle under-dress, with opening at left waist and vertical slash up right side of bodice, applied with black cloqué satin waistcoat panels with raw and jagged edges in places, a massive red velvet sun motif (hinomaru) to the skirt front, with original swatch bag to the inside, bust 81-86cm, 32-34in

Literature: ‘Future Beauty: 30 Years of Japanese Fashion’, published by Merrell to accompany the Barbican Centre exhibition of the same name p109, which illustrates an identical dress. Kenya Hara writes philosophically on the meaning of the symbol ‘The national flag of Japan is white with a red disk in the centre. We can say that the flag is a symbol that exemplifies the meaning of emptiness...’.

Sarah Mower commentating on this collection at the time said ‘Rei Kawakubo is a senior voice in Japanese design, and, in a broader sense, a foreign ambassador for all that can be creative and free-thinking about her nation. In a way - an allusive way, admittedly - she acknowledged that fact for the first time in her spring collection. A giant red spot, the symbol of the Japanese flag, was unmistakably at the center of her collection. ‘To me’, she said, ‘It is the purest form of design in existence.’ £1500 - 2500

233

234 A Junya Watanabe for Commes des Garçons Chantilly lace jacket and pair of wide taffeta trousers, labelled, the jacket of striped Incroyable style with single button to fasten; the trousers with crotch just above the hem and drawstring to waist (2) £400 - 600

235 A pair of Rei Kawakubo/Commes des Garçons navy polyester breeches with attached padded hands to the waist, Autumn-Winter, 2007 collection, printed ribbon label, low-set crotch, size SS £250 - 350 236 A Commes des Garçons pink and black checked bias cut dress, circa 1986, white on black woven label, size S, with points to hem, bust approx 86cm, 34in; together with a grey knitted cardigan, white on black ribbon label, with cut-away to front panel (2) £250 - 350

234 57

239 A Junya Watanabe/Comme des Garçons Chanel-inspired ensemble, Autumn-Winter, 2003, labelled and size S, comprising: double layered striped knit Breton style top with knot to neck threaded with giant pearls, the mohair tweed skirt with ragged hem, pierced and criss-crossed by large metal chains, bust 86-92cm, 34-36in, waist 66cm, 26in (2) £600 - 1000

240 A Junya Watanabe/Comme des Garçons black cotton bondage ensemble, SpringSummer, 2003, white on black webbing label and size M, the top embroidered in minute chain stitch with butterflies, webbing bands with metal rings and buckles are inter-woven, large horizontal slit to rear shoulders; the heavy cotton skirt similarly ruched and adorned with webbing, bust approx 86cm, 34in, waist 66cm, 26in (2) £500 - 700

239

240

237

237 A Comme des Garçons de-constructed pinstriped wool bondage jacket, AutumnWinter, 2008, yellow on black woven label, size S, with slashed and torn-effect front panels, metal buckles and straps to waist, sleeves, breast, rear shoulder and neck, chest approx 81-86cm, 32-34in £400 - 600 238 A Junya Watanabe/Comme des Garçons turquoise nylon ensemble, Spring-Summer, 2001, labelled and size M, the doublelayered bodice with twist to front neck threaded through with large facetted topaz coloured beads; the matching skirt formed joined horizontal panels and with intricately shaped and gored hip sections, bust 8692cm, 34-36in, waist 68cm, 27in (2) £350 - 500

58

241

241 A Commes des Garçons grey and brown cotton ensemble with plaited details, Spring-Summer, 2003, black satin label and size S, the jacket cut and interlaced with bicoloured plaits, pockets concealed within the lower brown cotton peplum panels; the matching skirt draped and caught in three large rose shaped rosettes, chest approx 81-86cm, 32-34cm, waist 63cm, 25in (2) £600 - 900

242

242 A Rei Kawakubo for Comme des Garçons gingham top, Spring-Summer, 1997 (Bump) collection, Robe de Chambre labelled and dated 1996, of stretch blue and white polyester, holes cut for the neck and arms, irregular seams creating bulges to rear waist and hips; with a navy gingham stretch polyester shaped tubular skirt, with printed black on white Comme label, dated 1996, size M (2)

243 A Commes des Garçons shocking-pink nylon and black velvet trench coat/dress, Autumn-Winter, 2001, gold on black woven label, size S, double-breasted with lace insertions to skirt, chest 86cm, 34in

The Metropolitan Museum of Art includes in its collection the same coat/dress, see accession no 2004.188a-c. £350 - 500

The skirt fabric appeared on the cover of ‘Visionaire’, no.20, Comme des Garçons edition, 1997 which featured the ‘Bump’ collection. £800 - 1200

59

248 An Issey Miyake blue knitted spikey sweater, circa 1980, with woven gold on black and grey label, with zig-zag seaming to the knitted panels forming peaks, asymmetric neck opening, zig-zag hem, bust approx 86-92cm, 34-36in £350 - 500 249 A Yohji Yamamoto purse/pinafore dress, Spring-Summer, 2001, labelled and size 1, of lightweight black wool, front skirt with integral purse with metal mounts and clasp, the strap forming a halter-neck, waist 71cm, 28in £400 - 600

244

244 A rare Junya Watanabe/Commes des Garçons transformation jacket/handbag, Autumn-Winter, 1999, labelled and size M, of black wool with front button closure, the hem of the jacket inset with six metal rings which create a bustle-effect and also form handles when the jacket is folded to create the handbag, chest 86cm, 34in £1500 - 2500 245 A Comme des Garçons black wool coat, Autumn-Winter, 1996, yellow on black satin label, the front panels cut in sharp points with the wide-low set sleeves cut in one with them, pockets inserted at just above hem level, no fastenings, lined in taffeta £300 - 500

246 A Junya Watanabe/Comme des Garçons Prince of Wales check and nylon gauze dress, 1997, white on black webbing label, with gauze panels front and back and down insides of sleeves, bust 92cm, 36in £150 - 250 247 A Comme des Garçons ensemble, AutumnWinter, 1998, labelled and size M, comprising inside-out effect jacket with charcoal grey suiting lining, exterior of ivory flecked wool, the sleeves and waist of cotton lining fabric, striped suiting to the sides; the skirt cut like a side saddle apron of brown wool, lined in grey wool and cotton, with button and tab flap to the back, chest 92cm, 36in, waist 71cm, 28in (2) £350 - 500

249 60

250 A Yohji Yamamoto navy wool dress, 1990s, with pinafore-like front panels with ties to waist, integral blouse-front panel, the back with a faux jacket panel, of voluminous cut £200 - 300

251 A Comme des Garçons padded doublebreasted wool coat, Autumn-Winter, 2010, gold and black satin label, size M, with padded, pointed pocket apertures to each shoulder, padded punchinelle-style panels to the back and front bodice, chest 92cm, 36in £250 - 400

252 A Yohji Yamamoto bias-cut black faille evening gown, Spring-Summer, 2000, labelled and size 1, with intricately pieced bodice, decorative lines of white tacking stitches, black thong halter-neck straps and tie to back, bust approx 86cm, 34in £250 - 350

253 A Commes des Garçons tartan cotton halterneck dress, Spring-Summer, 2006, black on white printed satin label and size S, with irregular shirred and gathered bodice, the box pleated skirt with exposed raw edges to waist held in place by large white tacking stitches, bustle-like knot to the back, zip fastened to one side, bust 81-86cm, 3234in £300 - 500

254 A Yohji Yamamoto black calico smock dress, probably 1990s, labelled and size S, with hooks to fasten concealed below a cotton jersey tank-top bodice, pointed collar, synthetic ribbed knit lower sleeves, bust approx 86-92cm, 34-36in £200 - 300

256

VARIOUS OWNERS 255 An Issey Miyake blue/black tweed coat, 1980s, with woven gold on black and grey label, of loose kimono-cut with large patch pockets, V-shaped pleats centred on the rear waist, no fastenings, chest 117cm, 46in £200 - 300

256 A Rei Kawakubo/Comme des Garçons white polyester ensemble with padded ‘hands’, Autumn-Winter 2007 collection, printed ribbon label, comprising: bodice cut like a miniature tail-coat, the front applied with padded gloves, the matching stretch dhoti-style trousers, similarly adorned to each hip, with original shop tags, size SS, bust approx 81cm, 32in (2) £600 - 900

61

ALEXANDER MCQUEEN 258 A rare and early Alexander McQueen camel coat, ‘Danté’ menswear collection, AutumnWinter, 1996, with white on navy manufacturer’s label also giving the designer’s name and birth date, doublebreasted, with broad pointed lapels, the collar and cuffs trimmed with Mongolian lamb, chest 107cm, 42in £500 - 700 259 An Alexander McQueen black wool greatcoat, ‘It’s a Jungle Out There’ menswear collection, Autumn-Winter, 1997, unlabelled, double-breasted and ankle-length, with curved pockets to the hips, full-length with guardsman style belt to the back, chest 107cm, 42in; together with a c.2000 poor condition black lace McQueen coat with Nehru collar, 19th century style quilted lining to chest (2) £400 - 600 McQueen wearing lot 257 in ID magazine.

257 Lee McQueen’s own leopard-print t-shirt, believed to have been one of the first things he made when he started his MA course at Central St. Martins in 1992, spangled with tiny rhinestones, chest 107cm, 42in; together with a pair of khaki cotton drill McQueen trousers (2)

258

(Lee) Alexander McQueen was photographed wearing this t-shirt for an interview with ID magazine in February 1996.

Provenance: This and lots 258, 259 and 260 were given to a close personal friend who is the vendor. £200 - 300

258 (label)

260 A rare and early Alexander McQueen double layered black cashmere jacket, worn for the ‘Danté’ collection menswear show, AutumnWinter, 1996, bearing remains of the original show label no 129, also with white on navy ltalian manufacturer’s label to the chest pocket giving McQueen’s name and birth date - ‘b.1969’, with double layered front and back panels and lapels with tiered hem, chest 107cm, 42in £400 - 600 261 An Alexander McQueen for Givenchy embroidered black crêpe cat-suit, SpringSummer, 1998 ready to wear collection, with Givenchy Paris ‘couture’ stamped on the care label, the strapless bodice with boned inner corset, embroidered with two golden eagles on a bough, bust 86cm, 34in

For an image of this piece on the catwalk see: http://forums.thefashionspot.com/f116/19 96-2001-givenchy-alexander-mcqueenready-wear-haute-couture-121177.html, p.5. £350 - 500

62

262 A rare Alexander McQueen tartan bodice, made for the stylist Katy England, ‘Highland Rape’ collection, Autumn-Winter, 1995-6, of carefully matched and joined bias-cut panels of McQueen clan tartan with slash to neck, ragged and torn pointed front hem and sheer black net back, bust approx 86cm, 34in

‘Highland Rape’, McQueen’s fifth collection was the first in which he collaborated with his friend Katy England, making her his inhouse stylist. England said of this role in an interview with WWD, ‘He liked the way I looked and thought I’d bring something to it’. McQueen himself, assisted by a fellow Central St Martin’s student Andrew Groves, did all the cutting and machining of the garments in his Clerkenwell studio. Katy England felt uncomfortable wearing some of the more breast-revealing designs and so Lee specially produced this slightly more demure bodice which was transparent just down the back.

The show, which was staged at the Natural History Museum, was the hottest ticket in town. With a runway strewn with heather, models staggered out, their beautifully tailored tartan ensembles and gossamer lace dresses, apparently torn and ripped as if from an attack. McQueen’s intended message was the historic annexation and subjugation of Scotland by the English.

However, the British tabloid press misconstrued the dishevelled appearance of the models, believing the collection to be a misogynistic and degrading attack on women. The resulting headlines served only to confirm McQueen’s pre-eminence in British Fashion. The shock-tactics employed, the theatricality, sombre romance of the show and its clarion call for Scottish independence ensured McQueen’s profile was raised even further.

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

Literature: ‘Alexander McQueen, Fashion Visionary’ by Judith Watt, p.52-55.

A letter of provenance will be supplied to the purchaser. £6000 - 8000

262

63

263

264

265

263 A rare Alexander McQueen fashion sketch for his first Givenchy haute couture collection, Spring-Summer, 1997, no 54, gouache and ink of a beaten leather gilded gladiator-style cocktail dress with moulded breasts and high neck, 46 by 30cm, unsigned

264 A rare Alexander McQueen fashion sketch for his first Givenchy haute couture collection, Spring-Summer 1997, no 56, gouache and ink showing a moulded bodice covered in gold sequins and beads over slim white trousers, the figure with black horn-shaped coiffure, 46 by 30cm, unsigned

265 A rare Alexander McQueen fashion sketch for his first Givenchy haute couture collection, Spring-Summer 1997, no 48, gouache and ink, showing a fitted dress with high incroyable-style collar, with gold floral embroidery, 46 by 30cm, unsigned

For his first Givenchy haute couture collection, Lee chose the white and gold of the couture label as the main colour palette. The collection included sophisticated tailored ensembles with clean cut lines which had always been a Maison Givenchy signature-look, but he combined this with a challenging, youthful, thought-provoking edge. He took as his theme the legend of Jason & the Argonauts.

Models wore minotaur-style nose-rings and hair coiffed into horn-shaped points, gilded ram’s horns and golden feathers. The collection was shown at the École des Beaux-Arts which complimented it perfectly with its neo-classical interiors. The show received very mixed reviews - many of the old guard feeling dismayed by the ‘brash’ south Londoner’s attitude as by his designs, which came as something of a shock to the establishment.

Provenance: see lot 263. £700 - 1000

Provenance: see lot 263. £800 - 1000

Provenance: Given at the time of the collection by Lee McQueen to a close personal friend from a sketch book of his designs. £800 - 1200 266

64

266 A pair of rare Alexander McQueen fashion sketches for his first Givenchy haute couture collection, Spring-Summer, 1997, nos 52, 53, gouache and ink, showing a clinging double-breasted dress with ram’s horn headress; the other a suit with wide angular shoulders and corset-like jacket, 46 by 30cm, unsigned (2)

Provenance: see lot 263. £1200 - 1800 267 A pair of rare Alexander McQueen fashion sketches for his first Givenchy haute couture collection, Spring-Summer, 1997, nos 50, 59, gouache and ink, showing a white top with wide angular shoulders and low back cowl and trousers, with inked rear view; and a black coat with scale-like embroidered panels scattered across the chest, 46 by 30cm, unsigned (2)

268

Provenance: see lot 263. £1200 - 1800 268 An Alexander McQueen for Givenchy harlequin sequined cat suit, SpringSummer 1999 haute couture collection, the défilé muslin tag with blue Givenchy stamp, Press-Sample and VIP Stamps, handwritten details ‘P/E 1999, At Catherine, no 5’, the primrose chiffon ground covered in shades of pink, orange and yellow sequin lozenges edged in bugle beads, rear zip fastening and zips to ankles, prestuds to cuffs, bust 81cm, 32in, waist 53cm, 21in; together with a photograph of the cat suit being worn on the catwalk (2) £2000 - 3000 268 (detail)

267

268

65

269

269 An Alexander McQueen for Givenchy snakeskin and tulle cocktail dress, AutumnWinter, 1999 haute couture collection, un-labelled, the nude tulle bodice appliquéd with scattered leaves and blossom motifs in snakeskin, the high waist at the back forming a deep point at the front, the circle skirt with similarly appliquéd band to hem, bust 81cm, 32in, waist 63 1/2cm, 25in; together with two cutwork snakeskin sleeve panels, and a photograph of the gown being modelled at the défilé presentation on a static mannequin (4) £2500 - 3500

66

269 (back)

270 An Alexander McQueen for Givenchy brocaded golden damask cocktail dress, Autumn-Winter, 1998-99, Couture labelled and size 38, with 17th century inspired large floral repeats, deep cowl neck, angular padded shoulders, darts to waist, bust 86cm, 34in £600 - 1000 271 An Alexander McQueen ‘Birds’ skirt, ‘Sarabande’ collection, Spring-Summer, 2007, labelled and size 42, with inner satin corset, of ivory silk/cotton figured with birds and branches, and appliquéd in black satin and tulle with threatening birds £250 - 400

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

This was McQueen’s final collection for Givenchy before they parted over ‘artistic differences’. £3000 - 5000

273 An Alexander McQueen moth print chiffon cocktail dress, pre-collection SpringSummer, 2007, grey label, size 38 and also with Press Sample label, hand-numbered SO7AL41/002, with scarf-like panels falling from the halter-neck, gently draped bodice and skirt with silk petticoat, bust approx 81cm, 32in, waist 61cm, 24in £300 - 500

272 (detail)

274 An Alexander McQueen for Givenchy wine crêpe and satin cocktail halter-neck dress, 1990s, haute couture label, with satin points to the waist and lapels, bust approx 81-86cm, 32-34in £250 - 350 275 An Alexander McQueen quilted satin cocktail dress, pre-collection, 2009, narrow white on grey label and size 38, with sculpted top-stitched detailing overall, wing-like sleeves, bust 81cm, 32in £400 - 600

272

276 An Alexander McQueen moth print satin kaftan, pre-collection Spring-Summer, 2007, label dated 2006, size 40 and with shop tags, button closure to front, inset cuffs to the side panels, with top-stitched detailing £300 - 500

272 (detail)

67

278 An Alexander McQueen wolf and cashmere knit coat and matching stocking-boots, ‘The Girl Who Lived in the Tree’ collection, Autumn-Winter, 2008-9, with woven label and metal tag, size 42, with beige aran-knit sleeves and waist panel, fastened by hooks and loops, lined in beige satin, the black leather shoes with chisel toes and cream aran knit integral stockings, size 37 (3) £800 - 1000

278

277

279

277 (detail)

278 (detail)

277 An Alexander McQueen tartan wool dress, ‘Widows of Culloden’ collection, AutumnWinter, 2006-7, woven white on grey narrow satin label, size 40, in McQueen red and black tartan, with pleated tulle collar, broderie anglaise edged cotton jabot, the hem inset with black lace, the underskirt edged with goffered tulle, curving bustlelike rear skirt, bust 81cm, 32in

280 An Alexander McQueen hound’s-tooth checked wool suit and accessories, ‘The Horn of Plenty’ collection, Autumn-Winter, 2009-10, all labelled and size 44, comprising: double-breasted jacket with short wing-like sleeves, black leather covered buttons over pencil skirt, with original shop tags; together with a black patent and checked wool shoulder bag; and ankle-boots with spat-like checked uppers, boots size 36 (5) £800 - 1200

Literature: ‘Savage Beauty’ p104 for an identical dress. £1200 - 1800

68

279 An Alexander McQueen kaleidoscopeprinted viscose cocktail dress, ‘Natural Distinction, Un-Natural Selection’ collection, Spring-Summer 2009, labelled and size 44, printed with brightly coloured prisms, with long looped sleeve panels which form wings, being joined at the centre back and upwardly curving front hem, with original shop tag, bust approx 86cm, 34in £600 - 1000

280

281

281

281 An Alexander McQueen floral printed organza cocktail dress with matching leather corset, ‘Natural Distinction, Un-Natural Selection’ collection, Spring-Summer, 2009, labelled and size 40, the strapless dress with integral corset, printed with grasses, butterflies and wild flowers, the skirt falling in polonaised drapes, the faux crocodile corset with white top-stitched detailing, shaped to emphasise the curve of the waist, bust approx 86cm, 34in (2) £3000 - 5000

END OF SALE 69

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

70

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"). If paying by bank wire, any bank fees must be added so that the final amount received is not less than the invoice total. (b) Title in a lot will not pass to the Buyer until KT has received the Purchase Price in cleared funds. KT will generally not release a lot to a Buyer before payment.

Earlier release shall not affect passing of title or the Buyer’s obligation to pay the Purchase Price, as above. (c) The refusal of any licence or permit required by law, as outlined in Condition 6, shall not affect the Buyer’s obligation to pay for the lot, as per Condition 8(a). (d) The Buyer must arrange collection of lots within 10 working days of the auction. Purchased lots are at the Buyer’s risk from the earliest of (i) collection or (ii) 10 working days after the auction. Until risk passes, KT will compensate the Buyer for any loss or damage to the lot up to a maximum of the Purchase

Price actually paid by the Buyer. KT’s assumption of risk is subject to the exclusions detailed in Condition 5(d) of the Conditions of Business for Sellers. (e) All packing and handling of lots is at the Buyer’s risk. KT will not be liable for any acts or omissions of third party packers or shippers.

9. Remedies for non-payment Without prejudice to any rights that the Seller may have, if the Buyer without prior agreement fails to make payment for the lot within 5 working days of the auction, KT may in its sole discretion exercise 1 or more of the following remedies:(a) store the lot at its premises or elsewhere at the Buyer’s sole risk and expense; (b) cancel the sale of the lot; (c) set off any amounts owed to the Buyer by KT against any amounts owed to KT by the Buyer for the lot; (d) reject future bids from the Buyer; (e) charge interest at 4% per annum above The Bank of England’s Base Rate from the Payment Date to the date that the Purchase Price is received in cleared funds; (f) re-sell the lot by auction or privately, with estimates and reserves at KT’s discretion, in which case the Buyer will be liable for any shortfall between the original Purchase Price and the amount achieved on re-sale, including all costs incurred in such re-sale; (g) exercise a lien over any Buyer’s Property in KT’s possession, applying the sale proceeds to any amounts owed by the Buyer to KT. KT shall give the Buyer 14 days written notice before exercising such lien; (h) commence legal proceedings to recover the Purchase Price for the lot, plus interest and legal costs; (i) disclose the Buyer’s details to the Seller to enable the Seller to commence legal proceedings.

10. Failure to collect purchases (a) If the Buyer pays the Purchase Price but does not collect the lot within 14 working days of the auction, the lot will be stored at the Buyer’s expense and risk at KT’s premises or in independent storage. (b) If a lot is paid for but uncollected within 6 months of the auction, following 60 days written notice to the Buyer, KT will re-sell the lot by auction or privately, with estimates and reserves at KT’s discretion. The sale proceeds, less all KT’s costs, will be forfeited unless collected by the Buyer within 2 years of the original auction.

11. Data Protection (a) KT will use information supplied by Bidders or otherwise obtained lawfully by KT for the provision of auction related services, client administration, marketing and as otherwise required by law. (b) By agreeing to these Conditions of Business, the Bidder agrees to the processing of their personal information and to the disclosure of such information to third parties world-wide for the purposes outlined in Condition 11(a) and to Sellers as per Condition 9(i).

12. Miscellaneous (a) All images of lots, catalogue descriptions and all other materials produced by KT are the copyright of KT. (b) These Conditions of Business are not assignable by any Buyer without KT’s prior written consent, but are binding on Bidders’ successors, assigns and representatives. (c) The materials listed in Condition 1(a) set out the entire agreement between the parties. (d) If any part of these Conditions of Business be held unenforceable, the remaining parts shall remain in full force and effect. (e) These Conditions of Business shall be interpreted in accordance with English Law, under the exclusive jurisdiction of the English Courts, in favour of KT.

KERRY TAYLOR AUCTIONS LTD AUTHENTICITY GUARANTEE If Kerry Taylor Auctions Ltd sells an item of Property which is later shown to be a “Counterfeit”, subject to the terms below Kerry Taylor Auctions Ltd will rescind the sale and refund the Buyer the total amount paid by the Buyer to Kerry Taylor Auctions Ltd for that Property, up to a maximum of the Purchase Price.

The Guarantee lasts for one (1) year after the date of the relevant auction, is for the benefit of the Buyer only and is non-transferable.

“Counterfeit” means an item of Property that in Kerry Taylor Auctions Ltd ‘s reasonable opinion is an imitation created with the intent to deceive over the authorship, origin, date, age, period, culture or source, where the correct description of such matters is not included in the catalogue description for the Property. Property shall not be considered Counterfeit solely because of any damage and/or restoration and/or modification work.

Please note that this Guarantee does not apply if either:(i) the catalogue description was in accordance with the generally accepted opinions of scholars and experts at the date of the sale, or the catalogue description indicated that there was a conflict of such opinions; or (ii) the only method of establishing at the date of the sale that the item was a Counterfeit would have been by means of processes not then generally available or accepted, unreasonably

expensive or impractical; or likely to have caused damage to or loss in value to the Property (in Kerry Taylor Auctions Ltd’s reasonable opinion); or (iii) there has been no material loss in value of the Property from its value had it accorded with its catalogue description.

To claim under this Guarantee, the Buyer must:(i) notify Kerry Taylor Auctions Ltd in writing within one (1) month of receiving any information that causes the Buyer to question the authenticity or attribution of the Property, specifying the lot number, date of the auction at which it was purchased and the reasons why it is believed to be Counterfeit; and (ii) return the Property to Kerry Taylor Auctions Ltd in the same condition as at the date of sale and be able to transfer good title in the Property, free from any third party claims arising after the date of the sale.

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

GUIDE TO PROSPECTIVE BUYERS Purchasers will be charged a premium of 25% on the hammer price of each lot up to and including £50,000, or 20% on the hammer price in excess of £50,000. The premium is subject to VAT at the prevailing rate. There is no VAT charged on the lot prices unless otherwise specified in the catalogue by the following symbols.

Property with a † symbol These items will be sold under the normal UK Vat rules and VAT will be charged at 20% on both the hammer price and buyer’s premium.

Property sold with a ‡ symbol.

These items have been imported from outside the EU to be sold at auction under temporary importation.

VAT will be charged at 5% of the hammer price and 20% on the buyer’s premium.

Property sold with a ∆ symbol.

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

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

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

Credit Cards Most major credit card brands are accepted, however surcharges will be added as follows to cover the charge made to us by our bank: Visa and UK Mastercard 3.1%; AMEX 1.75%; EU Mastercard 3.1%; International Mastercard 3.6%. For payments over £20,000 the cardholder must be present. There is no charge for using Debit cards.

Please note it may be advisable to notify your credit card provider of your intended purchase in advance, to reduce delays caused by us having to seek authority when you come to pay.

Payment by Cheque If payment is to be made by cheque and the cheque exceeds the cheque card guarantee limit, then goods can only be collected on the day of the sale if the buyer is known to us, or if accompanied by a letter from your bank to guarantee your cheque. Cheques often take as long as eight days to clear. We reserve the right to hold goods until a cheque is cleared.

Electronic & Wire Transfers Wire transfers can be made to Bank of Scotland 59 Bath Street, Glasgow, G2 2DH Sort code: 12-24-81 Account number: 10040762 Account name: Kerry Taylor Auctions Limited Iban: GB28BOFS12248110040762 SWIFT: BOFSGBS1BBL If paying by bank transfer the amount received after either the deduction of bank fees or for the conversion to pounds sterling, must not be less than the sterling amount payable on the invoice.

Bidding in Person To bid with us you must register to obtain a bidding number. Before the auction, fill in the form at the registration desk, provide proof of identity and you may be given a paddle number. All lots sold will be invoiced to the name and address in which the paddle has been registered and may not be transferred to other names and addresses. If you instruct an agent to bid on your behalf you will need to provide a letter of authority and they will also need to provide proof of identity. Kerry Taylor Auctions reserves the right to refuse. Please hand back the paddle after use.

Commission bids Commission bids are confidential and will be executed at no extra charge. Kerry Taylor Auctions endeavours to purchase lots as cheaply as possible, allowing for other bids and the reserves. Absentee bidding forms can be found at the back of the catalogue and should be completed and faxed at the number shown at the front of the catalogue. Please do not post in commission bid slips. It is in your interests to return your form as soon as possible as if two or more bidders submit identical bids for a lot, the first bid received takes preference. All bids should be received at least 24 hours before the start of the sale. It is your responsibility to check with us that your bid has been received. If you have never bid with Kerry Taylor Auctions before (even though you may be a past Sotheby’s client) you must also provide proof of identity. Failure to do this may result in your bids not being processed.

Successful commission bidders will be notified by email immediately after the sale or you can phone us. Full payment must be sent to the Auctioneers.

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

71

COMMISSION BIDDING FORM Please bid on my behalf for the following lot(s) up to the hammer price(s) written below, to be executed as cheaply as is permitted by other bids or reserves. I agree to be bound by the Conditions of Business application to this sale and agree to pay a buyer’s premium of 25% on the hammer price up to and including £50,000, or 20% on the hammer price in excess of £50,000 and any VAT or amounts in lieu of VAT which may be due on the buyer’s premium and hammer price(s). Please see Guide to Prospective Buyers in the catalogue.

SALE TITLE AND DATE: All bids must be submitted in sterling excluding buyer’s premium and VAT. Please submit your bids as early as possible. In the event of identical bids, the earliest will take precedence. Bids should be submitted at least 24 hours before the auction. Please write clearly and check your bids carefully. If this is the first time you have bid through Kerry Taylor Auctions, please provide proof of your identity. Failure to do this may result in your bids not being processed.

Lot No.

Description

Bid in £

Lot No.

Description

Bid in £

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

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

Postcode ............................................................ Telephone No.......................................................................................

Fax No ................................................................ Email ...................................................................................................

Signature ........................................................................................................... Date .....................................................

VEnuE, sToragE, CoLLECTion and shiPPing LogisTiCs

on receipt of cleared funds, lots can be collected (see map above) during the auction or immediately after its completion. Lots will be available to collect between the hours of 9.30am - 5pm. after a period of 14 days following the auction, uncollected lots will additionally incur a storage charge of £3.50 per lot per week (or part thereof) and storage insurance at a rate of 1% of the purchase price per lot per week (or part thereof ). Purchases can be collected in person from Kerry Taylor’s premises or by the buyer’s authorised agent or shipper.

City sprint are our appointed shippers. They can supply competitive worldwide quotations for the packing and shipping of purchases. 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

City sprint Tel: 00 44 (0)1273 699 093 email: tbirch@citysprint.co.uk