RR Auction: The Alexander McQueen Archive of Ruti Danan by RR Auction

February 22, 2020

The Alexander McQueen Archive of Ruti Danan

2 The Alexander McQueen Archive of Ruti Danan

The Alexander McQueen Archive of Ruti Danan CREATION AND THE EARLY YEARS 6 HIGHLAND RAPE 20 THE HUNGER 48 DANTE AND BEYOND 68

Bid February 15, 2020 - February 22, 2020 www.RRAuction.com

Â© Arved Colvin-Smith

2 The Alexander McQueen Archive of Ruti Danan

Ruti Danan Working as part of the Alexander McQueen Studio team during two years from 1994 to 1996, Ruti Danan was a key participant in the world of McQueen during some of the most pivotal moments of British Fashion and Culture in the early 90s. Ruti’s archive reflects a relentless dedication to preserving his legacy through expertise and personal account; a rare selection of items and memorabilia given to her during her time and work for the legendary designer. With a degree in Architecture and background in both theatrical costume and fashion design while living in her native Jerusalem, Ruti spent time in the Sinai Desert conducting research and experimentation with fashion design. In 1988 Ruti moved to the UK working for British textile designer Nigel Atkinson and Japanese designer Michiko Koshino honing skills in tailoring and fabric design before launching her own label Ruti Danan Couture in London with clients as diverse as Thandi Newton, Natalie Portman, and Nicole Kidman. Ruti first encountered Lee Alexander McQueen at the The Ritz in London when she posed as a buyer to gain entry to view his infamously lost “Taxi Driver” Collection in 1993. Behind the table of a seated and unassuming young man were a handful of unusually cut and printed garments, and the starting point of what Ruti recognised as design revolution which she knew she had to be part of. After gaining the telephone number of Lee McQueen’s mother, a short call gave Ruti the address for McQueen’s studio. She quickly embarked to work alongside this new mysterious talent Alexander McQueen and within her first moments of walking into his studio was met with a sharp “Who are you?!?”, voiced by the designer himself. A slightly awkward exchange between a frustrated Lee dealing with an erroneous intern saw Ruti quickly insisting on making a calming cup of tea for McQueen and the intern being fired at the command, “You can fuck off! You can stay.” And Ruti landed the position which would change her life forever.

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The next two years were the most rewarding and challenging work Ruti would do, and would push her personally, creatively, and emotionally. Her time with McQueen would see her fulfill mother-like support for McQueen in his lack of resources and funds for his work, exchanging inspiration during their sleepless nights of creation, and even assistance on multiple business trips to secure material and production support from Italian backers. Her most cherished time was her moments spent creating pieces for the collections often working all night listening to music and gossiping about love and relationships with Lee. Her unfaltering dedication meant she was quickly addicted, driven by an undescribable magnetism to help this newfound genius realise his visions. Ruti describes arriving speechless at the studio many mornings, where McQueen would often spend the night, only to find freshly finished frock coats cut like nothing she had ever seen. These now legendary moments Ruti experienced yielded collections like the controversially yet powerful “Highland Rape” from Autumn-Winter 1995, a transitional yet directional Spring-Summer 1996 show titled “The Hunger”, and finally in a pivotal career changing moment “Dante” from Autumn Winter 1996 shown both in London and later in New York. Ruti poured her heart and soul into these collections, helping the burgeoning designer build the foundation of one of Britain’s most influential design legacies. This sacrifice came with physical and emotional tolls often resulting in blistered and bleeding fingers from intense beadwork, and back-breaking days of non-stop sewing. She acted as fit model, provided pattern-cutting and fabric sourcing, specialised finishing of garments, and even commercial adjustment to make pieces production-ready for Italian manufacturers. A key moment in her time with McQueen was lovingly referred to as the “Farringdon Rescue” when McQueen had been locked out of the Farringdon Studios for failing to pay rent. The entire “Highland Rape” collection was mid-production and she relentlessly begged the landlord to let her in, eventually grabbing as many items as she could carry (along with the fit dummy). Her final collection with McQueen was “Dante” in late 1996 and based on its critical and commercial success landed Alexander McQueen the position of head designer at the French fashion house Givenchy with global luxury giant LVMH. After her departure Ruti lovingly preserved her coveted items, storing each one like precious jewels being locked away as heirlooms. Like many studio team members at this time in fashion, most were rarely paid for their non-stop dedication, but instead given items for their priceless time and work. While Ruti briefly wore some articles, she was also quietly dedicated to meticulously preserving every stitch and hem to ensure their longevity especially since many were made by McQueen’s own hands. Her diligence was recognised when several of her unique archive pieces were chosen for both New York and London’s blockbuster exhibitions “Alexander McQueen: Savage Beauty” and further in various high-profile fashion publication features. With this unique offering, Ruti now looks to a global stage to allocate these items a new home and share her storied pieces so that future generations can celebrate the boundarybreaking legacy and genius of her comrade, mentor, and friend: Lee Alexander McQueen.

4 The Alexander McQueen Archive of Ruti Danan

A still from the 2018 “McQueen” documentary by Ian Bonhôte and Peter Ettedgui featuring Ruti working alongside Alexander McQueen in preparation for the “Dante” collection in 1996.

ARCHIVE STATEMENT Spanning from 1994 to 1996 and beyond, a capsule archive of some of the British Fashion Genius Lee Alexander McQueen’s most impactful and critically acclaimed early collections now available for acquisition in a self-contained complete diary of creations. Ruti Danan, colleague of Alexander McQueen and member of his original studio team, has maintained these items, patterns, shoes, and assorted unique personal affects since her time working with McQueen in the mid 90s. Given the date of this archive, all items are unique or one-off show-pieces/toiles unless noted as purchased by Ruti Danan, therefore no internal labels are present. With the current designer vintage market on unprecedented growth, this is a once-in-a-lifetime chance to own a unique portion of fashion history.

A world-class private collection of rare and one-of-a-kind early Alexander McQueen items

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6 The Alexander McQueen Archive of Ruti Danan

Creation AND THE Early Years Alexander McQueen’s early influences were rooted in his East London life and British culture. These early years acted as a laboratory to future themes such as sharp tailoring and theatrical costume references. The garments, sketch books, and patterns in this collection were driven by his time as a tailor’s apprentice and years at the prestigious London fashion art school Central Saint Martins, and act as a critical nucleus to his future creations. Upon completion of his graduate collection in 1992, McQueen would create a collection titled “Taxi Driver” which was subsequently lost and never recovered, making the collection documents Ruti saved some of the rarest records of his early work including the first appearance of his game-changing “Bumsters.” In the early moments of McQueen’s studio, Ruti also describes the process of sourcing fabrics from an old warehouse off London’s Brick Lane which supplied all the tailoring wools for Saville Row. She was able to find materials here at a rate suitable to McQueen’s lack of funding at the time. This supplied all the cashmere blends for “The Hunger,” lace for “Highland Rape” and wool for “Dante.” Creation by McQueen in his early years shows his deep understanding of tailoring principles as evident in the various studio patterns seen here.

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5001 “Banshee” Grey Military Cropped Jacket With High Collar AW 1994 Well-documented jacket with extra-high collar, composed of gray and black coating wool with empire-line sleeve, sliced and open armpits and delicate pinched seam shoulders. Its gold military braiding on the collar culminates at the back with a three leaf-motif and peaked accent on each sleeve surrounding a black wool cuff. This one-of-a-kind jacket created by Alexander McQueen himself, (including sketches, pattern cutting and hand-stitching), is from Look 18 worn on the catwalk by model Gin Clarke. This was the first item given to Ruti from Alexander McQueen and was featured in “Alexander McQueen: Savage Beauty” at the Metropolitan Museum of Art in New York in 2012 and it’s companion exhibition at the Victoria and Albert Museum in London in 2015. This jacket appears on page 67 of the exhibition catalogue “Alexander McQueen: Savage Beauty” photographed by Sølve Sundsbø. This very rare early example of the “Banshee” collection was also photographed by Nick Knight and styled by Katy England for the Spring 2015 issue of Another magazine in tribute to Lee Alexander McQueen prior to the opening of “Alexander McQueen: Savage Beauty” at the Victoria and Albert Museum in London. Exhibited at the Metropolitan Museum of Art, NY, USA and Victoria and Albert Museum, London, UK ESTIMATE $60,000+

5002

5002 “Taxi Driver” Collection Overview Document AW 1992 The original, incredibly rare two-page document overview for the 1992 collection titled “Taxi Driver,” 8.5 x 11.75, obtained by Ruti upon visiting the Ritz Hotel showroom pretending she was a buyer. This was her first time meeting McQueen. This entire collection was notoriously lost by McQueen after leaving all the clothes in a bin liner outside a pub while having a pint. All contents were lost with only the documents recording it’s collection details remain. This item and it’s companion price list (Lot 5003) are not only incredibly rare, but potent pieces of fashion history. Some notable items were a jacket with Robert DeNiro’s character “Travis Bickel” from the movie Taxi Driver used as photoprints by McQueen’s friend and print designer Simon Ungless. ESTIMATE $5,000+

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5003 “Taxi Driver” Price List AW 1992 Very rare, fully detailed two-page price list, 8.25 x 11.75, a companion piece to the Taxi Driver overview document (Lot 5002) with first mentions of the “French-Cut” trousers, (eventually known as “Bumsters”), a very low-waisted trouser design that would later help secure McQueen as one of the most influential designers of the 21st Century. This would be one of the only remaining documents listing the items and descriptions for this lost collection and a critical fragment of recorded fashion history. ESTIMATE $10,000+

5003

Ruti obtained these â&#x20AC;&#x153;Taxi Driverâ&#x20AC;? documents the upon visiting the Ritz Hotel showroom pretending she was a buyer. This was her first time meeting McQueen. This entire collection was notoriously lost by McQueen after leaving all the clothes in a bin liner outside a pub while having a pint.

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5004 Sketchbook with (36) Original Lee Alexander McQueen Design Drawings Extraordinary sketchbook belonging to fashion designer Alexander McQueen, which contains an assortment of 36 original drawings made by McQueen during a business trip to visit Italian manufacturers during the mid-1990s. The design sketches found within this Daler Rowney Layout Pad, 11.75˝ x 8.25˝, are of varying degrees of completion and are accomplished in graphite and various ink types, with one design bearing stamp marks and another featuring annotations in relation to desired fabric like silk, lace, and chiffon. Included are a few photocopies of model figures that McQueen has used as design templates, three of which are dated to “S. S. 1996,” which corresponds to McQueen’s Spring/ Summer 1996 collection, ‘The Hunger,’ which was held at London’s Natural History Museum on October 23, 1995. Many of the sheets are laid loosely within the sketchbook. In fine condition, with some creasing and paper loss to edges from having been removed from sketchbook; the designs themselves are all entirely unaffected. Accompanied by five photocopies of McQueen design sketches, each dated to ‘The Hunger’ collection. ESTIMATE $60,000+

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14 The Alexander McQueen Archive of Ruti Danan

5005 McQueen Photo Album with (88) Original Behind-the-Scenes Photos Brilliant original personal photo album belonging to Ruti Danan taken by manual camera of her time working at the McQueen studios and during time spent with Lee McQueen. Comprised of 88 mainly unpublished photos from fashion shows by Alexander McQueen, all color, ranging in size from 4˝ x 4˝ to 6˝ x 4,˝ with photo subjects including McQueen, his models and production staff, and sundry designs and pieces created for the following seasonal collections: ‘The Hunger’ (10), Spring/Summer 1996 collection, held at London’s Natural History Museum on October 23, 1995; ‘Highland Rape’ (28), Autumn/Winter 1995 collection, held at the Natural History Museum on March 13, 1995; and ‘Dante’ (50), Autumn/Winter 1996 collection, held at London’s Christ Church Spitalfields on March 1, 1996. These pictures depict intimate and unseen moments from time in the studio during collection preparation and backstage moments with some of the biggest names in fashion, from models to stylists. Included with the ‘Dante’ collection are several photos of McQueen working behind the scenes, relaxing with his dog Minter (an image similar to the example used on the show invitation), and making alterations to pieces that were later used in the acclaimed ‘Isabella Blow: Fashion Galore!’ exhibition, held at London’s Somerset House between November 20, 2013 and March 2, 2014; image examples were also published in “Gods and Kings, The Rise and Fall of Alexander McQueen and John Galliano,” by Dana Thomas. In overall fine condition. ESTIMATE $20,000+

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5006

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5006

5006 “Jack the Ripper Stalks His Victims” Five-Piece Pattern for Pointed Front Ribboned Collar 1992 Graduate Collection Very rare pattern of Lee Alexander McQueen’s 1992 graduate collection “Jack The Ripper Stalks His Victims” from Central Saint Martins. A peplum jacket in black with long sash pieces dropping from its front panels and lined in red. This was part of the materials rescued by Ruti when salvaging the McQueen Farringdon Studios. A pattern from this collection would be unique in that these would be the oldest items McQueen first created as a student. The finished jacket from this pattern, featured on page 31 of “Alexander McQueen: Savage Beauty” by the Metropolitan Museum, was owned by Isabella Blow and later purchased as part of the Isabella Blow Foundation archives by the Hon. Daphne Guinness. ESTIMATE $15,000+

5007 “The Birds” Invitation SS 1995 5007

Official invitation for the Alexander McQueen fashion show, ‘The Birds,’ staged inside London’s Bagley’s Warehouse on September 10, 1994, as part of the designer’s Spring/Summer 1995 collection. The upper portion of the invitation, 8.25˝ x 11.75˝, shows a blurred image of a dead chick in profile, with a credit list running down the right side. Upper left features ballpoint notations in an unknown hand. In fine condition, with central vertical and horizontal folds. ESTIMATE $200+

5008 “The Birds” Two-Piece Pattern for Neck Twisted Dress SS 1995 Two original McQueen studio patterns for an asymmetrical shift dress with offset neck which creates a gathered detail on shoulder shown on catwalk in black. The pattern is made in a square to play with shape and create draping across the body and was used for garments in both the Spring Summer and Autumn Winter 1995 collections. ESTIMATE $2,000+ 5008

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5010

5011

5010 “The Birds” Five-Piece Pattern for Backless Jacket SS 1995 Five McQueen studio pattern pieces for a long line jacket in style of a frock coat with open back, shown on catwalk in black for the Spring Summer 1995 “The Birds” collection. The opening of the back emphasized one of McQueen’s favored areas of the body, and showcased the cut of the “Bumster” trouser. ESTIMATE $2,000+

5011 “The Birds” One-Piece Pattern for Very Low Bumster Leg SS 1995 An original McQueen studio single pattern from the front leg panel of a pair of bumster trousers shown on catwalk in grey for the Spring Summer “The Birds” collection. The pattern would be used with other interchangeable pieces and re-used each season. These trousers would be an extraordinary 5 inches from crotch to top waist seam in total, making them the lowest trouser McQueen made. ESTIMATE $2,000+

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9 of 25 Pattern Pieces

5012

“He was very good at pattern making, proportion, and construction, so he knew the starting point and the end point. He would cut and sew, and we would finish the garments. A lot of hand stitching was involved - prick stitching, chain stitching, cross stitching – and he would teach me different stitches. He used to do it so easily, so naturally. That is what really attracted me to him: he was a craftsman and hands on, he was a perfectionist, but he also had a rough edge.” - Ruti Danan

5013

5012 Patterns (25 Pieces) Miscellaneous Used by McQueen and Studio Team 1995/1996 A collection of miscellaneous patterns used by Lee Alexander McQueen and studio team dating from 1995/1996. This assortment features collars, jacket panels, sleeves, cuffs, trouser panels, and waistband, as well as various other designs. ESTIMATE $5,000+

5013 Three-Piece Short Skirt Pattern (Auntie’s Bespoke Item) An original pattern for Lee McQueen’s Auntie Renée for a special event she was attending, which was eventually made at the request of McQueen in ivory silk crepe double-satin by Ruti Danan. The pattern consists of three pieces, which range in size from approximately 13.5 x 6 to 19.5 x 17.5, and features a single side pocket and short asymmetrical hem. ESTIMATE $1,000+ RR Auction | February 22, 2020 19

20 The Alexander McQueen Archive of Ruti Danan

Highland Rape In 1995 McQueen ignited global outrage and controversy with the notorious collection called “Highland Rape.” A show comprised of ravaged tartan, eroded prints and aggressive tailoring evocative of the brutalization of Scotland by England during the mid-18th Century. Given its innovative narrative, McQueen’s vision was completely misinterpreted by most of the press and audience at the time accusing him of misogyny. Its revolutionary vision helped ignite the global attention of the UK press and fashion journalists gaining the moniker “Cool Britannia,” marking a cultural shift by London’s creative talents. These unique pieces for “Highland Rape,” made by McQueen’s own hands, are some of the most rare pieces to still exist of this momentous time in British culture and fashion. Ruti describes McQueen’s working process as one of organized chaos, however, all surgically precise in his mind and execution. For example, McQueen would create unique patterns for portions of garments, yet re-use the same sleeve or lapels for different garments. McQueen worked at a voracious speed while constructing pieces which makes this season’s output so critical given the personal involvement of Lee himself.

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5014 “Highland Rape” Black Lace Cowl-Necked Dress AW 1995 A sleeveless, below-the-knee, open-weave synthetic net dress in wave pattern with slight A-line flared hem shown on catwalk. Alexander McQueen would have sewn and designed this garment from beginning to end.

ESTIMATE $15,000+

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5015 24 The Alexander McQueen Archive of Ruti Danan

5015

5015 “Highland Rape” Black Lace Short Asymmetrical Dress AW 1995 A synthetic black floral sliced-lace dress, cut high in front above waist-line and cascading down from right hip, with rear zipper and collar which forms a window at the chest. This use of lace which had begun earlier in his career would go on to be a house signature, appearing in Autumn-Winter 1996’s “Dante” collection and beyond. McQueen would have sketched and assembled this dress himself. ESTIMATE $25,000+

5016

5016 “Highland Rape” Black Lace-Up Open-Toe Leather Court Shoe AW 1995 Pair of handmade black leather block heel shoes with open-front lacing, leather inner, sole, and woven label in footbed which reads “Iain Reid for The House of Beauty and Culture,” shown on catwalk. London’s House of Beauty and Culture was a globally recognized collective of independent designers known for subversive design in fashion, lifestyle and footwear in the 80s and 90s. This would be the only collection and catwalk appearance of shoes for McQueen created by The House of Beauty and Culture, making this a truly unique collaboration between these two British design houses and an incredibly rare piece of fashion history. ESTIMATE $5,000+ RR Auction | February 22, 2020 25

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5017 “Highland Rape” Black and Gold Dripping William Morris Print Dress AW 1995 Well-documented black and gold sleeveless sheath created from suit lining fabric printed by McQueen friend and print designer Simon Ungless at Central St Martins. The print is based on the woodcuts of William Morris deconstructed to emulate a dripping or melting effect. The fabric choice during this time period would have been based on the lowest cost options, which drove McQueen and his studio team to innovation, creating truly unique fabric effects and design. McQueen himself would have cut the patterns and assembled this garment. This dress was featured in “Alexander McQueen: Savage Beauty” at the Metropolitan Museum of Art in New York in 2012 and its companion exhibition by the same name at the Victoria and Albert Museum in London in 2015. This dress features an open back due to professional restoration prior to exhibiting in New York and London. This dress also appears on page 128 of the exhibition catalogue “Alexander McQueen: Savage Beauty” photographed by Sølve Sundsbø. Exhibited at the Metropolitan Museum of Art, NY, USA and Victoria and Albert Museum, London, UK ESTIMATE $85,000+

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28 The Alexander McQueen Archive of Ruti Danan

5018 “Highland Rape” Black Lace Short Asymmetrical Top AW 1995 An up-down, floral sliced-lace top with rear button closure cascading from rear hip longer in length. A dart crisscrosses the torso to shape bodice, and also in the rear to contour base of spine. A fine testament to McQueen’s ability to fashion elevated concepts from high street materials. This top would have been cut and assembled by McQueen. ESTIMATE $15,000+

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30 The Alexander McQueen Archive of Ruti Danan

5019 “Highland Rape” Watch-Fob MacQueen Tartan Wool High-Waisted Skirt and Pattern AW 1995 A calf-length wool MacQueen tartan skirt with contoured slash pockets and rear zip. The skirt is punctured with a silver watch fob to contour its silhouette and allow skirt to fit like a trouser when the chain goes between the legs and pulls the seat of the skirt firm against the buttocks. The silver chain was made by jeweler and McQueen’s friend Shaun Leane specifically for this collection. This appeared on the catwalk and is accompanied by it’s original pattern. Alexander McQueen would have sketched, hand-sewn, and cut the patterns for this garment. ESTIMATE $75,000+

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32 The Alexander McQueen Archive of Ruti Danan

5020 “Highland Rape” MacQueen Tartan Open Front Jacket With Circle Peplum and Original Pattern AW 1995 Well-documented wool MacQueen tartan open-front jacket with mandarin collar featuring rounded front panels shaped to follow the ribcage, narrow shoulders, and sleeves finished just above the elbow. The circular cut peplum hems are weighted with interior coin weights. The interior is a vintage gold tone men’s suit-lining fabric and edged with green ribbon to finish. This jacket has been featured in “Alexander McQueen: Savage Beauty” at the Metropolitan Museum of Art in New York in 2012 and its companion exhibition by the same name at the Victoria and Albert Museum in London in 2015. This jacket appears on page 127 of the exhibition catalogue “Alexander McQueen: Savage Beauty” photographed by Sølve Sundsbø. Alexander McQueen sketched, hand-sewed and cut the patterns for this garment. Exhibited at the Metropolitan Museum of Art, NY, USA and Victoria and Albert Museum, London, UK ESTIMATE $100,000+

Lining details and hem

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34 The Alexander McQueen Archive of Ruti Danan

5021 “Highland Rape” MacQueen Tartan and Green Wool Jacket

With Kick-Back Hip Panels and Original Pattern AW 1995

A jacket in bottle green suiting wool with empire-line cut sleeves and mandarin collar. The front panels narrow to a point at the bottom with the bust line secured closed by a silver chain closure and the rear features a kick-back hem. The interior is lined in gold suiting fabric and coin weights in the hems. This jacket appeared in the catwalk show and three portions of its original pattern included. McQueen himself sketched, cut the patterns, and hand-sewed this garment. ESTIMATE $75,000+

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36 The Alexander McQueen Archive of Ruti Danan

5022 “Highland Rape” MacQueen Tartan High-Waisted A-Line Skirt and Original Pattern AW 1995

A wool MacQueen high-waisted A-line skirt with rear zipper. The interior hems are finished with green ribbon. Ruti states something as simple as a skirt would be magically transformed by how McQueen could see silhouettes in skirts and trousers by where they sat on the hip. He would always masterfully judge proportion based on the individual to decide where the hem would stop. This skirt was featured in the catwalk collection and comes with its original pattern. McQueen himself would have assembled and hand-finished this item. ESTIMATE $10,000+

5023

38 The Alexander McQueen Archive of Ruti Danan

5023

5023 “Highland Rape” MacQueen Tartan High-Waisted Flared Trouser and Original Pattern AW 1995 Pair of bias-cut wool MacQueen tartan flarelegged trousers featuring a rear zipper, green ribbon tailored interior seam finishing and featured in the catwalk collection. These trousers are accompanied by their original two-piece pattern and were sketched, assembled, and hand-finished by McQueen. ESTIMATE $15,000+

5024 “Highland Rape” White Pleated-Elbow Sleeved Shirt AW 1995 5024

A button-down shirt of fine cotton woven microstripe with mandarin collar, cuffs, darted in back and front. The sleeves are created by one continuous long panel pleated to form a perfectly curved shape that mimics the curvature of the arm. This item appeared in the catwalk show and was cut, assembled, and hand-finished by McQueen himself. ESTIMATE $4,000+

5025 “Highland Rape” Mourning Lilac Cotton Pleated-Elbow Sleeved Shirt AW 1995

ESTIMATE $5,000+ RR Auction | February 22, 2020 39

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5026 “Highland Rape” Asymmetrical Deconstructed Torso Dress AW 1995 A one-of-a-kind showpiece dress with diagonal cut neck that extends to expose one breast and features centre rear zipper. This unique silk rayon piece was created using layers of car spray paint and resin. The bodice is crafted with clear plastic wrap overlaid with thread and was sprayed and dipped to achieve a deconstructed effect by McQueen colleague and fabric designer Simon Ungless. Alexander McQueen would have personally worked on this piece cutting and assembling the garment by hand. Due to the delicate nature of the techniques used, this item is only able to be displayed two-dimensionally.

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ESTIMATE $45,000+

Lee working on a similar form from the “Dante” collection. 42 The Alexander McQueen Archive of Ruti Danan

5027 “Highland Rape” Original Dress Form From Farrington Studio AW 1995 An original KL brand dress form/dummy used by Alexander McQueen to create collections up to and including “Highland Rape.” This dress form was rescued by Ruti Danan when McQueen was locked out of his Farringdon Studios due to unpaid rent. As explained by Ruti, Lee McQueen would have cut garments directly on the form without patterns which was only done by confident pattern-cutters and tailors, (like this later photo showing him working on a similar form in preparation for the Dante collection). The dummy would have been used for dresses and tailoring for McQueens first shows SS 1994 “Nihilism”, AW 1994”Banshee”, SS 1995 “The Birds” and AW 1995 “Highland Rape”. ESTIMATE $30,000+

5028 “Highland Rape” (3) Invitation Program Reverses AW 1995 Group of three reverse sides of an invitation for the Alexander McQueen fashion show, ‘Highland Rape,’ staged in the British Fashion Council tent on the east lawn of the Natural History Museum on March 3, 1995, as part of the designer’s controversial Autumn/ Winter 1995 collection. In overall fine condition, with central folds and light creasing. ESTIMATE $200+

5028

5029 “Highland Rape” Backstage Pass AW 1995 Backstage pass for Alexander McQueen’s ‘Highland Rape’ (Autumn/Winter 1995) show in the British Fashion Council tent on the east lawn of the Natural History Museum on March 3, 1995. The laminated pass measures 3.75˝ x 5˝, with the front featuring an image of stitches on skin, and the back featuring simple white text on a solid black background: “Alexander McQueen, London, 1995 03 13, access to all areas.” In fine condition, with two subtle creases near edges. ESTIMATE $200+ 5029

5030 “Highland Rape” Invitation Program Front AW 1995 Front side of an invitation for the Alexander McQueen fashion show, ‘Highland Rape,’ staged in the British Fashion Council tent on the east lawn of the Natural History Museum on March 3, 1995, as part of the designer’s controversial Autumn/Winter 1995 collection. The two-sided invitation measures 7.5˝ x 11.25˝, with the front featuring an image of stitches on skin by Nico Schwartz, and the back featuring date, venue, and contact information on a white background. In fine condition, with central vertical and horizontal folds, and a ballpoint mark to reverse. ESTIMATE $200+ 44 The Alexander McQueen Archive of Ruti Danan

“He didn’t copy style, he made style happen. He directed the models to be more aggressive and to show their personality and sexuality he always encouraged them to show their sexuality - and not be afraid.” Ruti Danan

5030

5031 “Highland Rape” Five-Piece Waistcoat Corset Paper Pattern AW 1995 Five-piece corset jacket pattern from the Highland Rape collection which was created in MacQueen tartan with dark sleeves and shown on the catwalk. Patterns, ranging in size from 24.5 x 5.75 to 7 x 4, have markings and handwriting from McQueen and studio team. Includes original brown envelope hand-labeled for the pattern “corset jacket.” ESTIMATE $2,000+ 5031

5032 “Highland Rape” Long Coat Pattern AW 1995 A pattern composed of darts which would contour the back and join a single panel in the center back. This coat appeared in a sold color and a striped version on the runway. The pattern features fascinating arrangements of dot marks which denote the point where stitches would pull and gather the hem for a pouf affect to create volume. ESTIMATE $2,000+ 5032

5033 “Highland Rape” Six-Piece Corset Waistcoat Pattern AW 1995 Pattern of six pieces, ranging in size from approximately 4 x 6 to 10 x 22.5, for corset waistcoat stored in a brown envelope marked for the pattern. Outside envelope has sketches for the open front design and is marked for “AW 1995.” ESTIMATE $2,000+ 5033

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5035 “Highland Rape” One-Piece Pattern for Tartan Hipster Skirt AW 1995 An original McQueen studio pattern, measuring approximately 47 x 24.25, for a low-waisted skirt with rear zip and waistband which appeared in tartan on the catwalk. This would have been created by McQueen himself. ESTIMATE $2,000+

5035

5036 “Highland Rape” Two-Piece Pattern for Simple Top Shell AW 1995 Two-piece original McQueen studio pattern, measuring approximately 9 x 16.5 and 8.25 x 16.5, for a simple shell comprised of front and back panels with zip in centre back. This item appeared in the show in white. ESTIMATE $2,000+

5036

5037 “Highland Rape” One-Piece Mini Cape Pattern AW 1995 An original McQueen studio pattern, measuring approximately 30.5 x 18.5, created by McQueen himself. This pattern was used to create several capes for the collection in varying fabrics like wool tartan, loden green wool and brocade to go over tops and jackets. ESTIMATE $2,000+

5037

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5038 “Highland Rape” Three-Piece Tartan Shell Padded Hip Top Pattern AW 1995

5038

Three-piece original McQueen studio pattern for a padded hip corseted top from the show, each portion measuring approximately 24 inches in length. Shoulder pads were used to build out the hip and the pattern features lines to mark where they would be placed. This top was made in wool MacQueen tartan. This has handwriting by Lee McQueen present on the pattern. ESTIMATE $2,000+

5039 “Highland Rape” Tailored Shirt Front Panel AW 1995 An original McQueen studio pattern, 34.25 x 25, for a simple tailored flat front oxford shirt made in cotton featuring darts and button placket in front. This piece was collarless in the show and worn with vintage military trousers. ESTIMATE $2,000+

5039

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48 The Alexander McQueen Archive of Ruti Danan

The Hunger Spring Summer 1996 marked the beginning of Italian manufacturing and a further global reach for McQueen. A pivotal point in which the designer started producing commercial versions of his subversive designs and experimentation with fabric and pattern innovation. Ruti describes these moments working to ensure McQueenâ&#x20AC;&#x2122;s vision was upheld as factories had never before worked to such precise and complex cuts and production. During this time his low cut trousers â&#x20AC;&#x153;Bumsters,â&#x20AC;? frock coats, slashed jersey dresses and historical references became part of his ongoing house codes.

50 The Alexander McQueen Archive of Ruti Danan

5040 “The Hunger” Grey Open Front Torso Jacket With Slashed Sleeves and Original Pattern SS 1996 A documented jacket of gray mohair suiting fabric with black silk lining featuring signature McQueen slashed sleeves from elbow down to cuff. The collar features pointed and extended lapels and an open front cut to follow the line of the ribcage when worn. A variant of its runway counterpart, this jacket was photographed by Nick Knight and styled by Katy England along with the Grey Mohair Bumster trousers for the Spring 2015 issue of Another magazine in tribute to Lee Alexander McQueen prior to the opening of “Alexander McQueen: Savage Beauty” at the Victoria and Albert Museum in London. This jacket comes with its original pattern. ESTIMATE $35,000+

RR Auction | February 22, 2020 51

52 The Alexander McQueen Archive of Ruti Danan

5041 “The Hunger” Grey Mohair Bumsters With Original Pattern Panel SS 1996 A documented rare original pair of iconic mohair “Bumster” trousers with 2 inch front zipper marking the McQueen signature extremely low waistline. These trousers feature a straight leg and inseam cut just above the ankle and are in overall good condition, with three small fabric aberrations located on the front waistband, above the zipper, and at the upper right thigh. This abbreviated length was carried over from McQueen’s earliest collections and continues to be used by the house to this day. This original catwalk item comes with a partial front pattern panel. These trousers were photographed with the Grey Open Front Torso Jacket by Nick Knight and styled by Katy England for the Spring 2015 issue of Another magazine in tribute to Lee Alexander McQueen prior to the opening of “Alexander McQueen: Savage Beauty” at the Victoria and Albert Museum in London. ESTIMATE $50,000+

RR Auction | February 22, 2020 53

5042 “The Hunger” Chinese Silk Slashed Panelled Top Suit: Jacket and Trousers SS 1996 With Pattern A suit of Chinese silk brocade comprised of jacket and trousers. The jacket body is panelled like a corset and has double slashes across ribs with pale nude silk-mesh inserts, a round collar, as well as open slashed sleeves pulled back to a hook fastening on rear centre waistline. The jacket closes with open end metal zip, and is lined in red silk taffeta of which an extra 78 x 45.75 piece of the same red silk taffeta from the studio is included. The matching trousers (shown separately on the catwalk) feature rear internal accordion pleated panels at the calf. The fabric for these pieces were sourced by Ruti Danan from Brick Lane in London during the show preparation and come with the original patterns. ESTIMATE $80,000+

RR Auction | February 22, 2020 55

56 The Alexander McQueen Archive of Ruti Danan

5043 “The Hunger” Gold Open Front Brocade Suit SS 1996 A unique un-used catwalk suit of soft gold brocade fabric. The trousers feature a single button front closure which was unusual at the time for McQueen. Trousers were made with one panel of fabric per leg with no outer seam to create a more sliming silhoeutte. The jacket features sleeves slashed from elbow the cuff and extended pointed collar. The fabric is sourced from upholstery materials from John Lewis Department Store in London by Ruti for the McQueen studio. Pictured is a version of the trousers used in the same fabric later in the “Dante” show.

ESTIMATE $30,000+

RR Auction | February 22, 2020 57

58 The Alexander McQueen Archive of Ruti Danan

5044 â&#x20AC;&#x153;The Hungerâ&#x20AC;? Ivory Open Front Brocade Jacket SS 1996 A single unused catwalk jacket of ivory brocade. The open front was a signature of McQueen to follow the contours of the ribcage and emphasize the silhouette. Ruti shares that often McQueen would have the models hold the jackets in place across the breast-line when walking down the catwalk to draw attention to this detail. The fabric was upholstery fabric sourced by Ruti from John Lewis Department Store London for the McQueen studio. ESTIMATE $15,000+

RR Auction | February 22, 2020 59

5045 “The Hunger” Black Asymmetrical Slashed Dress Diagonal Hem SS 1996 A black long sleeve silk jersey dress with pale nude silk mesh insert and asymmetrical hemline created for commercial production to appear alongside catwalk offerings for “The Hunger” collection. The silk mesh insert starts on the right-hand upper chest, following the asymmetrical neckline, and wraps around the lower ribcage ending at the top of the same shoulder. These designs, as seen in the companion sketches also on offer (lot 5047), play on McQueen’s technique and explorations of slashed motifs and designs. These slashed jersey designs were created by Ruti and Alexander McQueen for their Italian manufacturers Panesi to recreate. ESTIMATE $10,000+ 60 The Alexander McQueen Archive of Ruti Danan

5046 “The Hunger” Black Asymmetrical Slashed Dress Straight Line SS 1996 A second black long sleeve silk jersey dress with silk mesh insert and straight hemline created for commercial production to appear alongside catwalk offerings for “The Hunger” collection. The pale nude silk mesh insert starts on the righthand stomach forming a v-shape creating a point at the pelvis and wraps around crossing the back ending at the top of the right shoulder. These slashed jersey designs were created by Ruti and Alexander McQueen for their Italian manufacturers Panesi to recreate. Designs for these jersey dresses can be found in the companion sketches also for auction (lot 5047).

ESTIMATE $10,000+

RR Auction | February 22, 2020 61

62 The Alexander McQueen Archive of Ruti Danan

5047 “The Hunger” (55) Drawings (8 original, 47 copies) SS 1996 Significant archive of design material related to the Alexander McQueen fashion show, ‘The Hunger,’ staged in the east lawn tent at London’s Natural History Museum on October 23, 1995, as part of the designer’s Spring/ Summer 1996 collection. The archive contains a total of 55 design sheets, each 8.25˝ x 11.75˝, which includes eight original sketches by McQueen, accomplished in graphite and various ink types, in addition to an assortment of 47 photocopies of McQueen design sketches, many of which feature notes in Italian relative to fabric, style, and measurements. Of the copies, one particular design, with upper section marked “0011,” features three swatches of fabric— turquoise, beige, and black—stapled to the right edge. The entirety of the archive is housed in a three-ring binder. In overall fine condition. The Spring/Summer collection of 1996, ‘The Hunger,’ marked the beginning of McQueen’s partnership with Italian manufacturers, a collaboration that quickly intensified his global reach. The period was pivotal for McQueen, who began producing commercial versions of his subversive designs and experimenting with fabric and pattern innovation; his low-cut trousers, ‘bumsters,’ frock coats, slashed jersey dresses, and historical references all became a part of his ongoing house codes. ESTIMATE $15,000+

RR Auction | February 22, 2020 63

5048

64 Â© First View

5048 “The Hunger” Black Satin Hip Drop Skirt With Diagonal Hemline and Side Slit SS 1996 A black satin skirt with slashed and dropped hip. This style was shown on the runway in both black and red and features a diagonal hemline and side slit. ESTIMATE $2,000+

5049

5048

“The Hunger” Slash With Credits Invitation SS 1996 Cardstock credit sheet for Alexander McQueen’s ‘The Hunger’ (Spring/Summer 1996) show, 8˝ x 5.75˝, with the front featuring a ‘slash’ photograph credited to Gerhard Klocker. The reverse lists credits for the innovative, vampire-inspired runway show, naming Ruti Danan as a “Design Room Assistant.” Others allude to the nature of the outfits included in the show, listing credits for “Wormery,” “Gypsum Casts & Broken Glass Torso,” “Metal Mask,” “Special Effects Lenses,” and “Razor Blades.” In very good to fine condition, with a central crease. ESTIMATE $200+

5049

5050 “The Hunger” Leopard Invitation SS 1996 Invitation card for the Alexander McQueen fashion show ‘The Hunger,’ staged in the east lawn tent at London’s Natural History Museum on October 23, 1995, as part of the designer’s Spring/Summer 1996 collection. The front of the card, 5.75˝ x 8.25˝, depicts a stalking leopard, and the reverse features simple black text on a white background, “Alexander McQueen, The Hunger, S S ’96,” with date, address, and contact information, and upper right corner marked in black felt tip, “Standing.” In very good condition, with a central horizontal fold, a crease to upper left corner, and a tear and water damage to right edge.

5050

ESTIMATE $200+ RR Auction | February 22, 2020 65

5051 5052

5051

5051 “The Hunger” Grey Striped Jacket Unfinished Toile (With Seven-Piece Card Pattern) SS 1996 A disassembled jacket toile in process comprised of seven pieces composed of a wool synthetic mix. The jacket has a deep v-neck line and slashed sleeves and integrated shoulder pads to round out the shoulder when worn. The centre back panels feature a open metal zip which has already been sewn in. The 7 pattern pieces, approximate measurements ranging from 5 x 21.5 to 16.5 x 24.75, are finished with grey taffeta lining. ESTIMATE $1,000+

5052

5052 “The Hunger” Navy Striped Jacket Unfinished Toile, Partly Sewn (With Original Four-Piece Card Pattern) SS 1996 A prototype/toile of design created by McQueen in suiting fabric with mixture of wool and synthetic which was used frequently by the studio at the time. The neckline is diagonal and sleeves are slit from wrist to elbow. It also features a slash from the waist upwards going towards the bust-line. The item also shows the raw seams and fusing which was critical for this type of fabric due to how it was woven. A visible metal open zip follows the entire length of the center back. Accompanied by the original four-piece card pattern, with portions ranging in size from 5.5 x 23.5 to 15 x 29. ESTIMATE $1,000+

66 The Alexander McQueen Archive of Ruti Danan

“The Hunger” Nude Silk Mesh Thorn Top AW 1995

5053

A rare unused pale nude silk mesh square-cut sleeveless tank top with black thorn graphic printed by McQueen friend and print designer Simon Ungless in a design crawling up the torso from the waistline. McQueen himself would have sketched and designed this item and been involved with the pattern cutting. Due to the delicate nature of this silk fabric, some tearing has occurred along edges and at shoulders, and although in overall good condition, the print shows signs of diminished intensity in some areas. This is an original piece created by the McQueen studio and printed by Simon Ungless at legendary fashion school Central St Martins. It is from the same group of items as the runway version pictured on model Emma Balfour. ESTIMATE $5,000+

RR Auction | February 22, 2020 67

68 The Alexander McQueen Archive of Ruti Danan

Dante & Beyond With the arrival of the Autumn Winter 1996 collection “Dante,” McQueen had secured a place as a master storyteller relying on strong themes like war and religion to guide narratives of his design. Famed fashion journalist Suzy Menkes in March of 1996 stated McQueen was “not just a fine tailor with a soaring imagination, but one of those rare designers who catches the spirit of the times.” Alexander McQueen was now the hottest ticket on the Fashion Week circuit, and “Dante” was so highly acclaimed it was shown a second time in New York for International Press, and further leading to Alexander McQueen to be named Creative Director for the House of Givenchy. The culmination of all these elements meant expanded resources for his namesake label and global recognition gave McQueen an undeniable spot as one of the last great designers of the Twenty First Century.

70 The Alexander McQueen Archive of Ruti Danan

“One of the most memorable ones was the military jacket. I thought ‘Wow!’ I told him ‘McQueen, this is your best piece ever, and this will be remembered for a long time.” - Ruti Danan

5054 “Black Dante Military Matador Coat with Original Construction and Braid Motif Patterns” AW 1996 An exquisite and documented wool and cashmere military matadorstyle asymmetrical tailcoat with extensive gold braid work detailing. The military braiding decorates the high collar with 14 karat goldwork leaf detail emblems. Extensive braiding accents the chest and the scalloped edges of the tailcoat with three leafed gold swirl motifs. Also featured are straight sleeves with braid detailed cuffs and signature McQueen padded shoulder. A stunning example of single panel construction which makes up the entire top panel and “tail” portion showcasing McQueen design mastery. This very rare early example of McQueen tailoring is a slight variant of the runway version and was photographed by Nick Knight and styled by Katy England for the Spring 2015 issue of Another magazine in tribute to Lee Alexander McQueen prior to the opening of “Alexander McQueen: Savage Beauty” at the Victoria and Albert Museum in London. Only three of this jacket were ever made with one being sold at Liberty Department store in London, and the last owned by Isabella Blow. Ruti recalls arriving to the McQueen studio one morning to find this jacket created from scratch overnight by McQueen. The jacket is accompanied by construction patterns, and templates for the gold work braiding. ESTIMATE $150,000+

RR Auction | February 22, 2020 71

5055 â&#x20AC;&#x153;Danteâ&#x20AC;? Military Corset Jacket and Open Leg Trousers AW 1996 An unused wool and cashmere suit from the AW 1996 catwalk collection comprised of a jacket and trousers. The jacket is design to mimic the construction of a corset with a close fitting torso, scooped neckline and is fully lined in black silk. The jacket and trousers are detailed with gold braiding which has been embroidered over with jet beads. The trousers feature sliced open panels in the inner leg. This item comes with its original pattern for the jacket. ESTIMATE $80,000+

RR Auction | February 22, 2020 73

74 The Alexander McQueen Archive of Ruti Danan

5056 “Dante” Blue Military Matador Jacket Toile AW 1996 A original navy blue jacket toile comprised of wool for the “Dante” military jacket and fully lined with blue silk taffeta lining from the previous season “The Hunger” collection. Its construction mirrors the single panel tail and jacket body pattern construction of the final jacket. ESTIMATE $80,000+

RR Auction | February 22, 2020 75

76 The Alexander McQueen Archive of Ruti Danan

5057 “Dante” Black Asymmetrical Floral Lace Dress With Chiffon Skirt AW 1996 A synthetic silk chiffon jet beaded dress with asymmetrical lines on torso, an offset neckline, cap sleeves, and decorative stitching on skirt bottom. The back features jet button closure along spine and tiered ruffle detailing along waist accompanied with a left-front split from hem to waist. This item was created for “Dante” and was not used during the final collection edits. ESTIMATE $35,000+

RR Auction | February 22, 2020 77

5058

78 The Alexander McQueen Archive of Ruti Danan

5058

5058 “Dante” Navy Two-Piece Outfit Dress With Trousers AW 1996 A one-off wool crepe ensemble featuring a round-necked sleeveless tunic dress which falls to the knee at front with fishtail back and matching straight-legged full trousers made from one piece of pattern. According to Ruti, this item was created by the studio for a private client just after the “Highland Rape” collection, but noting it already bore the signatures cuts of the “Dante” show. Accompanied by the original pattern. ESTIMATE $15,000+ 5059

5059 “Dante” Brian Weisz Cashmere Company Fabric Samples and Catalog Swatches of premium cashmere used for the Autumn Winter 1996 “Dante” collection dresses and separates in paisley design. These samples and catalogue came from the now-closed London East End fabric supplier who dealt in luxury blend materials for fashion houses. Accompanied by a Brian Weisz catalog and original folder. ESTIMATE $500+

5060 “Dante” Black Bumsters AW 1996 A black pair of “Bumsters” with silk lining. This pair features a waistband slightly higher (1 inch) than the lowest typical pair of “Bumsters.” Constructed with a one-piece leg to avoid side seems and darted hip for fitted silhouette. 5060

5060

ESTIMATE $3,000+ RR Auction | February 22, 2020 79

“He would always try things on me because he trusted my opinion. He admired my body, the way I walk, my posture, so he would always say ‘What do you think if we try it like that or we should do it that way?’ He would take my advice and really respect my opinion as a woman.” Ruti Danan

5061

5061 “Dante” Chalk-Strip Bumster Trousers AW 1996 A personal pair of silk-lined wool chalk-stripe “Bumster” trousers made for Ruti while working on the “Dante” collection in 1996. These trousers are the medium low-waist cut. ESTIMATE $2,000+

5062 “Dante” Invitation Program AW 1996 Group of four invitation programs for Alexander McQueen’s memorable ‘Dante’ fashion show, intricately staged inside London’s candlelit Christ Church Spitalfields on March 1, 1996, as part of the designer’s Autumn/Winter 1996 collection. In overall fine condition. ESTIMATE $200+

80 The Alexander McQueen Archive of Ruti Danan

5062

5063 “Dante” Backstage Pass AW 1996 Official laminated 3.25˝ x 4˝backstage pass for Alexander McQueen’s memorable ‘Dante’ fashion show, intricately staged inside London’s candlelit Christ Church Spitalfields on March 1, 1996, as part of the designer’s Autumn/Winter 1996 collection. In fine condition. ESTIMATE $200+

5063

5064 “Dante” Invitation AW 1996

5064

Official tri-fold invitation for Alexander McQueen’s memorable ‘Dante’ fashion show, intricately staged inside London’s candlelit Christ Church Spitalfields on March 1, 1996, as part of the designer’s Autumn/Winter 1996 collection. The front, or exterior, of the invitation, measuring 11.75˝ x 4˝ unfolded, depicts a series of four Baroque-style angels, with dedication to magazine editor Isabella Blow, and a black felt tip notation, “Guest of Rose”; the reverse, or interior, shows the close-up image of a dog’s mouth with white text, “Alexander McQueen,” and the adjacent panels featuring date, venue, and contact information in white text against a black background. In fine condition. ESTIMATE $200+ RR Auction | February 22, 2020 81

5065

5065 “The Overlook” Pink S-Bend Trousers AW 1999

5066

5066 “No 13” Black Kick Back Trousers SS 1999

A fine pair of soft pink wool “S-Bend” trousers. The trousers feature the signature McQueen cut which when laid flat on their side make a soft curve, and when worn, drape delicately at the knee. The design while previously used, appear in the Autumn Winter Kubrick-themed collection, “The Overlook”. These are a personal pair purchased by Ruti from the original Alexander McQueen boutique on Conduit Street in Mayfair in London.

A black gabardine pair of trousers with the signature McQueen flared hem. This silhouette has been used by McQueen since the early nineties and is most beautifully seen by viewing from the side where the hem creates a subtle flared fin behind the calf. Purchased as a personal item by Ruti in London from the Alexander McQueen boutique and belonging to the Spring Summer 1999 collection, “No. 13”.

ESTIMATE $5,000+

ESTIMATE $1,000+

82 The Alexander McQueen Archive of Ruti Danan

5067 “Bellmer La Poupée” Invitation SS 1997 Invitation for Alexander McQueen’s provocative fashion show, La Poupée or ‘The Doll,’ staged at London’s Royal Horticultural Halls on September 27, 1997, as part of the designer’s Spring/Summer 1997 collection. In fine condition. ESTIMATE $200+

5068 “Bellmer La Poupée” Invitation Program SS 1997 Invitation program for the Alexander McQueen fashion show, La Poupée or ‘The Doll,’ featuring artwork by Hans Bellmer. The show was staged at London’s Royal Horticultural Halls on September 27, 1997, as part of the designer’s provocative Spring/ Summer 1997 collection. In fine condition. ESTIMATE $200+

5069 “It’s a Jungle Out There” Invitation AW 1997 Invitation for the Alexander McQueen fashion show, ‘It’s a Jungle Out There,’ staged at London’s Borough Market on February 27, 1997, as part of the designer’s Autumn/Winter 1997 collection. The front of the invitation, 7.75˝ x 7.75˝, features a stylized Nick Knight photograph of model Debra Shaw in a state of transformation. In very good to fine condition, with central vertical creasing. ESTIMATE $200+ RR Auction | February 22, 2020 83

5070

5070 “Eye” Arabic-Style Embroidered Trousers SS 2000 A black pair of trousers with square cut side-slit around calves decorated with a heavy Middle Eastern style embroidered red trim. These trousers were purchased by Ruti from the London McQueen boutique on Conduit Street and belong to the Spring Summer 2000 “Eye” collection. ESTIMATE $1,500+

5071 Black Trousers (1998) A black pair of tailored trousers with side slit pockets personally purchased by Ruti from Alexander McQueen in London. The back of the calf features a slit with fold over vent which opens when the wearer is walking. ESTIMATE $500+

5072 Brown Trousers (1998)

5070

A brown pair of tailored trousers with side slit pockets personally purchased by Ruti from Alexander McQueen in London. ESTIMATE $500+

84 The Alexander McQueen Archive of Ruti Danan

5071

5073

5073 “Eshu” Denim Long “McQueens” Jacket AW 2000 A long-line denim jacket with logo buttons from the “McQueen’s” denim line. This diffusion line was launched by McQueen in 1999, and made it’s debut in the AW 1999 catwalk collection “Eshu.” The back features the leather strap with branding. ESTIMATE $1,000+

5072

RR Auction | February 22, 2020 85

5075

5076

5075 Invitation to Lee Alexander McQueen’s Memorial Service Invitation card for the memorial service of Lee Alexander McQueen, held at St. Paul’s Church in Knightsbridge, West London, on September 20, 2010. The card measures 8.25˝ x 5.75˝ and is printed in gilt lettering, with the upper left corner marked in black ink, “Ruti Danan.” In fine condition, with some light scattered stains.

5074

5074 McQueen Black Stretch Logo Top A black long-sleeved top with cowl neck and extended-length sleeves which gather when pushed up the arms. The chest features a burn-out logo reading “McQueen.” ESTIMATE $600+

ESTIMATE $200+

5076 Pamphlet to Lee Alexander McQueen’s Memorial Service Memorial pamphlet for “A Service of Thanksgiving to celebrate the life of Lee Alexander McQueen, CBE,” held at St. Paul’s Church in Knightsbridge, West London, on September 20, 2010, fifteen pages, 6˝ x 9.5˝, which contains printed text and lyrics of the various hymns and readings from the service and a photo by David Bailey. In fine condition. ESTIMATE $200+

86 The Alexander McQueen Archive of Ruti Danan

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All prospective Bidders who examine lots in person prior to the sale shall personally assume all responsibility for any damage they cause in so doing. RR Auction shall have sole discretion in determining the value of the damage caused, which shall be promptly paid by the prospective Bidder. Title to any lot remains with Consignor, any secured party of the Consignor, or assignee of Consignor, as the case may be, until the lot is paid for in full by Bidder. RR Auction reserves the right to require payment in full before delivering any lot to the successful Bidder. It is the Bidder’s responsibility and obligation to have the lots fully insured while in their possession. Bidder assumes any and all RISK OF LOSS once the lot(s) is in Bidder’s possession.

In the event of a successful challenge to the title to any goods purchased pursuant to these Conditions of Sale and the exclusive remedies provided herein, RR Auction agrees to reimburse any Bidder in an amount equal to the successful bid price actually paid by Bidder at auction plus any Buyer’s Premium actually paid, in full and complete satisfaction of all claims, which once tendered by RR Auction, relieves and releases RR Auction from any responsibility whatsoever to the Bidder, even if the instrument is not cashed or is returned. Bidding Options: Non-Internet bids (including but not limited to in-person, facsimile, phone and mail bids) are treated similarly to floor bids in that they must be on-increment. Any inperson, facsimile, phone, or mail bids that do not conform to a full increment will be rounded up or down to the nearest full increment and this revised amount will be considered Bidder’s high bid. When identical mail or facsimile bids are submitted, preference is given to the first received. To ensure the greatest accuracy, written bids should be entered on the

standard printed bid sheet and be received at RR Auction’s place of business at least twenty-four (24) hours before the Auction start. RR Auction is not responsible for executing mail bids or facsimile bids received on or after the day the first lot is sold, nor Internet bids submitted after the published closing time; nor is RR Auction responsible for proper execution of bids submitted by telephone, mail, facsimile, e-mail, Internet, or in person once the Auction begins. In all Auctions, bids on an item must raise the current high bid by at least 10%, or as specified on a per-Auction basis. Bids will be accepted in whole dollar amounts only. No “buy” or “unlimited” bids will be accepted. In a live sale, bids on an item can change at the discretion of RR Auction. RR Auction reserves the right to accept or decline any bid. Bids must be for an entire lot and each lot constitutes a separate sale. All bids are per lot unless otherwise announced. Live auction lots will be sold in their numbered sequence unless RR Auction directs otherwise. It is unlawful and illegal for Bidders to collude, pool, or agree with another Bidder to pay less than the fair value for lot(s). For live auctions, RR Auction will have final discretion in the event that any dispute should arise between Bidders. RR Auction will determine the successful Bidder, cancel the sale, or re-offer and resell the lot or lots in dispute. RR Auction will have final discretion to resolve any disputes arising after the sale and in online auctions. If any dispute arises, RR Auction’s sale record is conclusive. Payment: Subject to fulfillment of all of the Conditions of Sale set forth herein, upon the sooner of (1) the passing of title to the offered lot pursuant to these Conditions of Sale, or (2) possession of the offered lot by the Bidder, Bidder thereupon (a) assumes full risk and responsibility (including without limitation, liability for or damage to frames or glass covering prints, paintings, photos, or other works), and (b) will immediately pay the full purchase price or such part as RR Auction may require. In addition to other remedies available to RR Auction by law, RR Auction reserves the right to impose from the date of sale a late charge of 1.5% per month of the total purchase price if payment is not made in accordance with the conditions set forth herein. All property must be removed from RR Auction’s premises by the Bidder at his/her expense not later than thirty (30) business days following its sale and, if it is not so removed, RR Auction may send the purchased property to a public

warehouse for the account, at the risk and expense of the Bidder. Payment is due upon closing of the Auction session, or upon presentment of an invoice. RR Auction reserves the right to void an invoice if payment in full is not received within thirteen (13) calendar days of the Auction or within twelve (12) calendar days of the invoice date. In cases of nonpayment, RR Auction’s election to void a sale does not relieve the Bidder from their obligation to pay RR Auction its fees (seller’s and Buyer’s Premium) on the lot and any other damages pertaining to the lot. All sales are strictly for cash in United States dollars (including U.S. currency, bank wire, cashier checks, eChecks, and bank money orders), and are subject to all reporting requirements. All deliveries are subject to good funds; funds being received in RR Auction’s account before delivery of the Purchases; and all payments are subject to a clearing period. RR Auction reserves the right to determine if a check constitutes “good funds”: checks drawn on a U.S. bank are subject to a ten (10) calendar day hold, and ten (10) business days when drawn on an international bank. Clients with pre-arranged credit status may receive immediate credit for payments via e-Check, personal or corporate checks. In the event that a Bidder’s payment is dishonored upon presentment(s), Bidder shall pay the maximum statutory processing fee set by applicable state law. If Bidder attempts to pay via check and the financial institution denies the transfer from Bidder’s bank account, or the payment cannot be completed using the selected funding source, Bidder agrees to complete payment. If RR Auction refers any invoice to an attorney for collection, the Bidder agrees to pay attorney’s fees, court costs, and other collection costs incurred by RR Auction. If RR Auction assigns collection to its house counsel, such attorney’s time expended on the matter shall be compensated at a rate comparable to the hourly rate of independent attorneys. RR Auction shall have a lien against the merchandise purchased by the Bidder to secure payment of the Auction invoice. RR Auction is further granted a lien and the right to retain possession of any other property of the Bidder then held by RR Auction or its affiliates to secure payment of any Auction invoice or any other amounts due RR Auction or affiliates from the Bidder.

With respect to these lien rights, RR Auction shall have all the rights of a secured creditor, including but not limited to the right of sale. In addition, with respect to payment of the Auction invoice(s), the Bidder waives any and all rights of offset he might otherwise have against RR Auction and the consignor of the merchandise included on the invoice (the “Consignor”). If a Bidder owes RR Auction or its affiliates on any account, RR Auction and its affiliates shall have the right to offset such unpaid account by any credit balance due Bidder, and it may secure by possessory lien any unpaid amount by any of the Bidder’s property in their possession. All checks, cashiers checks, bank checks, or money orders are payable to R&R Auction Company of Massachusetts, LLC. Sales Tax: RR Auction is a remote seller and we are now required to collect Sales/Use Tax from our bidders. The states that we have nexus in we will be required to collect and remit sales tax on your behalf. Each state has different requirements to meet nexus. When RR Auction has achieved a certain monetary and/or invoice threshold in each state we will apply sales tax to your total invoice. Please go to our terms on our website to see the states that are affected. If we have not achieved nexus in a particular state it is still your responsibility to pay sales tax on your purchases. The sales tax rate is determined by the State, Country, and City where purchases are shipped to. If you decide to pick up your purchases at our New Hampshire location you will not be required to pay sales tax. The State of New Hampshire does not have a general sales and use tax. All purchases picked up at our Massachusetts location will be taxed at the current rate of 6.25%. If you have a resale number please email Sue@RRAuction.com or fax to (603) 732-4288 a copy of your state resale certificate and you will be exempt from paying sales tax. Delivery; Shipping; and Handling Charges: Bidder is liable for shipping and handling. RR Auction is unable to combine purchases from other auctions or affiliates into one package for shipping purposes. Lots won will be shipped in a commercially reasonable time after payment in good funds for the merchandise and the shipping fees is received or credit extended, except

when third-party shipment occurs. Bidder agrees that service and handling charges related to shipping items which are not pre-paid may be charged to a credit card on file with RR Auction. Successful international Bidders shall provide written shipping instructions, including specified Customs declarations, to RR Auction for any lots to be delivered outside of the United States. NOTE: Declaration value shall be the item’(s) hammer price and RR Auction shall use the correct harmonized code for the lot. Domestic Bidders on lots designated for third-party shipment must designate the common carrier, accept risk of loss, and prepay shipping costs. Title: Title shall not pass to the successful Bidder until all invoices are paid in full. It is the responsibility of the Bidder to provide adequate insurance coverage for the items once they have been delivered to a common carrier or third-party shipper. Rights Reserved: RR Auction reserves the right to withdraw any lot before or at the time of the Auction, and/or to postpone the Auction of all or any lots or parts thereof, for any reason. RR Auction shall not be liable to any Bidder in the event of such withdrawal or postponement under any circumstances. RR Auction reserves the right to refuse to accept bids from anyone. Conducting the Auction: RR Auction reserves the right to postpone the Auction or any session thereof for a reasonable period of time for any reason whatsoever, and no Bidder or prospective Bidder shall have any claim as a result thereof, including consequential damages. RR Auction’s Discretion: RR Auction shall determine opening bids and bidding increments. RR Auction has the right in its absolute discretion to reject any bid in the event of dispute between Bidders or if RR Auction has doubt as to the validity of any bid, to advance the bidding at its absolute discretion and to determine the successful Bidder in the event of a dispute between Bidders, to continue the bidding or to reoffer and resell the lot in question. In the event of a dispute after the sale, RR Auction’s record of final sale shall be conclusive. RR Auction also may reject any bid if RR Auction decides either that any bid is below the reserve of the lot or article or that an advance is insufficient. Unless otherwise announced by RR Auction at

the time of sale, no lots may be divided for the purpose of sale. Reserves: Lots may be subject to a reserve which is the confidential minimum price below which the lot will not be sold. Consignors may not bid on their own lots or property. RR Auction may, from time to time, bid on items that it does not own. Off-Site Bidding: Bidding by telephone, facsimile, online, or absentee bidding (advance written bids submitted by mail) are offered solely as a convenience and permitted subject to advance arrangements, availability, and RR Auction’s approval which shall be exercised at RR Auction’s sole discretion. Neither RR Auction nor its agents or employees shall be held liable for the failure to execute bids or for errors relating to any transmission or execution thereof. In order to be considered for off-site bidding in any manner, Bidders must comply with all of these Conditions of Sale and the terms contained on the Registration Form. RR Auction’s Remedies: Failure of the Bidder to comply with any of these Conditions of Sale or the terms of the Registration Form is an event of default. In such event, RR Auction may, in addition to any other available remedies specifically including the right to hold the defaulting Bidder liable for the Purchase Price or to charge and collect from the defaulting Bidder’s credit or debit accounts as provided for elsewhere herein: (a) cancel the sale, retaining any payment made by the Bidder as damages (the Bidder understands and acknowledges that RR Auction will be substantially damaged should such default occur, and that damages under sub-part (a) are necessary to compensate RR Auction for such damages); (b) resell the property without reserve at public auction or privately; (c) charge the Bidder interest on the Purchase Price at the rate of one and one-half percent (1.5%) per month or the highest allowable interest rate; (d) take any other action that RR Auction, in its sole discretion, deems necessary or appropriate to preserve and protect RR Auction’s rights and remedies. Should RR Auction resell the property, the original defaulting Bidder shall be liable for the payment of any deficiency in the purchase price and all costs and expenses associated there with, including but not limited to warehousing, sales-related expenses, reasonable attorney fees and court costs, commissions, incidental damages and any other charges due hereunder which were not collected or collectable. In the event that such Bidder is the successful Bidder on

more than one lot and pays less than the purchase price for the total lots purchased, RR Auction shall apply the payment received to such lot or lots that RR Auction, in its sole discretion, deems appropriate. If RR Auction does not exercise such discretion, the lots to which the payment shall be applied will be in descending order from the highest purchase price to the lowest. Any Bidder failing to comply with these Conditions of Sale shall be deemed to have granted RR Auction a security interest in, and RR Auction may retain as collateral such security for such Bidder’s obligations to RR Auction, any property in RR Auction’s possession owned by such Bidder. RR Auction shall have the benefit of all rights of a secured party under the Uniform Commercial Code (U.C.C.) as adopted by the Commonwealth of Massachusetts. Warranties: RR Auction does not provide any warranties to Bidders, whether expressed or implied, beyond those expressly provided in these Conditions of Sale. All property and lots are sold “as is” and “where is”. By way of illustration rather than limitation, neither RR Auction nor the Consignor makes any representation or warranty, expressed or implied, as to merchantability or fitness for intended use, condition of the property (including any condition report), correctness of description, origin, measurement, quality, rarity, importance, exhibition, relevance, attribution, source, provenance, date, authorship, condition, culture, genuineness, value, or period of the property. Additionally, neither RR Auction nor the Consignor makes any representation or warranty, expressed or implied, as to whether the Bidder acquires rights in copyright or other intellectual property (including exhibition or reproduction rights) or whether the property is subject to any limitations or other rights. RR Auction does not make any representation or warranty as to title. All descriptions, photographs, illustrations, and terminology including but not limited to words describing condition (including any condition reports requested by Bidder, see also Terminology), authorship, period, culture, source, origin, measurement, quality, rarity, provenance, importance, exhibition, and relevance, used in the Catalog, bill of sale, invoice, or anywhere else, represent a good faith effort made by RR Auction to fairly represent the lots and property offered for sale as to origin, date, condition, and other information contained therein; they are statements of opinion only. They are not representations or warranties and Bidder agrees and acknowledges that he or she shall not rely on them in

determining whether or not to bid or for what price. Price estimates (which are determined well in advance of the Auction and are therefore subject to revision) and condition reports are provided solely as a convenience to Bidders and are not intended nor shall they be relied on by Bidders as statements, representations or warranties of actual value or predictions of final bid prices. Bidders are accorded the opportunity to inspect the lots and to otherwise satisfy themselves as to the nature and sufficiency of each lot prior to bidding, and RR Auction urges Bidders to avail themselves accordingly. All lots sold by RR Auction are accompanied by an Auction Certificate (“AC”). On any lot presented with an AC issued by RR Auction, the certification is only as to its attribution to the person or entity described or to the lot’s usage and only as explicitly stated therein (the “Certification of Authenticity”), to the exclusion of any other warranties, express or implied, including but not limited to those pursuant to the Uniform Commercial Code. The Certification of Authenticity inures only to the original Bidder (as shown in RR Auction’s records). Bidder may not transfer, assign, or otherwise convey the Certification of Authenticity, and such purported transfer, assignment, or conveyance shall be null and void. The Certification of Authenticity is valid from date of the Auction in which Bidder was awarded the lot (the “Auction Date”) until five (5) years after the Auction Date, without exception. FIREARMS. RR Auction complies with all Federal and State rules and regulations relating to the purchasing, registration and shipping of firearms. A Bidder is required to provide appropriate documents and the payment of associated fees, if any. Bidder is responsible for providing a shipping address that is suitable for the receipt of a firearm. Limitation of Damages: In the event that RR Auction is prevented for any reason from delivering any property to Bidder, or Bidder is otherwise dissatisfied with the performance of RR Auction, the liability, if any, of RR Auction, shall be limited to, and shall not exceed, the amount actually paid for the property by Bidder. In no event shall RR Auction be liable for incidental, special, indirect, exemplary or consequential damages of any kind, including but not limited to loss of profits, value of investment or opportunity cost.

Unauthorized Statements: Under no circumstances is any employee, agent or representative of RR Auction authorized by RR Auction to modify, amend, waive or contradict any of these Conditions of Sale, any term or condition set forth on a registration form, any warranty or limitation or exclusion of warranty, any term or condition in either the Registration Form or these Terms and Conditions regarding payment requirements, including but not limited to due date, manner of payment, and what constitutes payment in full, or any other term or condition contained in any documents issued by RR Auction unless such modification, amendment, waiver or contradiction is contained in a writing signed by all parties. Any statements, oral or written, made by employees, agents or representatives of RR Auction to Bidder, including statements regarding specific lots, even if such employee, agent or representative represents that such statement is authorized, unless reduced to a writing signed by all parties, are statements of personal opinion only and are not binding on RR Auction, and under no circumstances shall be relied upon by Bidder as a statement, representation or warranty of RR Auction. Bidder’s Remedies: Under no circumstance will RR Auction incur liability to a Bidder in excess of the purchase price actually paid. This section sets forth the sole and exclusive remedies of Bidder in conformity with the Warranties and Limitation of Damages provisions of these Conditions of Sale, and is expressly in lieu of any other rights or remedies which might be available to Bidder by law. The Bidder hereby accepts the benefit of the Consignor’s warranty of title and any other representations and warranties made by the Consignor for the Bidder’s benefit. In the event that Bidder demonstrates in writing, in the sole discretion of RR Auction, that there was a breach of the Consignor’s warranty of title concerning a lot purchased by Bidder, RR Auction shall make demand upon the Consignor to pay to Bidder the Purchase Price (including any premiums, taxes, or other amounts paid or due to RR Auction). Should the Consignor not pay the Purchase Price to Bidder within thirty days after such demand, RR Auction shall disclose the identity of the Consignor to Bidder and assign to Bidder all of RR Auction’s rights against the Consignor with respect to such lot or property. Upon such disclosure and assignment, all responsibility and liability, if any, of RR Auction with respect to said lot or property shall automatically terminate. RR Auction shall be entitled to retain the premiums and other amounts paid to RR Auction

- this remedy is as to the Consignor only. The rights and remedies provided herein are for the original Bidder only and they may not be assigned or relied upon by any transferee or assignee under any circumstances. If Bidder wishes to challenge the AC within the period of the Certification of Authenticity, Bidder must present written evidence that the lot is not authentic as determined by a known expert in the field. If RR Auction agrees that the lot is not as represented, Bidder’s sole and exclusive remedy shall be a refund of their purchase price, with no other costs, liabilities or amounts recoverable. If RR Auction does not agree with the claim by Bidder, then the Parties shall follow the dispute resolution procedures of these Conditions of Sale. Any such challenge concerning an AC or Certification of Authenticity must, without any exception, be brought within one (1) year of Bidder’s notice to RR Auction of Bidder’s contention that the lot was not authentic, or six (6) years from the Auction Date, whichever is sooner. If the description of any lot in the Catalog is materially incorrect (e.g., gross cataloging error), the lot is returnable if returned within five (5) calendar days of receipt, and received by RR Auction no later than twenty-one (21) calendar days after the Auction Date. If there is any discrepancy between the description in the Catalog and the AC, then the description in the AC shall control. This paragraph shall constitute Bidder’s sole right with respect to the return of items, and no refunds shall be given for any items not returned to and received by RR Auction. NO RETURN OR REFUND OF ANY AUCTION LOT WILL BE CONSIDERED EXCEPT AS PROVIDED IN THESE CONDITIONS OF SALE. RR Auction’s Additional Services: For Bidders who do not remove purchased property from RR Auction’s premises, RR Auction, in its sole discretion and solely as a service and accommodation to Bidders, may arrange to have purchased lots packed, insured and forwarded at the sole request, expense, and risk of Bidder. RR Auction assumes no and disclaims all responsibility and liability for acts or omissions in such packing or shipping by RR Auction or other packers and carriers, whether or not recommended by RR Auction. RR Auction assumes no and disclaims all responsibility and liability for damage to frames, glass or other breakable items. Where RR Auction arranges and bills for such services via invoice, RR Auction will include an

administration charge. Headings: Headings are for convenience only and shall not be used to interpret the substantive sections to which they refer. Entire Agreement: These Conditions of Sale constitute the entire agreement between the parties together with the terms and conditions contained in the Registration Form. They may not be amended, modified or superseded except in a signed writing executed by all parties. No oral or written statement by anyone employed by RR Auction or acting as agent or representative of RR Auction may amend, modify, waive or supersede the terms herein unless such amendment, waiver or modification is contained in a writing signed by all parties. If any section of these Conditions of Sale or any term or provision of any section is held to be invalid, void, or unenforceable by any court of competent jurisdiction, the remaining sections or terms and provisions of a section shall continue in full force and effect without being impaired or invalidated in any way. Governing Law and Enforcement The Parties agree that any agreements between the Parties including but not limited to these Conditions of Sale are entered into in Boston, Massachusetts, no matter where Bidder is situated and no matter by what means or where Bidder was informed of the Auction and regardless of whether catalogs, materials, or other communications were received by Bidder in another location. The Parties agree that these Conditions of Sale, and any other related agreement(s) are governed by the laws of the Commonwealth of Massachusetts, without regard for its conflict of laws principles. The Parties agree that any dispute related to or arising out of these Conditions of Sale, or related to or arising out of any other related agreement(s) shall be submitted to confidential binding arbitration (the “Arbitration”) before a single Arbitrator of the American Arbitration Association (the “AAA”). The Parties agree that the Arbitration shall be conducted pursuant to the commercial rules of the AAA. In the event that the Parties cannot agree on the selection of the Arbitrator, then the Arbitrator shall be selected by the AAA. The prevailing Party in the Arbitration shall be entitled to recover all of its related costs, whether before or after the formal institution of the Arbitration, including but not limited to its reasonable attorneys’ fees

and, if RR Auction prevails, the Buyer’s Premium as defined in these Conditions of Sale. The Parties agree that Bidder shall have no right to recover consequential or indirect damages, or lost profits damages.

these Conditions of Sale. This right of enforcement is unique to RR Auction, and these Conditions of Sale are a waiver by the Bidder of any right to enforcement or adjudication outside of an Arbitration.

The Parties consent to the enforcement of the decision in the Arbitration pursuant to the Federal Arbitration Act in either the courts of the Commonwealth of Massachusetts or the United States District Court for the District of Massachusetts.

CONDUCT OF AUCTION

Except as provided in Bidder’s Remedies with regard to the Certification of Authenticity, any dispute, claim, cause of action related to or arising out of these Conditions of Sale or any other agreement(s) between the Parties must be brought within one (1) year of the acts, omissions or circumstances giving rise to the alleged claim, without exceptions. This provision is intended as a full, complete and absolute release of any claims after one (1) year of such acts, omissions or circumstances. The Parties agree further that these waiver provisions are intended to be binding on all parties in the event of any dispute, specifically including but not limited to third party claims and cross-actions brought by either RR Auction or Bidder. These provisions are consideration for the execution of these Conditions of Sale. The Bidder hereby agrees that RR Auction shall be entitled to present these Conditions of Sale to a court in any jurisdiction other than set forth in this paragraph as conclusive evidence of the Parties’ agreement, and the Parties further agree that the court shall immediately dismiss any action filed in such jurisdiction. Notwithstanding the foregoing, RR Auction may, in its sole discretion, enforce its rights pursuant to these Conditions of Sale in the courts of the Commonwealth of Massachusetts or the United States District Court for the District of Massachusetts rather than in an Arbitration related to or arising out of any Auction of an item sold for less than $10,000. This right shall relate to the individual item price, such that RR Auction may, in its sole discretion, enforce its rights pursuant to these Conditions of Sale in the courts of the Commonwealth of Massachusetts or the United States District Court for the District of Massachusetts rather than in an Arbitration for items that in the aggregate exceed $10,000. The prevailing Party in such a proceeding shall be entitled to recover all of its related costs, whether before or after the formal institution of the proceeding, including but not limited to its reasonable attorneys’ fees and, if RR Auction prevails, the Buyer’s Premium as defined in

Estimate Prices: In addition to descriptive information, each item in the Catalog sometimes includes a price range which reflects opinion as to the price expected at auction (the “Estimate Prices”). In other instances, Estimate Prices can be obtained by calling RR Auction at (603) 732-4280. The Estimate Prices are based upon various factors including prices recently paid at auction for comparable property, condition, rarity, quality, history and provenance. Estimate Prices are prepared well in advance of the sale and subject to revision. Estimates do not include the Buyer’s Premium or sales tax (see under separate heading). Owned or Guaranteed Property: RR Auction generally offers property consigned by others for sale at public auction; in very limited occasion, lots are offered that are the property of RR Auction. Before the Auction: Bidder may attend pre-sale viewing for all of RR Auction’s auctions at no charge. All property to be auctioned is usually on view for several days prior to the sale. Bidder is encouraged to examine lots thoroughly. Bidder may also request condition reports (see below). RR Auction’s staff are available at viewings and by appointment. Maximum Bids – All Auctions: To maximize Bidder’s chance of winning, RR Auction strongly encourages the use of maximum bids. RR Auction will then bid for Bidder until the lot reaches Bidder’s specified maximum. Maximum bids are strictly confidential. Placing arbitrary, non-incremental bids on lots with prior maximum bids may result in these lots being sold for less than 10% above the under Bidder’s bid. Successful Bids: The fall of RR Auction’s hammer indicates the final bid. RR Auction will record the paddle number of the Bidder. If Bidder’s salesroom or absentee bid is success-

ful, Bidder will be notified after the sale by mailed or emailed invoice. Unsold Lots: If a lot does not reach the reserve, it is bought-in. In other words, it remains unsold and is returned to the Consignor. RR Auction has the right to sell certain unsold items after the close of the Auction. Such lots shall be considered sold during the Auction and all these Terms and Conditions shall apply to such sales including but not limited to the Buyer’s Premium, return rights, and disclaimers. Bidding—Timed Auction: Bidder may open, monitor, and/or raise bids at any time before the close of a lot through www.rrauction.com. RR Auction offers a callback service the day of the Auction, but Bidder is responsible for supplying a correct telephone number(s) where Bidder can be reached until the Auction closes. Bidder must request this service in writing. RR Auction will make reasonable efforts to ensure that Bidders who request a callback are contacted if outbid; however, RR Auction does not guarantee this service and it is merely a courtesy and not an enforceable right. The auctioneer may also execute a bid on behalf of the consignor to protect the reserve, either by entering a bid in response to salesroom, telephone or absentee bids. Under no circumstances will the auctioneer place any bid on behalf of the consignor above the reserve. The auctioneer will not specifically identify bids placed on behalf of the consignor to protect the reserve. To ensure proper registration, those Bidders intending to bid via the Internet must visit www.RRauction.com and register accordingly at least one full day prior to the actual auction. Winning bidders will be notified by RR Auction. RR Auction is not responsible or liable for any problems, delays, or any other issues or problems resulting out of use of the Internet generally or specifically, including but not limited to transmission, execution or processing of bids. Any Bidder may bid on any lot prior to 6 pm EST/ EDT. At that time, an extended bidding period goes into effect. If Bidder has not bid on a lot before 6 pm EST/EDT, Bidder may not bid on that lot after 6 pm EST/EDT. Only those Bidders who have placed bids on a lot before 6 pm EST/EDT will be allowed to bid on that lot after 6 pm EST/EDT. If Bidder is the only Bidder on a lot at 6 pm EST/EDT, that lot is awarded to Bidder. During the extended bidding period, a lot will remain open only to those who bid on that lot prior

to 6 pm EST/EDT. All lots WITHOUT an opening bid at 6 pm EST/EDT will remain OPEN to ALL Bidders until 7 pm EST/EDT or until they receive their first bid. These lots will close immediately upon receipt of a bid or at 7 pm EST/EDT, whichever comes first. For all lots that are active after 7 pm EST/EDT, bidding will remain open until 30 minutes pass without a bid being placed on THAT lot (the “30 Minute Rule”). The 30 Minute Rule is applied on a PER LOT BASIS; each lot in the Auction closes individually based on bidding activity after 7 pm EST/EDT. On a PER LOT BASIS, the 30 minute timer will reset each time a bid is placed after 7 pm EST/EDT. If Bidder is the high Bidder, raising Bidder’s maximum bid will NOT reset the timer. RR Auction reserves the right to close the Auction at any time at its sole discretion. Bidding - Internet – Live Auction: Bidder may open, monitor, and/or raise bids at any time before the close of a lot through www.rrauction.com. RR Auction offers a callback service the day of the Auction, but Bidder is responsible for supplying a correct telephone number(s) where Bidder can be reached until the Auction closes. Bidder must request this service in writing. RR Auction will make reasonable efforts to ensure that Bidders who request a callback are contacted if outbid; however, RR Auction does not guarantee this service and it is merely a courtesy and not an enforceable right. To ensure proper registration, those Bidders intending to bid via the Internet must visit www.RRauction.com and register accordingly at least one full day prior to the actual auction. Winning bidders will be notified by RR Auction. RR Auction is not responsible or liable for any problems, delays, or any other issues or problems resulting out of use of the Internet generally or specifically, including but not limited to transmission, execution or processing of bids. Property is auctioned in consecutive numerical order, as it appears in the catalog. The auctioneer will accept bids from those present in the salesroom or absentee bidders participating by telephone, internet or by written bid left with RR Auction in advance of the auction. The auctioneer may also execute a bid on behalf of the consignor to protect the reserve, either by entering a bid in response to salesroom, telephone or absentee bids. Under no circumstances will the auctioneer place any bid on behalf of the consignor above the reserve. The auctioneer will not specifically identify bids placed on behalf of the consignor to protect the reserve.

During live Auctions, internet bids can be placed in real time through one or more of the following Third Party services: www.liveauctioneers.com, www.invaluable.com and www.icollector.com. RR Auction is not responsible or liable for any problems, delays, or any other issues or problems resulting out of use of the Internet generally or specifically, including but not limited to transmission, execution or processing of bids. RR Auction treats any third-party site bids as floor or telephone bids. Floor bids and telephone bids are always considered first over third party sites bids, and floor bids are considered earlier than telephone bids. All RR Auction lots purchased through the third party sites carry an additional Buyer’s Premium. Miscellaneous: Agreements between Bidders and Consignors to effectuate a non-sale of an item at Auction, inhibit bidding on a consigned item to enter into a private sale agreement for said item, or to utilize RR Auction’s Auction to obtain sales for non-selling consigned items subsequent to the Auction, are strictly prohibited. If a subsequent sale of a previously consigned item occurs in violation of this provision, RR Auction reserves the right to charge Bidder the applicable Buyer’s Premium and Consignor a Seller’s Commission as determined for each auction venue and by the terms of the seller’s agreement. Acceptance of these Terms and Conditions qualifies Bidder as a client who has consented to be contacted by RR Auction in the future. In conformity with “do-notcall” regulations promulgated by the Federal or State regulatory agencies, participation by the Bidder is affirmative consent to being contacted at the phone number shown in his application and this consent shall remain in effect until it is revoked in writing. RR Auction may from time to time contact Bidder concerning sale, purchase, and auction opportunities available. Rules of Construction: RR Auction presents properties in a number of collectible fields, and as such, specific venues have promulgated supplemental Terms and Conditions. Nothing herein shall be construed to waive the general Conditions of Sale by these additional rules and shall be construed to give force and effect to the rules in their entirety.

GLOSSARY OF CONDITION TERMS For decades, RR Auction has led the industry in providing an accurate and detailed condition statement for each item that we sell. Starting in 2016 we’ve decided to take a fresh approach to describing each item’s condition. As our website and catalog images continually improve, and bidders can see obvious details from those excellent images, we’ve decided to simplify things, using the same terminology to describe an item’s overall condition (on an ascending scale of 1 to 4: good, very good, fine, very fine), but only adding specific details, if any, that would not be obvious from the illustration. VERY FINE describes an item in virtually flawless condition, and is used sparingly for items of exceptionally attractive appearance. FINE is the most common statement of condition, and applies to most items that we offer. It describes items that show expected handling wear, generally acceptable random flaws (such as light creases, small bends, etc.), and an overall appearance that is pleasing to the majority of collectors. VERY GOOD describes an item that exhibits more moderate flaws (such as toning, light staining, professional reinforcements or repairs, etc.). Most collectors would be comfortable with items in very good condition, and this would be the expected condition for many formats (early presidential documents, for example). GOOD describes an item with obvious visible flaws, including heavy wear, missing portions, or repairs that affect appearance; generally items in this condition are offered only if an item is otherwise exceedingly rare or important. Of course we’re more than happy to provide more indepth information about any item via phone or email. We hope this new system will make for easier reading and a more pleasant bidding experience.

www.RRAuction.com | (603) 732-4280

JOHN MATHESON John Matheson is an American fashion design archivist and writer living in London. A former learning and education executive for a global retailer, he now explores his personal 20+ year archive and work of Alexander McQueen through the Instagram account @McQueen_Vault which has been named by Vogue, Elle, Love Magazine, and Dazed and Confused as one of the best Fashion Archive Accounts to follow on social media. John and his archive have also been featured by New York Times Style Singapore, Another Magazine, and Le Monde, and he has collaborated on several occasions with Nick Knight’s Show Studio during their coverage of London Fashion Week. In creating an online community to celebrate the design legacy of McQueen, John has met and connected to a legion of original McQueen associates, friends, and colleagues. The collection themes, inspiration details, and construction techniques used by McQueen are among his favourite topics to explore. This approach made for the perfect collaboration upon meeting Ruti Danan and learning of the future plans for her archive. Historical publications, runway footage, and years of fashion history were poured over to support the framework and accurate details of Ruti’s spectacular story. When not relentlessly digging for hidden AMQ gems for his personal archive, John loves to travel around the world with his husband in search vintage magazines, flea markets, and obscure antique art.

CONTRIBUTORS Bob Eaton CEO, Acquisitions bob.eaton@rrauction.com Carla Eaton Owner, Auctioneer carla.eaton@rrauction.com Bobby Livingston Executive Vice President, Public Relations bobby.livingston@rrauction.com Bobby Eaton VP, Business Development Auctioneer, MA/Lic. #3214 bobby.eaton@rrauction.com Tricia Eaton Chief Marketing Officer tricia.eaton@rrauction.com Mandy Casey Finance Manager amanda.casey@rrauction.com Elizebeth Otto Consignment Director elizebeth.otto@rrauction.com Jon Siefken Consignment Director jon.siefken@RRAuction.com

Fiona Lenaire Administration Support Representative fiona.lenaire@rrauction.com

Matt Klein Filemaker Developer and IT Administrator matt.klein@rrauction.com

Sean Coleman Customer Experience Specialist & Assistant to the CMO sean.coleman@rrauction.com

Sue Recks Director of Customer Service, Accounts Receivable sue.recks@rrauction.com

Cecily Gruce Consignment Customer Service Representative cecily.gruce@rrauction.com

Amey Fuller Senior Staff Accountant amy.fuller@rrauction.com

Kevin Lessard Shipping Executive kevin.lessard@rrauction.com Peter Parenti Lead Inventory Executive peter.parenti@rrauction.com Bill White Lead Autograph Appraiser bill.white@rrauction.com

Sarina Carlo Creative Director sarina.carlo@rrauction.com Nikki Brickett Photographer nikki.brickett@rrauction.com Leanne Baratier Production Assistant leanne.baratier@rrauction.com

Dan McCarthy Writer, Researcher dan.mccarthy@rrauction.com Evan Mugford Writer evan.mugford@rrauction.com

Robert S. Eaton Sr. 1940–2001

RARE. REMARKABLE. RESULTS. www.RRAuction.com | (603) 732-4280