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Click here to subscribeA John Galliano navy gabardine dress, Autumn-Winter, 1987-88, John Galliano London label, size 12, with one circle sleeve, the other straight, asymmetric neck line with strap, bias-cut diagonal banding to the dress front and back, the rear skirt of diagonal gathers, the front with draped front flap, bust 92cm, 36in CONDITION REPORT: Good condition, very fresh. Deodorant marks to inside only of underarms, would probably wash out.
A Christian Dior London yellow slubbed silk cocktail dress, circa 1960, labelled and numbered no 24763, with bow to front waist, separate petticoat with slubbed silk panel to hem, bust 92cm, 36in (2) CONDITION REPORT: Good condition, very fresh. Dress: skirt side seams have been taken in to reduce fullness/puff-ball effect and could easily be reversed. Waistline was amended to fit original owner, looks like alterations done at time of purchase by the retailer. Waistband has been removed from separate petticoat.
A Chanel ivory tweed ensemble, probably American Patron Originale, 1966, large label numbered 31303, comprising: jacket with gilt lion mask buttons, matching skirt with navy silk waistband, navy silk short-sleeved blouse and a beret with narrow black on white label, blouse bust 92cm, 36in, skirt waist 71cm, 28in (4) CONDITION REPORT: Good condition, looks little worn
A Rudi Gernreich black satin cocktail 'bloomer' suit, 1968, labelled, the all-in-one suit with diagonal front pleats to the bloomer-like shorts, matching belt, bust 86cm, 34in (2) See 'The Rudi Gernreich Book' by Peggy Moffitt p.169 for a bloomer ensemble. CONDITION REPORT: Good condition, no problems. Slight rubbing to buckle satin covering (minor).
A Paul Poiret for Denise Poiret purple gabardine pinafore dress, model 'Eveque', circa 1908-11, un-labelled, with single gilt edged glass button to the scooped, low-cut bodice, finely pleated skirt, broad empire-line petersham inner waistband, bust approx 81cm, 32in; with a matching pair of satin shoes by Leopold (3) Provenance: From the personal wardrobe of Denise Poiret, passed to her son Colin Poiret then by descent, and sold by Beaussant Lefèvre, 14th February 2008, lot 65. In an interview with Vogue in 1913 the couturier stated: 'When I dress Madame Poiret I do all I can to remove rather than to add and it is my conviction that every woman should seek this simplicity.' In 'Les Robes de Paul Poiret', illustrated by Iribe, of 1908 he depicts similar empire line pinafore 'chemise' gowns. This line was to remain popular until c.1912. CONDITION REPORT: Dress: 3cm splits to both underarm, 5cm split to left strap which has been loosely tacked. Seam below bust needs re-stitching approx. 6cm at right side. Both shoulder straps need re-stitching at centre seams. Faint band of horizontal fading to front right of skirt. Large faded area down left side of skirt. Faded at both sides of bodice. Very slight fading lower half of rear skirt. 1cm brown stain top right of skirt. Yoke of centre back has a darned repairs. Internally the petersham waistband is soiled and the closures are corroded. The side bodice closure has later added hooks and eyes and the side seam below this closure needs re-stitching approx. 8cm. Inside there is a hand written biro label saying 'Eveque 1905-6'. Shoes: splits around the upper edges and around the ankle/heel areas. Slight scuffing to toes and satin at toes slightly faded. Wear to soles. The right shoe has a split below the bow approx. 3cm, and the bow needs re-stitching to the show in one corner.
A fine Jean Paul Gaultier gold lamé stage ensemble designed for Madonna's 'Blond Ambition' tour, 1990, labelled Jean Paul Gaultier, Paris, and initialled in ink 'MC' to the corset-like bodice, with top-stitched conical breast cups, curved top-stitched hip panels, gold thong laces laces front and back, zip to front and nude elastane lining; with matching knickers of nude elastane and gold lamé, bust approx 86cm, 34in, waist 61cm, 24in; together with an autographed photograph of Madonna wearing the ensemble on tour (3) Madonna wears a gold corset outfit in the second 'Religious' phase of the show where she provocatively sings 'Like A Virgin' whilst writhing on a red satin covered bed, accompanied by male dancers wearing cone bras. She next covers the gold ensemble with a black robe and a large crucifix and sings 'Like A Prayer', which caused furore in the press at the time and a backlash from religious groups. Jean Paul Gaultier said of this special commission: 'When Madonna first called me in 1989, it was two days before my ready-to-wear show, and I thought my assistant was joking. I was a big fan. She asked me if I would do the tour. She knew what she wanted: a pinstripe suit, feminine corsetry. Madonna likes my clothes because they combine the masculine and the feminine…When I was a child, my grandmother took me to an exhibition, and they had a corset on display. I loved the flesh colour, the salmon satin, the lace. She explained that a corset was meant to help you, to make you stand up. It was a solution that I thought was beautiful. The gold conical bra was just an extension of that idea'. This iconic outfit, perhaps more than any other she wore in the show, is instantly recognisable as 'Madonna'. Jean Paul Gaultier has examined this piece and confirms that it was made for Madonna and she would have tried it on for fittings in his Paris studio at the very least. The sweat marks on the bodice suggest that it was also worn in performance although we cannot confirm this. The outfit was purchased by the vendor the 1990s from the Stars & Stripes specialist memorabilia store in Los Angeles for $25,000 and was subsequently exhibited at the 'Fashion Cafe'. From Mr Gaultier's memory only three of these outfits were ever made. Madonna herself has one, there is one in the Hard Rock café (which she gave to the Shelter charity to auction via Sotheby's in 1992) and this one. He used a special vintage gold lamé fabric with a high metallic fibre content. More recently he attempted to make a replica of the ensemble for his travelling exhibition - but found it impossible as none of the fabrics available now (new or vintage) are similar. CONDITION REPORT: The elasticated straps have become slack with age. The lacing is all good condition, the interior is fresh and clean in appearance. There are small damp freckles scattered generally across the lining but these are not immediately obvious. Corset: Gold lame has oxidised generally. Perspiration stains on the undersides of the breast cones and the underarms have caused the lame to tarnish. Knickers: Good condition - very little tarnishing to the lame, slight stretch in the nude lycra mesh ground. They look unworn or little worn.
A summer dress and coat of Chanel printed crêpe, circa 1934, un-labelled but with 'Tissus Chanel' printed to a selvedge, with overall navy on cream buddhist inspired roundels, with criss-cross bands to the short sleeves and looped through the front bodice, bust 97cm, 38in (2) CONDITION REPORT: The dress has couture finishing inside and could be by the house. Dress has been shortened at the waist, stains to inside underarm areas - the majority are not visible on the outside. Rouge marks to inside waist area. Faint light brown stains to front of skirt. There are belt loops but no belt. Coat is good condition.
A Christian Dior couture brown tweed day suit, Autumn-Winter, 1955, labelled and numbered 78752, the jacket with domed black buttons, the skirt with broad box pleats, bust 92cm, 36in, waist 66cm, 26in (2) CONDITION REPORT: Jacket: tweed is generally good, lining is very worn at the underarms, buttons have been moved to the edge of the jacket at waist and hip area to widen the closure. Skirt: black silk lining has been replaced at lower hem - but very well done. Skirt hem has been lowered. Grosgrain patch to hem return approx. 4x12cm (where a small panel was taken to extend the waistband). Waistband has been widened by 5cm.
An Alexander McQueen black velvet and bugle beaded evening gown, 'In memory of Elizabeth Howe, Salem 1692' collection, Autumn-Winter, 2007, labelled and size 38, the pewter-grey bugle beads forming a star-burst effect to the upper bodice which scatter as they descend down the trained skirt, bust 86cm, 34in, waist 71cm, 28in This was runway look no 44. CONDITION REPORT: Good condition, beading is good, no problems.
Björk's Iris van Herpen couture leather dress worn on the cover of 'Biophilia' and also for the 'Moon' song video, 'Synthesia' collection, Autumn-Winter, 2012, of dark aubergine reinforced leather, the hand cut, slashed frond-like panels backed in gold foil which is revealed when the panels are turned, mounted onto black satinised cotton, bust 86cm, 34in (belt illustrated on album cover is not included) Iris van Herpen described the design process of this dress: 'We first made a well-fitting dress of black fabric, that followed the shape of the body to the knees. Upon that dress there is a more complicated pattern of handiwork. They are all separate pieces of dark, aubergine leather with a gold foil treatment on the back. The pieces were hand cut into tiny [half-centimeter] strokes. Half of the strokes were turned 180 degrees to the left side and the other half were turned the other way. Then they were sewn together so that they stayed [in place] after they were hand-sewn onto the dress. All together they create a pattern of reflection that comes from the back of the leather, because they are turned at some points. It was a big puzzle to make the pattern connect with the body shape, but it looked quite natural in the end'. CONDITION REPORT: Good condition., very slight scuffing to black cotton at underarms, fronds are slightly crumpled, especially at the back from storage.
An André Courrèges couture maxi dress, 1969, labelled and numbered 103348, the organdy over-dress adorned with bands of yellow square sequins and acid green ribbons, empire line white cotton, heavy cotton base, bust 81cm, 32in CONDITION REPORT: Bodice looks grubby generally. Droplet stains to rear strap of bodice and soiling to rear right underarm area, needs cleaning. Heavily soiled hem with 6x9cm stain centre back edge, lacking sequins from the bands - particularly to centre-front bust area, but a scattered loss front and back generally (we have some in a bag). Perspiration stains at underarms. Organdy overlay and ribbons are generally good. Lining inside is generally clean and good with slight perspiration stains at underarms.
An early Madeleine de Rauch pleated tulle evening gown, circa 1939, large woven Paris label, with bouffant pleated sleeves with wired supports, fitted boned tulle covered rayon bodice, the skirt with cascading pleats which increase in size as they descend, studded with large facetted sequins, the bodice fastened by hooks and eyes to the side, bust 81cm, 32in, waist 59cm, 23in Madeleine de Rauch opened her maison in Paris in 1932 and specialised in sportswear and evening wear with fluid lines. CONDITION REPORT: Good condition. Pleats are generally a bit crumpled but generally good. There are two hooks on the right shoulder which suggests there was an accessory which is now missing. One sequin is detached (we have it). Waist seam needs re-stitching rear right side approx. 2.5cm. Pinhead hole in tulle on front bodice- minor. Bodice has been slightly let out at right underarm. Hole in tulle edging at right underarm. Loops and rayon edging closure band have been slightly moved to widen bodice. Boning to inner bodice- left side strut has a break and pokes out of the binding at the bottom. One small hole in skirt tulle. Construction of zig-zag overlays is superb.
A Pluym lady's summer suit, American, 1912, labelled 'Pluym, Washington DC' and with handwritten client label 'Miss Marguerite Draper, April 1912', of linen open-weave with contrasting pulled and drawn-thread bands in pink silk, with decorative, pink cord, white buttons and pink organdy ruffle trims, bust approx 96cm, 38in, waist 71cm, 28in (2)
An Yves Saint Laurent couture cloth of gold ensemble, 'Ballets Russes' collection, Autumn-Winter, 1976-77, the blouse labelled and numbered 39875, the Abrahams gold-silk fabric woven with leaves, comprising: blouse with full sleeves, pleated skirt, belt adorned with small feathers and matching collar with pendant beads, bust 86-92cm, 34-36in, waist 66cm, 26in (4)
A rare Jean Paul Gaultier pour Gibo 'Blitz' dress, 1987, labelled, of green lycra above a midnight-blue skirt the low-waist outlined with plastic bubbles spelling out the word 'Blitz', bust approx 86cm, 34in This dress was a one-off, made specially for BLITZ magazine by Jean Paul in 1987 as part of the magazine's seventh birthday celebrations. It was A/W 1987/88, the season he did the alien-inspired collection, 'Forbidden Gaultier', which incorporated clear perspex bubble shaped headresses and collars, stretch lycra and plastic. An image of this dress is featured in 'As Seen in BLITZ, fashioning 80s Style' by Iain R Webb (ACC Editions). CONDITION REPORT: Main dress is good condition, stains to front and rear hem, small spot stains to rear of one sleeve. The 'Z' globe needs the dress fabric re-gluing to the rubber edging mount.
An Elsa Schiaparelli couture 'shocking pink' crêpe evening gown, Summer, 1937, labelled to the matching waist slip 'Schiaparelli London' and numbered 5556, the shirred purple velvet bodice with 'sweetheart' neckline, red plastic zip fastening centre-back, bust 92cm, 36in (2) Provenance: Mrs Carol Dugdale (née Timmis), a stylish British socialite. The sketch of this dress is held at Musée des Arts Decoratifs. It was worn with a highly beaded jacket modelled with a matching turban. Lady Jane Clark was photographed wearing the ensemble in 1939 to the opening night party of for the Museum of Modern Art in New York. See 'Shocking! Schiaparelli' by Dilys Blum, pp.166-167.
An Irish crochet bridal gown and matching coat, circa 1910, princess-line with high collar, 3/4 sleeves, some of the flowers with tiered petals, pearl bead buttons to the back; the coat similarly worked, with long sleeves, no fastenings, bust approx 86cm, 34in (2) Provenance: Purchased by the vendor's grandmother from an Irish priest in 1972, who was selling it to raise money for the church roof. She was told that it had belonged to a rich young Irish girl who chose to become a nun instead of getting married. CONDITION REPORT: Good condition, crochet is good with no obvious breaks. Dress: good condition, little pearl bead buttons look 1930s. Very slight soiling inside neck edge (minor). Front and back is generally fresh and white. Faint yellow discolouration to skirt left side approx. 30cm up from hem. The occasional little rust spot front hem area (minor) and left side waist area. Barely visible discolouration at underarms. Jacket: generally good condition but 2 small breaks in background mesh below neck (easily repairable) - another left rear shoulder and 2 more in rear skirt. Very slight rust spots to raised daisy on left cuff and area above (minor), raised daisy on right cuff, and to right lapel but barely noticeable
Björk's Iris van Herpen ivory-cream degradé chiffon dress with mechanical wings, worn for the 'Vulnicura' tour, 2015, the front panels with micro-chip controlled 'wings', the skirt held in a gentle drape to the knee, bust 86cm, 34in Björk wore this dress in New York teamed with the lion mask by Maiko Takeda for the 'Vulnicura' tour including Carnegie Hall, Kings Theatre USA, March 2015. CONDITION REPORT: Faint rouge or lipstick stain to front left waist area. mechanism works well, good condition overall
Björk's Jeremy Scott 'Angel' dress, worn for the 'Homogenic' tour, 1997-8, labelled, of white leather, with deep scooped neckline and pleated nylon wings, bust 81cm, 32in This dress was worn frequently on the 1998-99 'Homogenic' tour including Hammerstein Ballroom, Warfield Theatre, New York, Hollywood Palladium, May 1998, Hurricane Festival, June 1998, Tourhout and Werchter Festivals, Belgium, Montreux Jazz Festival, Switzerland, July 1998, London Palladium, November 1998, Corn Exchange Cambridge December, 1998, National Theatre, Iceland, January 1999. www.youtube.com/watch?v=4x-l0sRO_ls CONDITION REPORT: Generally good condition. Leather is good. Nylon pleated wings are generally good - couple of pinhead holes. Faint lipstick mark at left cuff. Seam pull to white synthetic satin lining mainly around the underarms.
An early and important Christian Dior couture black satin evening gown, probably 'Ailée' (winged) line, Autumn-Winter, 1948, with woven black on white satin label, bolduc numbered 9205, comprising: bodice with asymmetric winged points, concealed hook and eye front closure and integral boned tulle corset; a trained, stiffened double-layered overskirt, opening at the front and folding back to form a second tier that is long at the front and shorter at the back; and a slim calf-length pencil inner skirt, bust 74cm, 29in, waist 59cm, 23in; together with a copy of 'Town and Country' magazine, November 1992 with front cover photograph by Irving Penn with a model wearing the dress (4) A similar model is reproduced in 'L'Album du Figaro', no 17, Winter, 1948. Irving Penn borrowed this dress for the 1992 'Town and Country' fashion shoot. CONDITION REPORT: Good condition. It would originally have had a waist sash which is missing. We have photographed it with a replica. All three pieces are numbered to match. Bodice: Good condition. One boning strut is poking through at the bottom of the binding. One strut is broken in two places, one strut is broken over the right breast cup. Strut below left breast is missing lower half (below the waistline). Satin is sleek and glossy. Underskirt: Front panel is of black satin but the remainder (which is concealed by overskirt) is of rayon. Satin is good. The rayon has discoloured to a dark aubergine colour. The skirt is stiffened with a layer of black mesh. Lining is black silk crepe de chine. Overskirt: The black satin has faded to a deep aubergine in places- but there are no dramatic colour changes. When mounted on the form the satin colour is homogenous in appearance. It is when we compare the satin inside that it becomes evident. The overskirt is entirely interlined with stiffening (probably buckram) and heavy mesh. Condition of the satin is generally good, slight scuffing. Two faint discoloration marks to left hem edge- not immediately noticeable.
A Vivienne Westwood 'Mini-Crini' ensemble, Spring-Summer, 1985, label to skirt, comprising: 'Gypsy' blouse of giant silk polka dots with pointed hem; pink cotton cut-work min-crini with rare brown label, size 44; white leather star belt; together with a pair of modern white leather 'Rocking Horse' shoes with wooden platforms in original dust bag, UK size 4, bust approx 40in, 102cm, waist approx 28in, 71cm (6) CONDITION REPORT: Good condition. Shoes are unworn. White leather belt has a few light scratches and some water-like marks to underside. Skirt and top are good condition, look little worn.
A Christian Dior couture black satin cocktail dress 'Promise' model, 'Fuseau' (Spindle) line, Autumn-Winter, 1957, labelled and numbered 088618, with austere broad black fichu-like collar, flared skirt, bust 81cm, 32in, waist 59cm, 23in This gown is from Dior's last collection before his death. This gown was reproduced in 'L'Officiel de la Mode', n°425-426 de 1957, p.266, featuring an elegant model with evening gloves. See also 'Dior', Thames & Hudson, p.159. CONDITION REPORT: Good condition, very fresh, slight seam-pull to rear left vertical waist seam. Zip needs re-tacking in place. Hem has been raised 2.5cm. Looks little worn.
An Ossie Clark 'Heavenly Twins' black and red wool jersey dress, circa 1970, printed black on white satin label and size 12, with red band spiralling up the arm, ties to neck, wrap-around, midi length, bust approx 86-92cm, 34-36in A full-length version of this dress was worn by Celia Birtwell in David Hockney's famous portrait, 'Mr & Mrs Clark & Percy'. CONDITION REPORT: good condition. Hem and neckties have been shortened. Left cuff needs re-stitching (minor).
A fine Jean Dessès couture cocktail dress, circa 1959, un-labelled, of deep fuchsia-pink chiffon, integral boned corset, with horizontal draping to the front, the back with low-cowled fichu through which two train-like floating panels cascade, both sides of the dress with three further horizontally pleated panels, forming complex stepped cascades, bust approx 86cm, 34in, waist 61cm, 24in CONDITION REPORT: Good condition, looks barely worn, colour is good, strong and even
A copy of a Vionnet beaded 'Aux Chevaux' cocktail dress, American, circa 1926, of black chiffon adorned with copper bugle beads, tabbed hem; together with a pair of unpicked later added sleeves, bust 97cm, 38in (3) CONDITION REPORT: Beading is generally good. One shoulder has been re-inforced by tacking the fabric and stitching in place, there are still 2 small holes in this area. The curved tops of the 'Octopus' hem - quite a few have wear, one has a tear. One top is torn at the rear hem also. Slight thinning in one place to edge of side closure. Curved area of beading to one hem tab is missing. There were later added sleeves which have been removed but they are edged in bugle beads which could be used to replace any losses on the dress.
A printed cotton day dress, circa 1825, roller-printed with teal-blue leaves and wine scrolling grasses, empire-line with puff sleeves, flounces to neck and cuffs, piped bands to hem, drawstring fastenings, bust approx 81cm, 32in CONDITION REPORT: small darned repair to left shoulder - concealed below frill, armholes may have been altered/deepened - stitching is a bit rough here, 20cm/8in tear to right hip area which has been almost invisibly repaired and re-backed. Small darn to left underarm and patch repair to sleeve. 2.5cm split at right underarm area on bodice. Repaired 4cm split to left puff sleeve and large insert panel at lower side of sleeve.
Björk's Iris van Herpen couture iridescent acrylic dress, worn for the 'Biophilia' tour, 'Micro' collection, Spring-Summer, 2012, labelled, the nude tulle ground applied front and back with complex armour-like layers of fan-shaped hand-cut and laser clear cut acrylic panels, each piece edged in black, bust 86cm, 34in The dress was worn for the 'Biophilia' tour at: Le Cirque en Chantier, February 2013; Zenith de Paris, March 2013; Craneway Pavillion, May 2013; Hollywood Palladium, Hollywood Bowl, Bonnaroo Festival, Tennessee, June 2013; Alexandra Palace, London, September 2013; and also in the film 'Biophilia Live'. For the Boonaroo concert, the bright orange wig was swapped for a 'Lion' mask designed by Maiko Takeda. Iris van Herpen's inspiration for this collection was scientific SEM photographs of bacilli, vermin, mites, lice and termites. She said, 'I wanted to show the beauty of them, because in my eyes they are the most bizarre, unbelievable and most imaginative creatures imaginable' This dress took 4 months to complete. CONDITION REPORT: Zip is stiff. This dress seems to have been more heavily worn than the other acrylic dresses. There is scattered rubbing to the black edges of the acrylic panels. Grey soiling at neck edge. Crease lines in three panels at right underarm from use - grey soiling to tulle mainly at rear waist and shoulder areas where the black edging has reacted with perspiration. Not immediately noticeable when mounted on a mannequin - just at close inspection. Small hole in tulle at rear hem area and wear in tulle at base of zip. Crease lines in the acrylic clusters centre back on the left and right hem area. Lining with wear around zip closure and some light staining to shoulder area. Two acrylic panels at front right waist area - need re-stitching to the ground at the pointed tips. Small hole in lining in skirt area where the internal struts have pushed against it. Patched repairs in matching tulle at both underarms. Over-view: Good condition with minor creasing, some light soiling and perspiration which would not be noticeable on display.
A Paul Poiret couture black cotton velvet dress, circa 1926-8, large woven label, with handwritten note to the reverse, '59.702, Mr White, Helen Mademoiselle', the scooped neckline and cuffs edged in heavy gilt chains, piped, curving waistband with gathers at skirt sides, bust 92cm, 36in Provenance: Originally from the Estate of Mrs Edwin White.
A Jean Patou couture beaded velvet dress, circa 1925, narrow pink on white woven label, embroidered to the front with three tall blooms in a pool, worked in gilt and white beads and metal strip, similarly worked sleeves, bust 92cm, 36in This dress formed part of a wedding trousseau in 1925. CONDITION REPORT: Beading is generally good and intact. Perspiration stains at underarms, repair at rear left underarm seam. Hem edge needs re-stitching, velvet is generally good but faint water marks to rear seat area, a few marks front right chest area and some areas of moth damage mainly to the surface pile in a couple of places. Three small holes rear right hip/seat area. Small hole front right hip area. Small repair where diagonal skirt seam meets central beaded panel. Rear right side seam with two areas which need repair/re-stitching. At some point someone put curves into the waist sides but these have been unpicked returning the dress to the original straight lines.
A Chanel couture navy bouclé coat-dress, late 1960s, silver on black woven label, the navy disc buttons with gilt lion heads medallions, box-pleated skirt and lined in blue silk, bust 92cm, 36in, waist 71cm, 28in CONDITION REPORT: Good condition overall, numerous small pulled threads in the tweed but not immediately noticeable. Re-lined in navy silk.
A Thea Porter gold slubbed silk abaya/kaftan dress, late 1970s-early 1980s, black on white couture label, the yoke and sleeves with bands of Indian gold and black brocade, sheer black chiffon panels to the skirt sides, tie to waist, bust approx 86-92cm, 34-36in CONDITION REPORT: good condition, label needs re-stitching at one side (minor)
A Charles James for Samuel Winston black velvet and chestnut taffeta cocktail dress, mid 1950s, labelled and also with hand written tape 'Brodericle', the separate velvet bodice with sweetheart neckline, laced thongs at the shoulders; the stiffened skirt embroidered, beaded, sequined and appliquéd with rose trails and bows, bust 81cm, 32in, waist 56cm, 22in (2) In 1955, Samuel Winston went into business with the designer Charles James, to produce a line of his clothes but this arrangement ended badly when James accused the firm of using his designs in their other divisions. CONDITION REPORT: Good condition, no problems. Bodice: looks little worn, ivory satin lining has discoloured from ivory to gold, velvet is deep black. Skirt: likewise is good condition, barely visible soil mark to rear hem.
A Chanel couture hound's tooth checked tweed and kid leather suit, 1965, labelled but not numbered, the box-cut jacket with black leather collar and broad waistband with three buckles, gilt lion mask medallion heads, knee-length skirt, bust 92cm, 36in, waist 71cm, 28in; together with a photocopy of 'Les Jardins des Modes', September, 1965, p.81, for an image of this suit being modelled (3) CONDITION REPORT: Overall good condition. Black leather trim is probably a shade or two lighter than when it was made. Couple of splits in the lining but these are easily sewn up. Gilt finish to waist buckles is slightly rubbed. Skirt hem has been lowered 4cm but done well. Slight moth damage to skirt lining and back silk panel has been replaced, two faint brown stains to front of skirt.
A fine and important John Galliano for Givenchy couture striped silk ballgown, 'Princess and the Pea' collection, Spring-Summer, 1996, Givenchy couture label, the bolduc with 'Ete, 96, no 10', of dark brown and pale lilac taffeta, the strapless bodice with integral boned tulle corset, the spectacular trained skirt with chevron striped point, the bands widen as the skirt descends, tiered tulle petticoats below, bust 86cm, 34in, waist 66cm, 26in, length of train approx. 5.5m, 18 ft For Galliano's first ever haute couture collection for Givenchy he turned to historicism and fairy tales. He was to remain with the house for just one year before moving to Dior. This first show was spectacular - filled with impossibly long crinoline gowns in striped and embroidered silks. This particular gown (look no 10) was worn by a model reclining atop a tower of mattresses with the skirt trailing down. It also featured in a South Bank Show documentary on John Galliano with Melvyn Bragg in 1996, where it is seen draped along the circular staircase leading to the main Givenchy couture salon. See www.youtube.com/watch?v=1dwhuCghGJE at 5.27 and at 6.50.
A rare Philippe & Gaston couture lavender embroidered lace bias-cut gown, circa 1930, labelled to the slip and numbered 12140, bolduc numbered 652.38, with overall vermicular patterns, satin panels to bodice, crin stiffening to hem edge, bust 92cm, 36in CONDITION REPORT: Dress has two faint stains/discolorations to front of skirt each approx 5cm long (not immediately noticeable). A couple of small holes in tulle front bodice edges. Silk slip - nude organza straps are fraying, small splits in silk below one strap, silk has perished centre back edge.
A fine Gianni Versace beaded and chainmail appliquéd chiffon evening gown, circa 1996, with Atelier Versace diamond shaped label and size 42, also with original retail tag for $35,000, empire line, with horizontal degradé beading in shades from silver to black, the bodice strewn with bugle beaded strands with facetted rhinestone inset baubles, the low back outlined with cascading looped fringes of beads, the skirt applied with Oroton chainmail bands which form fronds above the hem, and scattered overall with rhinestones, bust approx 86cm, 34in CONDITION REPORT: Unworn condition
A Mariano Fortuny stencilled peach velvet jacket, 1920-30, with circular label 'Mariano Fortuny Venise', delicately stencilled with gold fern-like scrolls, lined in peach silk, two brown and white Murano glass beads to neckline cords, bust approx 117cm, 46in CONDITION REPORT: Good condition. One small brown stain to front right side near hem, 1cm diameter. Lining has area of pink tinted water mark near hem and one or two small light brown stains. Pink tinted watermark faintly visible to edge of exterior hem, hard to see through velvet (minor).
A Zandra Rhodes Native American-print dress, circa 1976, labelled, printed with cacti and feathers, the asymmetrical flounced bodice with right sleeve edged with blue seed beads, elasticated waistband, bust approx, 92cm, 36in, waist approx 71cm, 28in CONDITION REPORT: good condition, no problems
A Callot Soeurs couture beaded acid green velvet orientalist dress, circa 1923, un-labelled, the lower skirt of pale pink velvet embroidered and beaded in roundels, the scalloped hem with tasselled points, bust 81cm, 32in For a similar Callot Soeurs orientalist velvet dress, see the Metropolitan Museum accession number: 2009.300.3187. CONDITION REPORT: The armholes have been extended to remove perspiration stain areas and the waist has been shaped - side seams taken in to narrow the dress along its length. The colours are good and the beading is glorious. 2cm repair to seam above and below left closure. Small darned repair to bodice back. Front bodice - tiny pin-holes to right of neck and near left underarm. Centre front stomach area - lines in velvet which indicate a beaded motif has been lost, and scuffing to velvet with thinning of approx. 1cmx0.5cm to left side, the reverse of dress has 4 patches to repair. 2 small brown stains to front skirt but not immediately noticeable due to beading. Reverse of dress has perspiration stains at underarms and also at waist level. Tassels - generally good but some losses, loose beads have been collected and kept safe.
A Chanel couture pink, yellow and green tweed dress, circa 1966, black on white woven label and numbered '31262', front fastening to one side with gilt double 'C' buttons and fringed edges, lined in pink quilted silk and with integral waistband, bust 92cm, 36in, waist 81cm, 32in CONDITION REPORT: Good condition. Great colours, lining is clean and fresh, looks little worn.
An André Courrèges couture orange double-faced wool ensemble, 1968, woven black on white Courrèges Paris label, comprising: mini-dress, the pocket flaps adorned with gilt disc buttons, the matching jacket with similar pocket flaps, rear belt, stand collar, bust 81-86cm, 32-34in (2) An orange wool coat with identical buttons is reproduced in 'L'Officiel de la Mode', n°599-560, 1968, p.88. CONDITION REPORT: the dress - white silk lining is moth damaged, exterior is good, jacket is good, great colour
A John Galliano Courtelle Design Award ensemble, 1987-88, labelled, of finely knitted grey acrylic, printed in mauve with figures within a lattice, the bias-cut dress with scooped neckline, uneven handkerchief hemline, the over-bodice with elongated sleeves and pointed floating panels, bust 86cm, 34in (2) The asymmetric neckline was heavily used in Galliano's S/S 1987 collection. CONDITION REPORT: One small moth hole in skirt
An Yves Saint Laurent couture evening gown of shimmering printed Abrahams silk, Spring-Summer, 1972, labelled and numbered 28571, shirt-waister style with pleated skirt, with mauve feather boa and jewelled belt, bust 86cm, 34in, waist 61cm, 24in (3) See 'L'Officiel de la Mode', n°594, 1972, p.303 for an image of this model. This gown was also featured in the magazine 'Textiles Suisse' in 1972. CONDITION REPORT: Good condition. Lacking cufflinks to cuffs. Top button loop needs re-stitching (minor). Hem has been raised by 1cm at the back. Belt and boa both good condition.
Björk's Alexander McQueen 'Kimono' dress worn for the album cover of 'Homogenic', 1997, un-labelled, comprising: blue and white damask satin kimono woven with prunus blossom, and lined in oriental scarlet satin figured with foliate roundels, with wide bell-shaped sleeves, elongated front hem panels; the obi-sash of pink and brown basket-weave effect satin with navy stripes, bust approx. 86cm, 34in; together with a Christian Dior coiled brass necklace (3) Björk approached Lee McQueen, Katy England and the photographer Nick Knight to work on her 'Homogenic' album cover. She had seen and liked the sinister but beautiful image of Devon Aoki in Visionaire magazine, which they had recently produced. Devon appeared with geisha hairstyle in an oriental silk dress with deep funnel collar from McQueen's 'La Poupée' collection. Björk wanted an equally powerful, other-worldy look for her album cover, explaining that she wished to be depicted as a warrior - a warrior who fought not with weapons, but with love: 'I had ten kilos of hair on my head, special contact lenses, a manicure that prevented me from eating with my fingers, and gaffer tape around my waist and high clogs so I couldn't walk easily', she said of the fashion shoot. At the same time as Björk's photoshoot, McQueen was working on his 'Eclect Dissect' Givenchy couture collection Autumn-Winter, 1997-98 (presented in July 1997). The collection combined ethnic, tribal and cultural influences from all over the world. In the Paris show the fabulous towering 'Masai' style necklace made by Shaun Leane for Björk's album cover was re-used and there are numerous 'japonism' references in the collection with kimono dresses, oriental embroidery and geisha-inspired hairstyles. It seems that ideas spawned by the collaboration with Björk were re-interpreted and expanded in that show. However, Björk's dress was not made in Paris but hand-made in London by the McQueen studio. CONDITION REPORT: Damp staining to front 'tails', otherwise good condition. It was worn just once for the album cover. Fabric is fresh and good.
A Christian Dior New York gold lamé and coloured tweed cocktail ensemble, mid 1960s, labelled, comprising: jacket and skirt with lamé facings, matching sleeveless bodice with gilt metal bauble buttons and a turban-like hat, bust 86cm, 34in, waist 64cm, 25in (4) Provenance: Purchased from the estate of the actress Rosalind Russell in the late 1970s. CONDITION REPORT: Good condition. Bodice: organza bodice lining has numerous repaired splits (20x5cm L-shaped repair; 4cm repair; 8cm and 8x7cm), exterior is shiny and good. Bodice zip is broken. Jacket: perspiration stains at underarms to lining, exterior is good. Skirt: hem has been lowered by 6cm and lining shortened, zip has been replaced. Hat: tweed is faded in comparison to suit but not immediately noticeable.
A fine Paco Rabanne couture sculptural ensemble, Autumn-Winter 1992-93, labelled, comprising: black chiffon dress applied with bands of gilt plastic bead-like tubes which form pin-tucks in the ground, lightly padded shoulders; the over-tunic formed of black tulle applied with gilt ribs, dramatic ruff-like upstand, diamond shaped buckle to fasten, complete with matching choker necklace formed from black plastic corrugated panels faced in gilt strip, with gilt wooden bauble pendants and matching ear-rings, bust 86-93cm, 34-36in (5) This ensemble was featured in the magazine 'Textiles Suisse' in 1992. CONDITION REPORT: Good condition, one detached bauble from the centre bottom of the necklace.
Björk's Iris van Herpen 'Snake' dress, 'Capriole' collection, Autumn-Winter, 2011-12, of dark charcoal grey entwined coil forms mounted onto tulle, bust 86cm, 34in This dress was worn for the 'Vulnicura' tour: Roskilde Festival, Denmark, June 2012; Øya Festival; Flow Festival Iceland; and Pukkelpop Belgium, August 2012. This dress took 4 months to complete. CONDITION REPORT: Good condition, slight soiling to neck lining. At the rear zip closure one acrylic panel has a miniscule chip from the edge and another has approx 1cm from the tip missing. Neither is particularly noticeable. Slight scuffing to acrylic mainly over the sleeve area.
A Chanel couture plum chenille and gold lurex ensemble, Autumn-Winter, 1964, narrow brown on ivory label numbered 20035, the dress with pink-gold degradé crinkled lurex bodice, the skirt and jacket of gold-flecked chenille, similarly lined and with heavy gilt chain, both with lion mask filigree buttons, dress bust 92cm, 36in, waist 74cm, 29in (2) An identical ensemble is part of the collection at The Metropolitan Museum of Art, accession number C.1.67.23a,b. CONDITION REPORT: Good condition, very fresh. Jacket: a few floating threads to lurex lining at cuffs and corner of collar. Dress: a few floating threads to lurex lining at collar.
A Christian Lacroix for Jean Patou black satin cocktail dress, late 1980s, blue on white Paris label, the cloth of gold choker collar with satin ruff, matching waistband, both emblazoned with coloured facetted faux gems, the skirt draping to a point at the front, with swallow-tail swag to the rear, low back, bust approx 81-86cm, 32-34in CONDITION REPORT: Good condition, no problems
A Paquin couture ivory satin 'shawl effect' dress, Spring-Summer, 1928, the dated woven label with Unis France logo numbered 49462, with deep V back, triple strand straps, the cross-over bodice and waistband embroidered with bird of paradise plumes punctuated by steel beads, the skirt covered in fringes, mimicking a shawl wrapped around the hips, bust 92cm, 36in CONDITION REPORT: Good condition, gilt chain-linked bands are good. Slight tarnishing to underside of one cuff. Velvet is generally clean and good. No alterations. Simple piece but good.
A Thea Porter 'gypsy' dress, 1978, un-labelled, with Indian brocaded bodice depicting parrots and elephants, the red and white silk skirt embroidered with gold thread and edged in velvet ribbon, bust 86cm, 34in, waist 61cm, 24in Provenance: This dress was exhibited in 'Thea Porter: Bohemian Chic', a retrospective of her work at the Fashion and Textile Museum, London, 6th February-3rd May 2015. CONDITION REPORT: Has perspiration stains along seam edge to underarms, and rear neck/shoulders, not visible to exterior. Scattering of small brown stains to skirt (not immediately obvious). 2 faint spill watermarks to rear skirt, the longest 22cm. Left cuff missing velvet bow. Scattering of small stains to inner skirt slip, one faint light brown stain at front side waist (not immediately obvious). Colours are fresh and good, staining only noticeable upon closer inspection, not immediately obvious when worn.
A Pierre Cardin black and ivory silk crêpe de chine dress, circa 1970, Paris boutique label, with floor-length slashed gothic sleeves, bust 102cm, 40in CONDITION REPORT: Generally good condition, a few prick marks from a brooch to one shoulder. Would benefit from cleaning - hem and edges of sleeves are slightly soiled. A couple of tiny pinhead sized spots to left shoulder. One small light brown stain to inside of right sleeve. Faint perspiration stains at underarms which are very hard to see. Beautifully made.
A Christian Dior couture navy challis dinner dress, 'Lily of the Valley' line, Spring-Summer, 1954, labelled and numbered 40773, bolduc 64090, the separate bodice with wide bateau neckline, cross over-front panels and off the shoulder sleeves, integral tulle waist-corset, full, pleated skirt, bust 86cm, 34in, waist 59cm, 23in (2) An identical design but in black faille was reproduced in 'L'Officiel de la Mode', n°385-386 de 1954, pp.198-199. CONDITION REPORT: Very fresh condition, looks little worn Skirt: hem has been raised by approx 4cm and also 11cm, there are 2 crease lines, but fabric has not been cut and could be reversed. There is a huge hem return of 19cm. Three tiny moth holes two to rear left hem area and one to right hem area. Soiling to front hem return but would clean. Slight soiling to exterior front right side of skirt, barely visible and would clean. Bodice: has been let out slightly on bodice side seams and underarm seams have been slightly adjusted. Interior right neck edge has been reduced in width. Deoderant marks/soiling at interior underarms. Exterior is fresh and good.
An early Lucien Lelong couture pink satin bias cut evening gown and matching capelet bolero, circa 1930, both dress and jacket with large woven satin labels, the dress with V-point to front waist, cowl neck and three broad straps to back, the capelet with concealed arm-holes trimmed with brown rabbit fur, bust approx 81-86cm, 32-34in (2) CONDITION REPORT: Dress: hem has discoloured - has taken on a yellowish tinge in contrast to the rose-pink of the main body of the dress. The change is subtle. Small lipstick mark on left hip (minor). There are brown stains on the inside hem of the dress which do not show on the outside. The capelet jacket has soiling on the inside neck edge and there are faint brown stains inside on the crepe side of the satin, mainly to centre back and hem edges. The exterior is generally good but light soiling over shoulders, occasional scuff or faint mark.
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