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.
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A rare Yves Saint Laurent 'lips' print dress, 1971, Rive Gauche labelled, of white crêpe, with zips to side and cuffs, buttons and loops to front bodice, bust 92cm, 36in This dress derived from the 1971 'Scandal' collection, S/S 1971, presented January 1971 - with the haute couture version in black velvet with Lesage embroidered lips. Although the haute couture collection was a commercial disaster - the Rive Gauche line sold successfully with this 'Lips' dress being one of the most memorable, iconic pieces. CONDITION REPORT: A few small faint brown stains around the button closure area, front right V neckline and rear left shoulder.
A rare and important John Galliano 'Incroyables' coat, Saint Martin's degree show collection, July 1984, un-labelled, of dark-grey herring-bone weave cotton, the over-sized frock-coat with one curved and one notched lapel, the wide sleeves with cuffs in striped moiré, the two large poacher pockets are open at the top but also with diagonal side vents for access, decorative handkerchief-like printed cotton faced panels hang above them, long centre-back vent edged in contrasting cottons, the trailing hem and tails can be buttoned-back in a variety of styles, chest approx 117cm, 46in Galliano's degree show, 'Les Incroyables & Les Merveilleuses', was something of a 'fashion moment', which launched his career. The clothes were inspired by post French revolutionary dress, which Galliano had researched at the Victoria and Albert Museum. He said of this collection: 'I was looking like this down-and-out French tramp. Living it, breathing it. Drawing by candlelight. Producing parchment paper stained with tea. Drawing with a calligraphy pen and sepia ink. I could just imagine these fantastic creatures marching, running across the wet shiny cobblestones of Paris....My show was very styled up when everyone else was being very minimalist - very Armani. The idea of these wonderful terrors tearing down aristocratic curtains and turning them into waistcoats and coats, inspired by the French Romantics'. The show took place at Jubilee Hall in Covent Garden. Each of the students showed half a dozen or so pieces each, and Galliano was selected by the lecturers as the grand finale. Joan Burnstein of leading London retailer Browns was watching in the audience. She recalled: 'The atmosphere was so exciting. Some (of the 24 or so student collections) were pretty bad. Then, all of a sudden, these wonderful pieces came out.' Galliano's rebels strode out with white eye-shadow, frizzed and disheveled hair, held in place by knitted cotton headbands with revolutionary cockades and matching waist sashes. The frilly oversized shirts were worn under patterned waistcoats with pennies used as buttons, combined with giant frock coats, riding boots or flat leather shoes with large tongues and bows. Mrs Burnstein approached Galliano after the show, offering to buy the whole collection and giving over to him the Brown's front windows. Occasionally waistcoats from this collection appear on the market (which were more easily combined into an everyday 1980s wardrobe) but very few of these swashbuckling coats seem to have been made and only two others are known to have survived - one of which was purchased at Browns by the singer Diana Ross. CONDITION REPORT: Good condition. Small green stain to rear of one lapel (minor), would benefit from dry-cleaning as slightly musty from storage. One Islamic coin button, the others mock wood. Lacking 2 buttons at hem. Printed cotton/striped moiré are fresh and good.
HRH the Duke of Windsor's Hunting Lord of the Isles tartan evening suit, 1951, woven in shades of green and white wool, the Scholte double-breasted jacket, labelled and indistinctly annotated `HRH the Duke of Windsor', dated 8.6.51 and numbered 2719, with wide lapels, side vents, curved cuffs with three buttons; the matching trousers by Harris of New York, zip fastened, with narrow tapering legs to the ankle; together with a Hawes & Curtis matching backless waistcoat, no 4996, and cummerbund; a Scholte dark green corduroy backless waistcoat, bearing the Duke's name, dated 8.10.47, no 189493; and two Hawes & Curtis white piqué highland style dress-waistcoats, chest 97cm, 38in, waist 74cm, 29in (7) This suit is one of the most stylish and flamboyant of all of the Duke's wardrobe. He was photographed wearing it in the early 1960s but was to continue to wear it throughout his life. It combined carefully considered tailoring with the dramatic use of an ancient highland tartan. The modern cut combined with the traditional tartan produced an avant-garde and almost shocking ensemble. Every time the Duke ordered a suit it must have posed something of a logistical nightmare. His jackets were made by his favoured London tailor Scholte, his waistcoats, shirts and accessories by Hawes & Curtis, but for his trousers he went to New York for - his 'pants across the sea' as Wallis jokingly called them. This is the suit of a quintessential dandy. As Prince of Wales and throughout his life he loved to lead fashion rather than to follow it. A suit of such dramatic pattern and colour would undoubtedly make him stand out in a crowd (as if he didn't already) though such is the power of the ensemble that few would probably dare to follow his lead - and should they try, they would be unlikely to pull it off with the elan of the Duke! Provenance: Sotheby's auction of the wardrobe of the Duke of Windsor, lot 2922, 24th February, 1998. CONDITION REPORT: Tartan jacket: good condition, no problems. Tartan waistcoat: good condition, one tiny faint spot stain above left waist pocket (minor), barely visible small soil mark on silk neck return (minor). Cummerbund: good condition, slight discolouration to lining edges, two nice little hidden pockets in the top edges, slight wear to silk lining where prongs from buckle have caught (minor). Trousers: perspiration staining to rear waistband lining, beautifully darned repair to upper inside area of left leg, interestingly right rear pocket has a button closure but the left rear pocket does not. Green corduroy waistcoat: main panels are good, wear to silk facing at neck. 2 white piqué dress waistcoats with highland detailing to pocket flaps - good condition, slight rust marks on one closure strap.
A navy wool and black leather ski suit, 1936-9, un-labelled, the heavy felted wool double-breasted jacket with broad black leather lapels, side straps, tabs to cuffs and triangular flaps to pockets on trousers with elasticated ankles, chest 92cm, 36in, waist 71cm, 28in (2) This design is redolent of some German military uniforms at the time. CONDITION REPORT: Good condition, lacking a button from the trouser fastening at left hip. Slight soiling to cotton lining on rear inner waistband. Elastic is good. Jacket is good condition, leather slightly faded with age.
A Vivienne Westwood 'Harris Tweed' collection ensemble, Autumn-Winter, 1987-88, red label and size 38, comprising: blue and green tartan wool jacket with 'heart' lapels, blue denim trims, curved pocket flaps, engraved orb silvered buttons; with 'criniscule' skirt; tweed crown with faux ermine edges; and a pair of red label 'rocking horse' shoes with ankle straps in original box, chest 112cm, 44in, waist 66cm 26in, shoes approx UK 5 (qty) CONDITION REPORT: Jacket missing one button from left cuff. Soiling to cuff edges otherwise good condition. Skirt is generally good condition. Crown- soiling to inside edge of fur trim, one small moth hole.
Björk's Iris van Herpen cape worn in the Vulnicura 'Black Lake' video, 2015, of black cashmere with concealed button closure to the front, the ground covered in clear-orange tinged rubber plume-like hand-cut panels Björk wears this cape in the latter stages of the video which deal with resurrection, where she slowly revolves in mid-air and the 'feathers' float upwards. CONDITION REPORT: Three of the 'plumes' are detached and one of them is in poor condition with damage to the slashed panels (we pinned two in place to the back of the cape for the photograph). The rubber plumes are held in place by tacking stitches and many of these need re-stitching
A 1920s pale lemon silk velvet coat with ivory silk lining fastened with a single button, to/w a pale lemon silk satin dress with bodice embroidered with metalised thread, to/w two pairs of Middle Eastern children's leather shoes Condition Report Velvet coat - lining coming adrift and altered Dress - possibly made up for fancy dress (vintage material) Shoes - worn commensurate with age
An Edwardian gentleman's leather dressing case, with fitted interior of silver mounted and other fitments, by Mappin & Webb, 1905-06, comprising: a collection of silver mounted jars, brushes, a shoehorn, button hook, glove stretcher, an ivory page turner, and a selection of other items, many engraved with monogram 'ART', the leather case with gilt letters 'ART'.
A lot to include a Victorian silver fruit knife, blade hallmarked Sheffield 1844, a silver pounce pot, hallmarked Chester 1910, a silver circular vesta case, hallmarked Birmingham 1903, with attached watch chain, a silver key, hallmarked 1916, in case, along with various other silver items to include a silver lidded perfume bottle, a napkin ring, a mustard pot, a spoon, a pair of sugar tongs, a thimble, four silver handled button hooks, three condiment spoons, together with various white metal and silver plated items to include a ring, spoons, thimbles, a medallion, a nut cracker a notebook etc.

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110986 item(s)/page