A Marc Bohan for Christian Dior couture tweed suit with tousled collar, Autumn-Winter, 1962, labelled and numbered 116015, the bolduc with 'M.Claude-Prince Noir', with A-line skirt, chest 86cm, 34in, waist 61cm, 24in (2) CONDITION REPORT: Skirt: exterior appearance is good. Hem has been lowered by 7cm, 2 3/4in. Moth damage to skirt lining at front hem area but the tweed exterior is good. Lining on rear waistband has been re-sewn at edges suggesting it has been slightly let out at both ends. There is a small split in the lining centre front also. The skirt has wide seam returns. The side seams have been taken in by approx. 1cm each side to make narrower - this gradually reduces and disappears before the waist is reached. Jacket: exterior is good condition, no problems. Lining is generally good but has been overlaid with rayon at cuff edges to hide wear.
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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 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.
A Christian Dior couture chiné satin cocktail ensemble, 'Aimant' line, Autumn-Winter, 1956, labelled and numbered 83460, comprising: bolero with matching belt and pencil skirt, bust 92-97cm, 36-38in, waist 71cm, 28in (3) CONDITION REPORT: Slightly open seam at left underarm (minor), green silk lining is good, left underarm lining needs re-stitching, seams have been slightly let out over both shoulders. Skirt has been taken in at most of the vertical seams and hem has been raised. Belt - leather backing is worn.
A Christian Dior couture black faille cocktail dress, 'Fuseau' (Spindle) line, Autumn-Winter, 1957, un-labelled, probably Patron Originale, with silk covered tulle inner corset, cross over bodice accented with three silk roses, full skirt with layered tulle petticoats, bust 92cm, 36in, waist 71cm, 28in The Metropolitan Museum collection has an identical model in red, accession no. 2009.300.7223. This model is from Dior's last line before his death. There is a full page sketch by Bouché showing this model in 'Dior in Vogue' by Brigid Keenan, p.173. At the time, Vogue described the dress as 'the most provocative dress of the season'. This design was featured in 'L'Officiel de la Mode', September 1957 p.287. CONDITION REPORT: Good condition, very fresh appearance. Looks little worn. Hem has been raised by 2cm. Extra panel of rayon has been added to corset closure to widen. Dress itself is unaltered. Beautifully couture finished throughout. It's either couture unlabelled or very top quality Patron Originale.
A Christian Dior couture embroidered white organdy dance dress, 1950-52, black on white woven label stamped 09908, bolduc no 17.607, embroidered overall with white fish-scale repeats in-filled with couched gold threads, the separate bodice with integral tulle corset, cross-over sweetheart neckline front and back, the full, gored skirt with pleated tulle trim to slightly flared hem, with matching stole, bust 97cm, 38in, waist 74cm, 29in (3) CONDITION REPORT: Condition is good overall but dress is soiled from storage and needs cleaning - organdy has a slightly grey appearance. Gown would probably have had a sash or belt which we don't have. Bodice: perspiration stain at left underarm, right underarm is fine. Interior of bodice is clean and good. Exterior has slight soiling and thread tarnishing to right breast tip. Very slight soiling/yellowing to organza at rear closure point and front waist where the diagonal panel meets it - both not immediately noticeable and minor. Skirt: good condition, no problems. Shawl: split at on one border edge 3cm long, and hemmed return needs re-stitching approx. 30cm, threads are tarnished where the neck would be.
A Christian Dior printed linen/cotton summer ensemble, late 1950s, Paris boutique labelled, with white linen bodice, the skirt and matching bodice with blue floral print, bust 81-86cm, 32-34in, waist 61cm, 24in (2) CONDITION REPORT: Dress: slight perspiration stains at underarms and to midriff area of lining. Fabric returns on bodice internally have frayed edges, externally it is good. Integral tulle petticoat has scattered holes. Bodice: lower hem edge is quite poorly sewn, and the hook and eye closure at the rear waist has been altered, very faint perspiration stains at underarms, the rest of the bodice is nicely finished.
A Marc Bohan for Christian Dior couture pearl beaded pink crêpe evening gown, circa 1970, white on black woven Paris label, numbered 24385, the bodice with silver and pearl beaded rope which criss-cross at the back, with long tassel, bust approx 81cm, 32in CONDITION REPORT: Overall impression: fresh, clean appearance. Some beads are detached and we have them in a bag, soiling to inside at underarms. Underarms have been folded back inside and rope twist edging moved to remove the outside perspiration line. Faint small yellow stain to rear seat area. 2 tiny rust spots to rear left hip area. Seam has been slightly taken in centre front seam at rib-cage area and 2 bust darts have been let out. Yellow stain to chiffon lining but not visible from dress exterior/ Tassels are generally good but a few missing strands. The rope edging on the dress itself is generally good.
Two silk scarves commissioned for Rolex watches with one original box, an Aspinal of London blue silk scarf (with box), a Jacqmar of London silk scarf, A Christian Dior silk scarf (with box), a silk Celine scarf, A Givency handkerchief and a Chinese example, to/w a floral wool scarf with fringing - all unused in original packaging
A mid 20th Century Christian Dior paste necklace bearing paper label and stamped "Christian Dior 1964" to back CONDITION REPORTS Some of the simulated pearls are flaking, there is some scratching to the lozenge shaped green "stones" one in particular is very scratches, has general wear and tear and is in need of a clean, some surface scratches, knocks and bumps.
A 1970s Christian Dior boutique opera coat or cape with black cotton exterior and faux fur black lining, fitted hood, three rope toggle fastenings to the front, the open sides fastened by a single matching toggle, length 39" together with a 1970s Revillon, Saks Fifth Avenue New York sheeps wool fur coat, length 38", a Leslie Laurence, France faux fur and leather panelled coat and another similar example (4)
A 1950s Christian Dior, Paris, black velvet short evening jacket with collarless round neck, two button fastenings, two shallow pockets and puffed tapering sleeves, size 8 - 10, length 38cm, together with a John Federics made to order black silk evening skirt, waist size 26 inches, a black velvet boned bodice with short puff sleeves, size 6 approx. and a 1940s black velvet and gold evening dress, size 8 approx, A/F (4) Provenance: Dame Alicia Markova
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