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Lot 186
A Pierre Cardin Crimplene 'Rocket' dress, Autumn-Winter 1969, Jersey Couture labelled, with fin-like curved panels to hem which move when worn, revealing contrasting black and white sides, bust 86cm, 34in, waist 86cm, 34inFor video footage of this collection featuring an identical dress, see https://www.youtube.com/watch?v=z_rsVHSXrY4&spfreload=10 CONDITION REPORT: Good condition, no problems
Lot 187
An Yves Saint Laurent couture 'Le Smoking' maxi dress, Spring-Summer, 1970, labelled and numbered 24652, double breasted with glass buttons, side slits, wide armholes, bust 86cm, 34inThis is an early example of Saint Laurent's use of the 'Le Smoking' applied to a dress. Two versions were made for this collection, see 'Yves Saint Laurent Exoticisms' p120 for an example of the other dress. It is also photographed in the Saint Laurent Archive, Spring 1970 #24652.
Lot 191
A Pierre Balmain couture apricot velvet, satin and gold lamé brocatelle cocktail suit, circa 1967, labelled and numbered 147089, the short-sleeved dress futuristic lobed shape plastron to bodice, A-line skirt with vented pockets; the matching coat gilt knot buttons, bust 92cm, 36in, waist 81cm, 32in (2) CONDITION REPORT: Coat and dress are very clean and fresh. I think the hem has been lowered approx. 3cm on both.
Lot 196
A Chanel couture cocktail suit, 1963, labelled and numbered 18145, the sleeveless dress with ivory and silver lamé bodice, ivory bouclé wool skirt, self-covered buttons, the loose jacket with chain to hem, bust 92cm, 36in (2) CONDITION REPORT: Jacket: one sleeve has been relined, one sleeve in need of relining, otherwise fresh and good. Dress: exterior is good, bodice lining with faint perspiration rings and a split. Skirt lining has been replaced, a few holes in this above rear hem area.
Lot 201
An Ossie Clark/Celia Birtwell printed chiffon dress, circa 1972, labelled and size 14, in a variation of the 'Tulip' print, with flounced sleeves and button side fastening, bust 92cm, 36in, waist 71cm, 28in CONDITION REPORT: Good condition. Hem has one 5cm tear to front along edge and raw edge for 32cm, easily repaired. One very small hole near hem at rear right. 2cm split at left underarm next to top button loop, easily repaired.
Lot 205
A Zandra Rhodes 'Conceptual Chic' safety-pin dress, 1978, labelled and size 10, of rayon jersey with intentional tears to front, adorned with beaded safety pins, matching long sleeved underdress, bust approx 86cm, 34in (2)In the late 1970s, Zandra became known as 'The High Priestess of Punk', as she began experimenting with new design techniques, feeling that her softer chiffon designs were no longer in keeping with times. She describes working on these 'Conceptual Chic' pieces: 'I took pieces of silken jersey and cut tears in them. These were passed around my studio and we all worked on perfecting the tatters and stitching the edges. It proved to be quite difficult to make a 'beautiful tear'. See 'The Art of Zandra Rhodes', by Zandra Rhodes and Anne Knight, pp.177-181. CONDITION REPORT: Good condition.
Lot 207
A Thea Porter printed chiffon and velvet 'gipsy' dress, 1970, woven black on white label, the velvet bodice edged in gold braid, with Sandra Munro designed chiffon print, bust 86cm, 34in CONDITION REPORT: Good condition, colours are good. Very faint stains mainly on skirt front but not immediately noticeable due to the pattern, and hard to see. Slight creases to velvet at underarms from wear (minor) and very faint perspiration stains at underarms to lining only, not visible to exterior. 8cm stitched repair to velvet at under-bust seam (not immediately obvious). A couple of faint watermarks/stains to lining at lower rear skirt, otherwise lining is good.
Lot 222
A Jean-Paul Gaultier 'Mad Max' dress, Autumn-Winter, 1995-96, Maille labelled, of stretch polyamide forming a second skin, the computer-generated spot pattern reflect the contours of the female form, with spot-print portrait to the rear shoulders, bust approx 86cm, 34in For this collection Gaultier drew inspiration from the 1979 science fiction film 'Mad Max'. CONDITION REPORT: Dress has been shortened at the waist
Lot 226
A Thierry Mugler black velvet sheath, Spring, 1986, blue label, the boned strapless bodice applied with fan-pleated gold lame panels, above slender tapering velvet skirt with trained hem, bust approx 86cm, 34in See 'Thierry Mugler Photographe' 1988, Paris Du Regard, for an image of a model on a roof top wearing an identical dress.
Lot 227
A fine and rare Alexander McQueen for Givenchy couture black sequined `flapper' dress, Spring-Summer, 1999, Givenchy couture label, handwritten with the collection date and stamped 'Press Sample', model no 32, the nude chiffon ground applied with herring-bone stripes of black sequins, with frond-like gold sequined and embroidered edges, points to graduated black tulle skirt, bust 76cm, 30in, waist 61cm, 24in; together with a photograph of the gown being modelled but with tulle sleeves (2) McQueen took as his inspiration for this collection the 'roaring twenties' and F.Scott Fitzgerald's 'Great Gatsby'. CONDITION REPORT: Good condition. 1cm split in tulle below zip fastener - easily repaired (minor). 0.5cm x 1cm bald patch in sequins halfway down rear zipper closure (minor).
Lot 232
A complete Westwood/McLaren 'Buffalo' or 'Nostalgia of Mud' ensemble, Autumn-Winter, 1982-3, World's End labelled, comprising: sheepskin 'Chico' jacket with faux antler buttons; tan cotton wrap-around skirt printed in green with 'Buffalo' girls, Inca gods and with embroidered floral detailing; camel coloured felt hat with multicoloured knitted inner headband; a matching knitted sweater dress and pair of stockings; and a pair of distressed-effect leather shoes with double straps, 27cm long (8) CONDITION REPORT: ·Jacket - has been heavily used, sides of the collar are repaired by bands of machine stitching, two of the buttons are replacements, the odd nick in the suede, lightly soiled appearance generally. ·Skirt - first impression fresh and good, nice strongly coloured print. Brown damp staining is concealed within the folds of the skirt in a couple of places - but not immediately noticeable when the skirt is being worn or displayed. Knitted skirt trim is a bit frayed along the edge. ·Hat - good condition, slight soiling to inner headband especially on the label ·Stockings - good condition but labels have been cut out. ·Shoes - heavily used, heavily scuffed, intentionally distressed but this added to by the original owner.·Sweater dress - has been heavily used but generally good condition, slight pilling
Lot 236
An Azzedine Alaïa 'Houpette' knitted chenille dress, Spring-Summer, 1994, labelled and size M, figure hugging and calf length in contrasting black and white wools, bust approx 86-92cm, 34-36in CONDITION REPORT: good condition, slight soiling at underarm edges and soil spot to right shoulder area (minor), would benefit from dry cleaning
Lot 241
A rare John Galliano pinstriped wool dress, 'Fallen Angels' collection, Spring-Summer, 1986, labelled 'John Galliano 1', with elasticated circular patch pockets to the breast, 'Dior' Y-shaped pleats to the skirt which form a peplum at the hips, shirred, elasticated back, bust 92cm, 36in CONDITION REPORT: Good, slight moth damage to rear skirt, 3 small moth holes to front of skirt
Lot 250
A John Galliano 'Lace' print chiffon bias cut dress, 'Hairclips' collection, Autumn-Winter, 1988-89, labelled John Galliano London, with asymmetric hem and hand embroidered pink soutache ribbon medallion with chain-stitched centre, bust approx 86cm, 34in CONDITION REPORT: Faint perspiration stains at underarms, otherwise good condition.
Lot 252
A rare Francis Wilson for John Galliano tartan cotton bonnet, 'Rose' collection, Autumn-Winter, 1987-88, 'John Galliano London' label, the low topper with double brim petersham edgings and swallow tail bow, 20.5cm, 8inThis bonnet formed part of the ensemble chosen by the Gallery of Costume, Bath, as their dress of the year in 1987. CONDITION REPORT: Good condition, no problems
Lot 256
A fine and important John Galliano for Givenchy haute couture black-grey silk ballgown, 'Princess and the Pea' collection, Spring-Summer, 1996, defilé label handwritten, 'Ete 96, At. Colette, Robe no 28, Veronica', with 19th century inspired panelled bodice with decorative corset-like front lacing, rear zip fastening, with faux pet-en-lair front panels inset with pockets, the wide pagoda sleeves trimmed with rippled bands of satin and grosgrain ribbons, chantilly lace, with large bows to the dropped shoulders, the black silk skirt with large swallow-tail panels of shot black-grey silk, nine multiple tiers of black tulle underskirts below, bust 86cm, 34in, waist 59cm, 23in, trained hem approx 370cm, 12ft 2in CONDITION REPORT: Bodice and dress: exterior is good and fresh, binding one breast underwire has worn, one boning strut poking through the top of the binding. Layers 1,2 and 4 of 8 tulle petticoats have tears and repairs where a heel has snagged them.
Lot 258
An early Issey Miyake ikat weave coat-dress, Autumn-Winter, 1985, shades of grey label, with cross over kimono-like front panel with buttoned closure, diagonally placed patch pocket to right hip, with loose sack-back panel, formed in one with the front panels, the lower skirt section with diagonal seam See 'Issey Miyake' The National Art Centre catalogue p78 for a similar piece.In this robe Miyake combines traditional Japanese fabrics and front closure details with complex cutting-edge construction. CONDITION REPORT: Slight soiling otherwise good
Lot 26
Three Maggy Rouff watercolour sketches, circa 1956, comprising: 'Carita', two-piece ensemble in grey flannel with striped blouse; 'Apparence', dark grey wool dress, slim skirt, with mink cravat; and 'Midshift', white wool top and trousers, with white satin coat, 21 by 30cm, 8 by 12in (3) CONDITION REPORT: good.
Lot 263
An Issey Miyake pleated dress with image by Yasumasa Morimura, Guest Artists Series, No 1, Autumn-Winter, 1996-97, Pleats Please labelled and size 4, with scooped neckline, one side printed with a statuesque female figure (excluding the head) from Ingres' 1856 painting 'La Source', the skirt section with an inverted photographic image of Morimura encased in red net seemingly entwining and dissecting the figure, the reverse with the same images upside-down but including the female head
Lot 268
A Comme des Garçons ensemble, Spring-Summer, 1984, ribbon labels, comprising: white cotton jersey under-dress with diagonal front seam running from shoulder to underarm, elasticated pouch-like cowl collar; with cream cotton jacket with similar double-pouches forming a collar (2) CONDITION REPORT: Good condition, no problems
Lot 271
A good Comme des Garçons tartan coat-dress, 'Inside Decoration' collection, Autumn-Winter, 2010, black and yellow satin label and size S, with pillow-form 'bump' plastron, epaulettes and panels inset at the small of the back, double breasted fastening, chest 86cm, 34in This was look no 17 on the catwalk.
Lot 277
A Comme des Garçons black velvet 50s inspired cocktail dress, Autumn-Winter, 1987, Noir label and size S, with draped asymmetric neckline and pointed side panel to skirt This model was exhibited in the 'Essence of Quality' exhibition, Tokyo, produced by Kyoto Costume Institute, and CDG in 1993. CONDITION REPORT: good condition, no problems
Lot 278
A Comme des Garçons ruffled ensemble, Spring-Summer 2000, labelled, in shades of blue to grey, comprising: triacetate under-dress with peterpan collar with attached black lycra body suit covered in abstract fronds in differing fabrics with popper-fastened gusset; the matching jacket with ruffled undersleeves and outsized safety pin to fasten (3) CONDITION REPORT: Good condition
Lot 280
A Comme des Garçons navy and white checked wool ensemble, Autumn-Winter, 1986-87, labelled and size M, the double breasted jacket with asymmetric basque, padded shoulder, the matching skirt cut short at the back and long at the front with asymmetric polonaise panel which can be buttoned at the rear; together with a knitted black under-dress which peeps out at the back hem, bust 86-92cm, 34-36in (3)For a similar model in grey see KTA lot 299 14.6.2016 and also 'Breaking the Mode' by LACMA p57. CONDITION REPORT: Good condition, looks unworn
Lot 282
A Yohji Yamamoto logo-patterned 'Parody' ensemble, Autumn Winter 2007-8, labelled, comprising: black and tan knitted sweater dress with YY and Vuitton-esque style logo repeats; and black tailcoat with rear pockets, broad leather breast strap embossed with logos and patterns, bust 86-92cm, 34-36in (2)In this collection Yamamoto seemed to be gently mocking the obsession with trademark logos by Louis Vuitton and others.
Lot 284
A Comme des Garçons red and white flocked cotton ensemble, 'Blooming Flowers' collection, Autumn-Winter, 1996, labelled and size M, comprising long shift dress, with overall flocked daisy print, opening at bodice side, contrasting devoré sash-like panel; with padded Dufy-esque flocked and padded coat with giant safety pin to fasten and hood (2)The coat is photographed in 'Rei Kawakubo', Taschen p116. CONDITION REPORT: Good condition, slight soiling along inside edge of coat collar. Dress looks unworn
Lot 289
A Yohji Yamamoto purse/pinafore dress, Spring-Summer, 2001, labelled and size 2, of lightweight black wool, front skirt with integral purse with metal mounts and clasp, the strap forming a halter-neck, waist 76cm, 30in An identical model was exhibited in the MOMU 'Dream Shop' exhibition devoted to Yamamoto, 2006 (Antwerp Fashion Museum) and reproduced in the Rizzoli catalogue 'Yamamoto & Yohji' p340. CONDITION REPORT: Good condition, no problems
Lot 291
A Yohji Yamamoto black felted wool dress, 'Homage to Pierre Cardin' collection, Autumn-Winter, 1989-90, labelled and size S, with buttons and zip to side closure, the skirt appliquéd with brick orange and ivory abstract shapes; with Yamamoto white cotton shirt (2) CONDITION REPORT: Good condition, no problems
Lot 298
A Yohji Yamamoto de-constructed knitted cotton dress, Spring-Summer, 1993, labelled and size M, the stocking stitch panels intersected by intentionally laddered bands forming 'Y's' front and back, frayed hem and cuff adornments This design in black was modelled by Linda Evangelista, photographed by Satoshi Saekusa, for Italian Vogue, in 1993. See link: http://www.vogue.it/news/encyclo/stilisti/y/yohji-yamamoto
Lot 300
An Alexander McQueen butterfly-wing print chiffon dress, 'Plato's Atlantis' pre-collection, Spring-Summer, 2010, grey label and size 42, the chiffon draped and gathered with raw edge to strapless bodice, interior corset, bust approx 92cm, 36in, waist 66cm, 26inA variation of this print is shown in runway looks 5-7. CONDITION REPORT: Good. Buttons along interior bodice edge indicate something is missing which would have been attached.
Lot 303
An Alexander McQueen vertebrae/crystal print cocktail dress, 'Natural Distinction, Un-Natural Selection' collection, Spring-Summer, 2009, labelled and size 42, with digital print in shades of grey, with nude transparent side panels, original shop tags, bust 92cm, 36inThis was look 28 on the catwalk. CONDITION REPORT: Good condition, unworn
Lot 304
An Alexander McQueen black crêpe georgette and leather banded cocktail dress, Spring pre-collection, 2004, labelled and size 40, with integral corset, leather criss-cross bands traversing the dress overall, bust 86-92cm, 32-34inThis dress bears similarities to the gold dress look no 3, in AW 2003.
Lot 31
An unusual commemorative child's dress, 1863, of burgundy velvet with ivory satin piping, mother of pearl buttons, and taffeta waist sash, the tails printed with the Prince of Wales plumes, 'Ich Dien' and 'Albert and Alexandra', bust 61cm, 21inThe Prince of Wales, Albert Edward, married Danish Princess Alexandra on the 10th March 1863 at St George's Chapel, Windsor. He was 21, and she 18. Their marriage was popular and promoted in the British press as a love match. Presumably this dress was made to wear at a celebratory party. CONDITION REPORT: A few marks in the bodice velvet, ivory satin waist sash is damp stained and discoloured
Lot 311
An Alexander McQueen 'Hieronymus Bosch' weave dress, 'Angels & Demons' collection, Autumn-Winter, 2010-11, labelled and size 38, with inner black silk chemise corset, the exterior of jacquard woven silk, the design taken from elements of three paintings by Hieronymus Bosch, within panels of black silk with intricate gold sequined traceries, with cartridge pleated satin skirt, bust 86cm, 34in; with original shop tag and bag of extra sequins (2)This very strong design statement from McQueen's last collection reflects his interest in the macabre and his love of Old Master paintings.'I relate to that cold, austere asceticism of the Flemish masters, and I also love the macabre thing you see in Tudor and Jacobean portraiture' (Savage Beauty, Metropolitan Museum catalogue, and full page illustration, pp92,93)In an interview with his mother in 2004, McQueen declared, that his favourite artworks were those of 15th century Flemish and Dutch painters, 'because of the colours, because of the sympathetic way they approached life...I think they were very modern for their times'.Decorative print elements for this dress were carefully chosen from three of Hieronymus Bosch's paintings - all depicting monstrous scenes from hell. Great care was taken to select and merge motifs from different Bosch paintings on the main front bodice panel. The iconography taken from the paintings are as follows - 'The Garden of Heavenly Delights' (c.1500) with a large pink bagpipe (using music as a form of punishment) the motif humorously located on the lower back panel above the skirt, as well as a bird swallowing a man on the front bodice; 'The Temptation of St Anthony' (c.1501) - a fish dressed as a cardinal used on the front bodice; and a woman peeping from a tree (lower front panel above skirt); 'The Last Judgement' (c.1482 or later) - a speared egg on legs, a body slithering with snakes and a dragon peering into a barrel with a cowering figure barrel - all used on the main back panel.The black scale-effect sequined tracery is redolent of Renaissance embossed velvet patterns, the rich gold leaf of illuminated manuscripts or the gold threads used in finely worked orphrey panels.It is only upon close inspection that it is noticed that the dress whilst undeniably beautiful, incorporates individual design elements intended to caution and admonish potential sinners. This model is also illustrated full page in 'Alexander McQueen' V&A publications, p164.This was look no 2 in the show. CONDITION REPORT: Good condition, looks unworn, slight fraying to fabric to zip closure in one small place (minor)
Lot 33
Princess Margaret's Horrockses Fashions printed cotton summer dress, 1967, with 'By Royal Appointment' label, comprising: short strapless sundress with boned bodice and matching button-backed overbodice with bow to neck, bust 86cm, 34in, waist 61cm, 24in; together with a newspaper clipping and a Daily Mail supplement showing the Princess wearing the ensemble with Lord Snowdon on a visit to the Bahamas in 1967 (4)Provenance: Between 1990 and 2001 the vendor's father was head gardener at Alanbay Park when it was owned by The Hon Mrs Jean Wills (née Bowes-Lyon) and Major John Wills (of Wills tobacco fame). Mrs Wills was first cousin to HM the Queen and a Lady in Waiting to HRH Princess Margaret and they regularly played host to the royal family. This dress was included in a bundle of old clothes belonging to Princess Margaret that Mrs Wills had been asked to sort through and either to donate to charity or burn. The vendor's mother picked out this particular dress thinking her daughter (who would have been a teenager at the time) might like it. Suffice to say the young girl declared she 'wouldn't be seen dead in it' and it has remained in a drawer wrapped in tissue paper ever since. CONDITION REPORT: Good condition, no problems
Lot 34
Princess Diana's Catherine Walker slubbed turquoise silk ensemble worn for a Royal tour of New Zealand, April 1983, bearing woven label, comprising: dress with vertical pleats to front and back bodice, elbow length sleeves, gently gathered skirt; with matching long sleeved jacket, bust 92cm, 36in, waist 66cm, 26in (2) Princess Diana wore this ensemble on the 36th day of the Royal Tour of Australia and New Zealand, April 24, 1983. She visited the Te Poho-o-Rawiri Marae Meeting House, Gisborne, North Island, where she was given a traditional Hongi welcome by the local Maori dignitaries. Princess Diana was photographed wearing this ensemble rubbing noses (the traditional Maori greeting). Provenance: Purchased by the vendor from a dress agency in Hampshire in the 1980s. At the time she was told in confidence by the shop keeper that the clothes had been consigned by a relation of Sarah Ferguson, Duchess of York. See KTA lot 208, 14.6.2016, for Princess Diana's Emanuel tartan wool ensemble which came from the same shop. Mr Said Cyrus of Catherine Walker recalls making similar ensembles but only one exactly in this style - exclusively for the Princess. CONDITION REPORT: Dress: perspiration stains at the underarms. Brown droplet stains down the front of the skirt and approx. 6 brown stains scattered mainly over the front skirt. Hem has been raised by 5cm. Jacket: the sleeves have been taken in and frilled cuff removed by the vendor. Overview: fair-poor condition, it may be possible to reverse the sleeve alteration on the jacket.
Lot 35
Princess Diana's Caroline Charles printed tartan wool day dress, worn to the Braemar Highland Games, September 4th, 1982, labelled Caroline Charles, with black cord outlined yoke front and back, black buttons and cord loops to fasten, ivory grosgrain collar and cuffs, separate tie belt, bust 86cm, 34in, waist 66cm, 26in; together with a Telegraph magazine which includes a photograph of the Princess wearing this dress, accessorised by a dark green Argyll cap, accompanied by Prince Charles and HM The Queen, who seemed to be clearly enjoying the occasion (3)Provenance: Purchased by the vendor from a dress agency in Hampshire in the 1980s. She was told in confidence by the shop keeper that the clothes had been consigned by a relation of Sarah Ferguson, Duchess of York. See KTA lot 208, 14.6.2016, for Princess Diana's Emanuel tartan wool ensemble which came from the same shop.Caroline Charles, the designer of the dress, has confirmed that only one dress of this style was made - exclusively for the Princess. CONDITION REPORT: Collar and cuff have faint stains. Approx. 6 small moth holes on front of skirt, two 1cm moth holes to left front side of skirt near hem, a few pinhead moth holes to shoulder area, 1x2cm hole rear right of skirt. Hem has come down and needs re-stitching. Lining has perspiration stains at underarms and slightly at side waist. Discolouration at hem edge. Tie belt has a couple of small patches of peppered moth holes. Overview: generally good, some moth damage but not easily visible.
Lot 36
Princess Diana's Bruce Oldfield crushed purple velvet evening gown, worn for an official visit to Portugal, February 11th, 1987, Custom Made label, the wide, off the shoulder neckline outlined by a band of horizontal pleats, with slim inner skirt and trained over-skirt with draped side panels, with original coat hanger and Christie's lot ticket, bust 86cm, 34in, waist 71cm, 28in (3)Princess Diana wore this gown when she and Prince Charles attended a dinner given by Portuguese president Mario Soares at the Ajuda Palace, Lisbon. On this occasion she chose to wear it with the dazzling Spencer family tiara, which she had previously worn on her wedding day. The Princess sat for an official portrait wearing this gown by the photographer Terence Donovan.Provenance: 'Dresses from the Collection of Diana Princess of Wales' auction, original Christies, 25th June, 1997, lot 74. After purchase this dress was never worn or tried on and is in the same pristine state as when last worn by the Princess. CONDITION REPORT: Good condition, no problems. Princess Diana was the last person to wear this as vendor who purchased it at Christies auction handled it with great respect.
Lot 46
A striped chine taffeta robe à la polonaise, 1770s, the silk woven in shades of green pink and ivory, the open robe with closed front bodice, linen linings, double engageants, pinked furbelows to the skirt edging, with matching petticoat (2) CONDITION REPORT: ·Petticoat seems narrow for the dress so fabric may have been removed. Linen seat panel looks like a replacement. Faint light brown discolourations to rear hem area. 2 small splits front left hip area of petticoat.·Robe has faint perspiration stains at underarms and repair and wear at right underarm. Old stitch lines suggest front left and right skirt panels have had the waistline lowered. Linen bodice lining is fresh and good apart from perspiration stains at underarms. Faint brown stain to left engageant flounce. Sleeves have been narrowed. Front left skirt panel has a superbly matched patch 25x20cm. Faint light brown stain on furbelow. 3x5cm patched repair to front hem. Back skirt panels - a few small scattered holes. Rear right back - 2 faint discolourations.
Lot 52
A Charles Frederick Worth visiting dress, circa 1875, the jacket-like bodice with ivory waist stay printed in gold 'Worth, 7 Rue de la Paix, Paris', of puce silk faille trimmed with pale blue silk with gold satin stripes, the lapel bands and cuffs inset with ivory lace, the sleeves with slash-effects at the cuffs revealing striped silk, the rear basque tails with off-centre bow and ribbons; the skirt with draped striped ribbon bands, with rich tasselled gold passementerie to the puce side panel, the exposed inner skirt of tiered pleats of striped silk, bust 92cm, 36in, waist 69cm, 27in (2)Provenance: From the collection of Rosina Rossellini. CONDITION REPORT: The fabric is in remarkably fresh condition. Slight wear to silk lining on inside rear collar. The basque bodice is fastened by a replaced hook and eye - there would have been something more substantial originally in terms of a fastening. I suspect there was a corseted under-bodice perhaps with a lace infill that would have been shown at the front. I think the waiststay would have been attached to that originally? Skirt with wear to narrow satin waistband edge and at closure area. The waistband and corresponding rear pleats area have been let out to widen. Slight moth damage to inside hem dust ruffle. Passementerie, fringing and pleats are all good.
Lot 53
A rare Paul Poiret ensemble for his famous One Thousand and Second Night party, 10th January 1914, large woven Poiret label, the back annotated in ink '45.278 - Mme Barachin Germaine, Robe de la Reine de Perse', comprising: fuchsia velvet harem pants with attached nude organza bodice richly overlaid with bands of Russian silver bobbin lace, with pearl beaded ankle bands; worn under a cloth of silver tunic with long trained hem, raised fuchsia velvet botehs embroidered in silver thread and seed pearls to the chest closure, entirely edged in large pearl beads; the elaborate conical cloth of gold headdress adorned with emerald and sapphire 'jewelled' medallions, with wing-shaped wired silver lace side panels and earring-like pearl droplets to each side, topped by ostrich plumes, bust 86cm, 34in (3)In his memoir 'King of Fashion' 1931 pp98-99, Poiret wrote 'It was on returning from a Bal des Quat'Z'Arts, in the month of May 1911, I think, that I decide to give, in my salons and gardens in Paris, an unforgettable fête, that I called 'The Thousand and Second Night''. He was aided and abetted by his close friend Raoul Dufy.Poiret described how, on the night, his guests had their costumes vetted and if they had arrived in evening dress or fancy dress that bore no relation to his Persian theme they were requested to go upstairs and change into costumes that he had thoughtfully provided, but if they refused then they were asked to leave.Mademoiselle Barachin obviously wanted to look her best and commissioned Monsieur Poiret himself to make her costume. She was rewarded by being dressed by the couturier as 'the Queen of Persia', which was surely a great compliment. His own beautiful wife, Madame Denise Poiret, was dressed as the 'Queen of the Harem'. She was ensconced in a large gilded cage surrounded by her 'ladies of honour'. His guests were treated to a lavish party such as had never been seen before with orchestras, dancers, exotic food, the trees covered with' luminous fruit', exotic birds and monkeys, who all escaped in the dawn over the roof tops of Paris.Poiret himself, was dressed as the Sultan of course. He described how at the beginning of the evening, when all of his 300 guests (composed of artists and 'sensitive amateurs') were assembled, he opened the gate to the cage to restore his 'favourite's freedom'...'She flew out like a bird and I in pursuit of her, cracking my useless whip. She was lost in the crowd.. Did we know, on that evening that we were rehearsing the drama of our lives?'.Poiret sadly recalled, 'These fêtes, in which I gathered together all my friends, did me a great deal of harm among my enemies, and raised against me those who had not the good fortune to be admitted to them.'This opulent party was seen in retrospect as a last great 'hurrah' before World War I was declared later in June that year. Poiret's business post war, with his love of excess, orientalism and fantasy was never to fully recover in a world irrevocably changed by war.Provenance: Elisabeth Barrachin, the elegant daughter of a rich industrialist (Pierre Barrachin), who became the Marquise de Ségur upon her marriage in 1925 to Philippe, Count de Ségur-Lamoigon. CONDITION REPORT: Harem pants ensemble - the nude organza bodice has been repaired and in places re-backed. The lace and velvet areas are good. Jerkin - silver lame is lustrous, pearl beads along hem have been replaced with near identical examples, fabric is frayed and worn around the closure. Hat - good condition, slight wear to lining. Feathers have been replaced with identical plumes
Lot 57
A Molyneux couture silver lace and lamé cocktail dress, circa 1927, with large printed label 'Modèle Molyneux, 5 Rue Royale, made in France', numbered 9695, with broad gold bobbin lace band to waist, bust 86cm, 34in CONDITION REPORT: First impression is good. Some tarnishing to cloqué lamé on bodice but overall the lame and silver lace are still glossy. Perspiration stains at underarms of lace bodice and stitched repairs/conservation here also. Tapering panels of similar silver lace have been inserted on each side of the bodice although it looks to have been done at the time as the lace is near identical. Faint perspiration stains to interior of lame bodice which are not visible to the exterior and minor. Small hole to lame at rear right bodice near waist, tarnishing here also. Otherwise good condition.
Lot 61
A Chanel couture beaded beige chiffon flapper dress, 1926-8, un-labelled, adorned with pewter-grey and gold bugle beaded zig-zag bands, the skirt falling in two tiers with irregular frond-like edgings, bust 81cm, 32in For an identical model see KTA 10.07.2007, lot 103 which sold for £25,000. For a black chiffon dress altered into a cape with similar beadwork pattern see KTA 26.06.2012, lot 76, which sold for £6,200, CONDITION REPORT: Poor condition, dress has been taken in at the sides and the slip has bust darts added to reduce the width also. Central and lower sections of slip have been added to lengthen. A presstud closure has been added to the right-hand side of the dress. Holes near armhole areas, small hole centre back below neck edging. Beadwork is fragile and needs re-backing but a good study document.
Lot 62
A Callot Soeurs couture orange silk and metallic lamé bias-cut evening gown, 1929, indistinctly dated on remains of ivory ribbon label, the skirt falling in handkerchief pleats, bust approx 97cm, 38in CONDITION REPORT: Dress is good condition, fabric is fresh and strongly coloured. Label is disintegrating and needs conservation. Two front skirt seams need re-stitching, the longest approx. 12cm (minor).
Lot 67
An early Jeanne Lanvin couture grey-green satin afternoon dress, 1913, with narrow yellow on ivory label to the broad waist stay, with rouleaux band defining the raised waistline, the sleeves, neck edging and side panels of paisley printed and woven kashmir wool densely over-embroidered in coloured silks and metal threads and couched silk cords, silver thread covered bauble buttons, embroidered and lead weighted hem, bust 86cm, 34inFor a very similar embroidery technique see 'Lanvin' by Rizzoli pp80-81 for a blue velvet tunic 'Saxe' of 1913. However, that garment has been shortened, unlike this one. The same dress is again reproduced in 'Lanvin' by Palais Galliera p41.Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Exterior is good condition, the inner silk camisole has bad perspiration staining but the sleeves and dress exterior are good. There is the faintest perspiration ring on the sleeves which is hard to detect. Some of the camisole seams have been unpicked to allow the waistline to be widened. The petersham waistband has been cut over the curve of the stomach/front waist, probably by Mme Bricard for more comfort! Slight fraying to ribbon enclosing the chain-weighted hem. The fabric and dress overall are remarkably fresh and good. This is a really fine example of an early Lanvin dress.
Lot 69
A Jeanne Lanvin couture pale green silk crêpe Romain evening gown, model 'Pasiphaé', Winter, 1934, unlabelled, the dress with complex undulating top-stitched basket-weave bands to the short sleeves which produce a bolero-like effect, broad criss-cross bands to the back with integral sash tie to the waist, matching slip, bust 86cm, 34in (2)An identical model in white crêpe is shown in 'L'Officiel de la Mode', December 1934, no 149, p27.A black crêpe dress of Summer 1935 'Prelude' also incorporates this basket-weave effect, see 'Lanvin' catalogue Palais Galliera pp235, 315, cat.130.Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Dress has perspiration stains at underarms, which are concealed by flounces. Faint discoloration at rear lower back area, slight soiling generally, would benefit from dry cleaning. The odd small soiling mark on skirt. Approx. 1x4cm wide stain to left skirt side. Petticoat has small split at edge centre back point, otherwise good condition, no problems.
Lot 70
A silver lamé evening jacket, probably Lanvin, circa 1934, with back slit, no fastenings; together with a Nicole Groult black satin under-dress, mid 1920s with silver embroidered bands to skirt, labelled; and a Premet shortened black chiffon cocktail dress with full sleeves, and graduated chevron embroidered tulle panels, average bust size 86cm, 34in (3)See 'L'Officiel de la Mode', 1931, no 116, p26 for the Premet gown.Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: ·Jacket has tarnished in places, mainly edges of lapels and cuffs. ·Groult is lacking the bodice, 4cm split in satin at rear V-neck point which is easily repaired, otherwise good·Embroidered tulle and chiffon - Shortened at the waist. A few small holes to skirt, the largest 4x2cm near waist, otherwise good. Tulle applique needs re-stitching in places.
Lot 71
A Jeanne Lanvin couture pink organza evening gown, 'Bocage', Summer, 1933, unlabelled, bias cut with raised waistline, flared skirt, the sleeves formed from a cage-like lattice made from organza strips, with a small point at each join to give texture, with broad waist sash, bust 86cm, 34in (2)For an identical model see 'Lanvin' Palais Galliera catalogue p229. The design for this dress is preserved within the Lanvin archive, 1933 Volume III. It was shown in pale green and originally cost 1800 francs.Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Perspiration staining at the centre back area and underarms, lacking slip which would have carried the label. Small brown stain on front of skirt and another at hem edge below, otherwise good.
Lot 72
A rare Jeanne Lanvin couture girl's dress, 1920s, with narrow ivory woven ribbon label, no 4606, of pink silk trimmed with beaded posy, ruched silk bands and silver lame panel centre-front, bust 76cm, 30inAlthough Lanvin was famed for her mother-daughter ensembles, children's garments by her are very rare. A similar dress is illustrated in 'Art, Gout, Beauté', Christmas, 1923.Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Poor condition. Bad perspiration stains at underarms and split along seam at right underarm. Side seams let out, horizontal darts inset at front waist area then unpicked. There are stitch lines along the back bodice that suggest the dress was folded over and stitched there to shorten and then unpicked? Soiled neckline, small pinhead holes, a few scattered spot stains. Front lame panel needs re-stitching right side approx. 17cm, easily fixed.
Lot 73
A Premet couture black georgette and embroidered tulle evening gown, circa 1929-30, with narrow ivory satin woven label; together with a Lenief couture spot-print silk crêpe dress with floral tiers to skirt, labelled, the bolduc inscribed J9435,'Chiqitor', Mrs Astraudo Maryse Chiquita Jose', busts approx 85cm, 34in (2)Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: The Premet - embroidered tulle panels are torn, a rectangular section of georgette has been cut out of the integral petticoat at the waist, 15cm tear and repair to petticoat bodice, soiled, in need of cleaning. The Lenief - perspiration stains to back panel and underarms, perished at underarms.
Lot 77
A Jeanne Lanvin couture floral printed silk day dress, Summer, 1935, large woven dated label, no 23385, bias cut with cowl neck, shaped 3/4 length sleeves, bust approx 86cm, 34inProvenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Hem has been shortened, faint perspiration discoloration to rear bodice, brown stains to front right sleeve, front bodice and front right skirt near hem. Bad perspiration stains at underarms
Lot 79
A fine Jeanne Lanvin couture bridal gown, Summer 1935, labelled and numbered 22872 to the slip, the bias-cut gown with large pearlised floral corsage to the neck, long curved, full sleeves, with matching circlet and satin belt, the pointed train with diamond seaming, 350cm, 148in long, bust approx 86cm, 34in (3)Provenance: worn by Anne Marie Astraudo (1914-2004) for her marriage to Christian Bricard (1911-2000) who was director of the department store 'La Belle Jardinière', Paris. CONDITION REPORT: Dress has perspiration stains at underarms, light soiling to train. Clear celluloid film is lifting off the petals in places, a few creased petals but generally good. Original glue marks on inside of bodice from corsage. Headdress is generally good condition, a few of the petals are creased and the clear celluloid film covering the petals has begun to lift off in places. Belt edge has slight rust mark and pin hole to pointed tip. Slip is good condition, 2 white marks below right breast (minor).
Lot 84
A Premet couture black tulle and taffeta cocktail dress, circa 1927-29, narrow ivory satin label, numbered 45791, with layered tulle petticoats, five spaghetti straps traversing the bodice to attach to the dropped waist, bust 86cm, 34inProvenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: good condition, no problems, small stain on label (minor)
Lot 86
A Jeanne Lanvin couture eau de nil organza summer dress, probably Summer, 1931, un-labelled, the skirt insert with tulle circles, with matching capelet, bust 92cm, 36inThis gown is similar to the 'Arabebsque' model Summer 1931 which is believed to be a collaboration between Jeanne Lanvin and Sonia Delaunay, where they experimented with geometric shapes. See 'Lanvin' Palais Galliera p311 cat 96 for a fashion sketch. Also see 'Femina' August 1931, for a Lanvin gown with skirt inset with similar circles.Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Perspiration stains at underarms, tulle areas in need of conservation, brown droplet stains down front right skirt area above hem. Small spot stains and discolouration over shoulder on matching capelet. Waist seam needs re-stitching approx. 3cm.
Lot 87
A Jenny couture floral printed chiffon dress and jacket, 1930, woven label and numbered 5496, printed in shades of pink and blue, with integral lead weighted underslip, bust approx 86-92cm, 34-36in (2)Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: ·Dress: faint perspiration stains at underarms and bodice but not immediately noticeable due to the pattern. One pinhead sized hole to black chiffon at front bodice. Small area of rubbing to chiffon at front of skirt below waistline. Printed chiffon has come un-stitched in 2 places at front of skirt (minor). Long stitched repair along hemline (front right to rear, 103cm long, very well done and not immediately obvious - needs re-doing in 2 small places). Tear along side seam above slit approx. 10cm, easily repaired. Split along seam line on each waist side approx 2.5cm long, the tips of the skirt godets have seam pull and some re-stitching·Jacket has vertical split at rear neck approx 6cm long. Scalloped, printed chiffon has separated from black chiffon (not immediately obvious), could be repaired. Faint perspiration stains at underarms, very hard to see, concealed within print. Tear in floral chiffon at left front closure edge below tie.·First impression is fresh and good. Very beautifully made, overall chiffon and colours are good
Lot 89
A Jeanne Lanvin couture emerald silk crêpe de chine evening gown, Winter, 1935, large woven dated label numbered 50893, bias-cut, the short sleeves with elaborate origami-like tri-angular panels, with matching waist sash/stole, bust approx 86cm, 34in (2)For a dress with similar cuff decoration see 'Lanvin' Palais Galliera p248, model 'Tremolo'.Provenance: From the wardrobe of Maryse Astraudo and her daughter Anne-Marie Astraudo, wife of Christian Bricard. CONDITION REPORT: Very fresh, great colour, great construction and wonderful sleeves but hem has been cut and shortened. Seams at shoulder/neck edge have started to separate and need re-stitching (minor). Perspiration stains at underarms and 1cm split within stain at right underarm. Faint spot stain at rear waist. Faint discolouration at right waist which is hard to see. Sash has 3 soil marks to pointed tip.
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