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Click here to subscribeA Junya Watanabe/Comme des Garçons patchworked denim dress, Spring-Summer, 2002, labelled and size S, with intentionally distressed, frayed panels scattered amongst the diamond shaped patches, large zip fastener to the back, bust 86-92cm, 34-36in CONDITION REPORT: good condition, no problems
A couture chiné taffeta dress, the fabric by Staron, 1956, bearing Italian retailer's label 'Rocco Materay. Roma', the bodice edged in pleats with large appliqué poppies to the midriff, integral boning, bust 86-92cm, 34-36in, waist 61cm, 24in Fath, Griffe, Balmain and Dessès all produced dresses using this fabric for their Spring-Summer 1956 collections. CONDITION REPORT: Bodice has been let out centre back. Waistline needs re-stitching in a couple of places. Organza lining has discoloured and has several large splits. The hem has been lowered.
An embroidered brick-red velvet evening dress, probably Callot Soeurs, early 1920s, embroidered with gold running stitches and pink floss silk, spangled with pink bugle beads with orientalist motifs, large central medallion, scalloped hem embroidered to shape, lined in chiffon, bust approx 86-92cm, 34-36in CONDITION REPORT: With petersham inner waistband and inner velvet bodice panels fastened by hooks and eyes. Nick-like breaks along the front armhole edges. Slight fading discoloration to rear seat area of skirt. Splits in front right embroidered scalloped hem edge
An ivory crêpe georgette and chantilly lace 'poppy' dress, circa 1930, covered with vermicular clear bugle beads, appliquéd with lace poppy motifs, some with large rhinestone centres, criss-cross straps front and back, black tulle hem, bust 92cm, 36in; with a matching scarf (2) CONDITION REPORT: Inner layer of ivory crepe has been added to the upper bodice. Underarm areas are heavily darned and repaired,
A Jeanne Lanvin couture stencilled tulle dress, probably Spring-Summer, 1938, large woven label numbered in pencil 49879, the black and white over-dress worn over integral acid-green satin slip, one of the balloon sleeves appliquéd in black and white organza, bust 86cm, 34in Lanvin's S/S 1938 collection included dresses with large puff sleeves and organza appliqués.
A Bruyère couture magenta gingham summer dress, mid 1950s, labelled and indistinctly numbered, with white and purple floral embroidery to the neckline, pockets and sleeves, bust 97cm, 38in, waist 71cm, 28in CONDITION REPORT: Very fresh. Small repair at waist fastening - probably where a button once was and pulled a hole. Waistline at rear right and centre front have been re-sewn.
Björk's Iris van Herpen copper fibre dress worn for the Vulnicura 'Black Lake' video 2015, based on the Autumn-Winter, 2012 'Capriole' couture collection, with ruffle trimmed straps and bands which follow the curve of the hips, bust 86cm, 34in CONDITION REPORT: Fair condition, bad seam pull on all seams but especially at the waist. the interior satin lining has a rubberised finish which has started to degrade especially around the hem area and has become 'sticky'
An Alexander McQueen special commission evening gown, circa 2000, with narrow gold on black label, the bodice of pewter-grey shot faille, with high asymmetric neckline, the polonaised black wool skirt woven with fine grey mohair strands, cut short at the front to reveal the legs but long and trained to the back, bust 81-86cm, 32-34in, waist 71cm, 28in Provenance: This dress was a special order for a Hollywood actress. The vendor is not sure if it was for a red carpet event or was worn in a film. CONDITION REPORT: good condition
An haute couture beaded bias-cut pink chiffon evening dress, circa 1937-8, with associated slip bearing a Maison Paquin label c.1949-50, with complex raised-work snaking medusa-like bands radiating from the midriff front and back, bust approx 81cm, 32in This gown bears striking similarities to Schiaparelli's 'Medusa' veil from her Circus collection, Summer 1938, presented February of that year. CONDITION REPORT: Straps and area below prestud closure are fragile, and V-shaped area of chiffon is missing below the closure. Similarly beaded fabric has been added in a V shape to the area below the rear closure to widen. Small hole to rear hem. The slip is non original and has been altered to fit this dress, binding at centre V neck is worn and has been partially re-sewn. The lining has breaks at underarm edges but it is loosely sewn and could be removed. Beadwork is stunning and generally good condition.
An Azzedine Alaïa black chenille-knitted evening gown, 'Houpette', Spring-Summer, 1994, labelled, with original shop tag and size M, the sculpted figure-hugging dress with radiating concentric chenille bands, trained hem, bust approx 86-92cm, 34-36in CONDITION REPORT: good condition, no problems
An Antony Price black velvet evening gown, circa 1988, labelled, size 8, with boned, strapless bodice, the skirt with graduated puff-ball flounce over a slim full length skirt, waist 61cm, 24in, bust approx 81cm, 32in An identical dress belonging to Jerry Hall, together with a photograph of her wearing it, was sold by Kerry Taylor Auctions, 10th June 2008, lot 83. CONDITION REPORT: Good condition.
A muslin dress with printed calico spencer, French, circa 1800, the simple dress cuffs and hem edged in ivory silk ribbons, narrow bodice drawstring ties to the back; the spencer printed in coral pink on blue, the narrow back with diamond-shaped panel and deep gathers to the inset sleeves (2) CONDITION REPORT: Spencer: good condition, very fresh, no problems. Dress: good condition, a few small pinholes to bodice, ivory satin ribbon edgings are good. Muslin is very light/diaphanous, a few small holes above rear hem, the odd pinhead sized hole but generally good condition. Very fresh and clean appearance.
A pink satin flapper dress, circa 1926, adorned with rhinestone and silver bugle bead flowers, central medallion with floating panel to skirt front, low back, bust 81-86cm, 32-34in; together with a pale blue crêpe de chine jacket with degradé fringes (2) CONDITION REPORT: Dress: brown stains to floating panels on skirt front, one small light brown stain to bodice front, brown stain to rear skirt at hemline. 2 small repairs to front waistband where satin has been patched and beading re-stitched. Chiffon lining at them has tears, gold lace at hem has occasional floating thread. Dress has been taken in at side seams of bodice. Beading is good, very sparkly, a few detached rhinestones. Jacket: faint perspiration stains at underarms, 1 or 2 fringes are frayed, a couple of small light brown stains, ends of some of the longest fringes are a bit grubby, not obvious, pinhead sized hole to right shoulder.
A Yohji Yamamoto purse/pinafore dress, Spring-Summer, 2001, labelled and size 3, of lightweight black wool, front skirt with integral purse with metal mounts and clasp, the strap forming a halter-neck, waist 77cm, 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' p.340. CONDITION REPORT: good condition
A Balenciaga couture black chantilly lace cocktail ensemble, circa 1964, Paris labelled and numbered '91419' to coat, the sheer over-dress with two hip-high slits to the front skirt, scalloped hem, matching negligee-style coat which gathers into the back with silk ribbon drawstring waist; and original black silk half slip, bust 96cm, 38in, waist 81cm, 32in (3) CONDITION REPORT: Dress and jacket in good condition, no problems. Darts have been let out on slip and rear/side seams.
A Loris Azzaro beaded bright pink silk jersey evening gown, circa 1970, labelled, with pink and silver floret sequins and layered beads to the collar and plastron, bust approx 81cm, 32in; with a pair of matching silk covered platform shoes, approx size 5 (3) CONDITION REPORT: Dress is good condition, no problems. Shoes - uppers are very fresh, soles are scuffed from wear.
An Issey Miyake 'Flying Saucer' dress, Spring-Summer, 1994, labelled and size M, composed of concertina-pleated discs of brightly coloured polyester, with slits for the arms Similar 'Flying Saucer' dresses were included in the 'Issey Miyake: Making Things' exhibition, Fondation Cartier pour l'art contemporain, Paris, 1998, which are illustrated in 'Issey Miyake' published by Taschen, pp.186-187. A similar example is held by the Metropolitan Museum, accession no. 1994.603.3. CONDITION REPORT: Good condition, no problems
A Pierre Cardin couture pleated salmon-pink satin dress, Spring-Summer, 1978, labelled Pierre Cardin, Paris, the bandeau-like bodice with black velvet bow, the skirt goffered with zig-zag pleats, bust 76cm, 30in This dress was reproduced in 'L'Officiel de la Mode', September 1978, p.211, and also 'Pierre Cardin: Past Present Future', p.108. CONDITION REPORT: Good condition, tiny spot on front right of skirt (barely noticeable
An Elizabeth Arden embroidered cocktail dress, late 1950s, labelled, of silver-grey organza, the bodice and skirt covered with undulating bands of silver bugle beads and silver thread fronds, pearlised sequin flowerheads and bands, the centre-back skirt panel with satin bows, bust 81cm, 32in, waist 56cm, 22in CONDITION REPORT: Good condition, slight rubbing to organza at underarms, inside bodice fresh and good. Beadwork is good with occasional losses. Bows at the back are slightly soiled, hem has been shortened but could be let down again. A few small light brown stains to rear hem area - not immediately noticeable.
A Christian Dior London marigold-yellow slubbed silk halter-neck dress and matching bolero jacket, 1960, labelled no 39865, the dress straps and jacket trim of large topaz coloured stones, the dress with integral corset, dress bust 86cm, 34in, jacket 92cm, 36in (2) The ensemble was purchased for a family occasion from Samuels in Hale village, Cheshire. The event was cancelled and the ensemble remained unworn. CONDITION REPORT: Dress: good condition, very fresh, small rust spot to tulle inner corset (minor). Jacket: good condition, no problems. Both pieces are pristine as never worn.
A rare and important photographic album including images of King Edward VIII and Wallis Simpson on the Nahlin cruise, compiled by their friends and companions Herman and Katherine Rogers, August-September, 1936, 69 pages containing approx. 277 black and white photographs showing the King, Wallis and friends at play cruising the Adriatic on the Nahlin, visiting Greek temples, Prince Paul of Yugoslavia's lunch on board, Sir Sydney Waterlow's picnic at Tailor's Bay, Chalkis where Nahlin hit a bridge, picnics on Greek islands (where Wallis sports rubber bathing hat and elasticated swimsuit and the King appears bare-chested or in Breton top), a meeting with Turkish general Fahrettin in Istanbul and a trip on Kemal Ataturk's private train, a trip to Vienna (where Wallis catches a cold), a partridge shoot on Sir Walter Selby's estate (the King wears a loose blouson jacket and a pair of Bermuda shorts in contrast to the hunting tweeds of his companions) and finally a visit to Balmoral with deer stalking trips - the King wears a stalking cape with hood (which causes great mirth), long stalking trousers, tartan suits and full highland dress with Balmoral tartan kilt, 29 by 40cm, 11 1/2 by 15 3/4in An additional 5% VAT is payable on the hammer price, this can be refunded if proof of export outside the EU is provided within 6 months of the sale date. In August 1936, King Edward VIII, who had recently acceded to the throne, chose to take his married lover - Mrs Wallis Simpson, on an extended cruise around the Adriatic and Eastern Mediterranean. The fact that Spain was in the throes of a civil war and there was unrest in the Balkans did not deter him from embarking on the trip, despite government advice to the contrary. The specially chartered Nahlin yacht, was partially re-fitted for the cruise, with the library converted into a master bedroom. Edward VIII and Wallis Simpson were accompanied by a few close friends including - Herman and Katherine Rogers (who made this album), Sir Alan 'Tommy' Lascelles (assistant private secretary), Minister of War - Duff Cooper and his beautiful wife Lady Diana, Lady Brownlow and Lord Brownlow (Lord-in-waiting). Whilst Britain remained unaware of the royal romance (thanks to acquiescent press barons who quashed all mention), in the US and Continental Europe the affair was widely reported as Wallis' aunt Bessie (who lived in the US) was to inform her upon her return to France at the end of the trip. Not all of the coverage was flattering. The visit to Balmoral took place at the end of the Nahlin cruise on 23rd September, 1936, Wallis having briefly stopped in London beforehand to meet with her lawyer to finalise details of her divorce from Ernest Simpson. Her petition for decree nisi was to be heard on 27th October, at Ipswich Assizes. If all went to plan and the divorce was granted - it meant the couple could be married before the planned coronation date of 12th May, 1937. In the Balmoral section of photographs at the end of the album, the pair look happy and relaxed and are seen joking with the Duke of Kent and Lord Louis Mountbatten. Just three months later, 10th December 1936, with the King unable to rule without Wallis beside him, he chose to abdicate his throne and empire - and was created Duke of Windsor. This album compiled by Katherine and Herman Rogers illustrates rare, private moments during the King's brief reign. They show the calm before the storm in the lead-up to the abdication crisis, where Edward VIII renounced crown and empire - all for the woman he loved, surely one of the most romantic gestures of all time? CONDITION REPORT: Exterior of album is good, a few small scuffs to edges. It appears to be complete except for a gap on page 4, taken soon after the board the Nahlin and one at the end of the album in the Balmoral section. The photos are pencil numbered on the back in sequence. They were pasted onto the grey card pages and where they have become loose or detached we have added clear photo corners to re-fix them in their correct places. The photos are generally good. There is a glue spot on the front of one with Katherine Rogers and Lord Brownlow in Vienna. In a series of photographs taken on Sir Watford Selby's partridge shoot, inked crosses on the pages at the back of the photos show through faintly on 7 in the paler areas. Also in the Balmoral section, faint lines can be seen in the skies of approx. 12.
An Ossie Clark/Celia Birtwell printed chiffon dress, early 1970s, Radley brown on white woven label and size 14, with empire-line bodice and print of scribbled flowers and crossed lines, bust 92cm, 36in, waist 71cm, 28in CONDITION REPORT: Good condition. Very faint perspiration stains at underarms, barely visible. 3cm pull along right sleeve seam with very small hole, easily repaired by re-stitching along seam.
A Chanel couture printed chiffon summer ensemble, 1972, large label and numbered 44108, comprising: floral printed shift dress with optional over-dress with buttoned back; finely pleated skirt; tie belt and scarf, bust 92cm, 36in (4) CONDITION REPORT: Inner tunic dress: good condition, looks little worn. Exterior is good, lining: slight soiling at front neck and a few faint spot stains to bodice area and faint perspiration stains at underarms which are not visible to exterior. Over-dress: good condition, no problems. Tie-belt and scarf: good condition.
A Galanos shocking pink and lime feather dress, 1960s, labelled, with concealed zip fastener to the front, lined in pink chiffon; with a gold and pink sequined belt, bust 81cm, 32in (2) CONDITION REPORT: There are a few detached feathers but overall the feather colouring is good. Feathers are matted at right shoulder, neck edge and underarm. Feathers generally intact and no obvious major losses. Feathers are soiled and faded at lower left hem edge. Inner pink chiffon lining is generally good- slight soiling around neck opening. Feathers are a bit spartan around the lower half of the zip closure but this isn't obvious when it's being worn. The hem has a deep feather return of 28cm- so they could be moved from that area if so desired. Belt- good condition, minor losses at closure.
A beaded ivory and pink tulle flapper dress, circa 1925, un-labelled, the ground entirely covered with opalescent sequins, the hem and bodice with floral motifs in pink and green sequins against a black beaded background, bust 96cm, 38in CONDITION REPORT: Good condition, very fresh appearance. Beading is good. Silver edging beads have rusted slightly at underarms from perspiration and there are a few missing sequins in this area also, not immediately obvious. Perspiration stains at underarms to interior tulle but not visible to exterior. Area at left underarm has been re-backed with tulle.
A Chanel couture scarlet chiffon cocktail dress and jacket, Autumn-Winter, 1960, narrow black on white woven label, the dress with integral tulle corset, with scarlet grosgrain ribbons outlining the bust and waist, finely pleated skirt, matching jacket with ribbon ties to neck, bust 81cm, 32in, waist 61cm, 24in (2) CONDITION REPORT: Dress: good condition, small stain to front/left side hem edge. Fabric has pulled/puckered to base of zip right side. Very slight soiling to bodice edges. Inner silk lining hem has been raised by 1cm. Interior is clean and good, no problems. Back skirt panel - the chiffon has been replaced. It is not pleated like the rest of the dress. Jacket is good condition, one small spot stain.
An early Jeanne Lanvin couture gold lace chemise dress, Summer collection, 1922, with black on white woven 'Jeanne Lanvin Paris' label stamped with the date, the layered black and bronze tulle over-dress of empire-line, embroidered in vermicular floss silks and metal threads with rose filled medallions, with green silk underskirt, lightly-boned silk inner breast band, bust 81cm, 32in CONDITION REPORT: Over dress is good condition, green silk petticoat has perished.
A Balenciaga couture purple and dark green slubbed chiné satin cocktail ensemble, Autumn-Winter, 1959, woven black on white Paris label, hand numbered bolduc 69862, with large rose repeats, the strapless dress with integral wired grosgrain corset, with cross-over pointed panels to front bodice culminating in ties at the front, curving rear waistline, with matching trapezoid bolero jacket, bust approx 81cm, 32in, waist 56cm, 22in (2) CONDITION REPORT: Fabric is fresh and lustrous. Hem has been slightly lowered on dress. Outer zip fastening on dress is defective. The rear waistline needs re-stitching approx 5cm (minor). Inner corset has 2 rear darts widened, slip attached to the corset has been replaced in cream rayon at the front.
A Mariano Fortuny gold stencilled blue velvet dress, mid 1920s, circular label to silk lining 'Mariano Fortuny Venise', with gold stencilled foliate medallions, laced front neckline, Murano glass beads to cuffs and matching belt with later added rhinestone buckle, bust 117cm, 46in (2) CONDITION REPORT: Good condition. Belt buckle is not Fortuny but a 1920s-30s addition. Laces are fraying. Some soiling/discolouration to lining at neckline. 2 extremely faint and small light brown stains to rear right shoulder (minor).
A Comme des Garçons patchwork ensemble, 'Football' collection, Spring-Summer, 2009, labelled and size XS, the dress cut long at the front and short at the back to reveal the ruffle edged lycra shorts; the tunic formed from hexagonal patches of checked wool and plain gabardine with occasional intentional gaps, the shoulders formed from vermicular black nylon soutache (2) CONDITION REPORT: Good condition, no problems
A fine Christian Dior couture point d'esprit cocktail dress, Spring-Summer, 1958, labelled and numbered 92442, with integral tulle corset, entirely covered in ruffled organza ribbons studded with rhinestones, the fabric by Pierre Brivet, bust 86cm, 34in, waist 66cm, 26in A similar model was also part of the Spring-Summer 1957 collection, and was reproduced in 'L'Officiel de la Mode', n°419-420, March 1957, pp.316-317, the model posed within a bird-cage. CONDITION REPORT: Good condition, tulle is slightly grey overall from storage. The 'point d'esprit' effect is created by the use of tiny pearlised bugle beads. The organza ruffled bands are good as is the general beading. The silver sequins held in place by miniscule glass beads are good, no obvious losses. Interior is clean and good. There is very slight yellowing to tulle at top of breast cups. Slight puckering to elasticated sides in places.
A Valentino couture white crêpe and ostrich trimmed evening gown, early 1970s, labelled 'Valentino, Roma', the neckline and short sleeves smothered in curling white plumes, coral-pink organza empire line sash, bust 86cm, 34in CONDITION REPORT: Soiling to hem edge, needs cleaning but main body of dress is clean and good. Inner bodice with perspiration stains at underarms and yellowing to internal closure centre back. Feathers are good.
A Chanel couture brocaded satin cocktail suit, 1957, labelled and numbered 05629, woven with gold foliate scrolls, the sleeveless dress with cross-over panels to bodice, the matching jacket lined in pink silk with gold braid edging, dress bust 92cm, 36in (2) Provenance: Purchased from the estate of the actress Rosalind Russell in the late 1970s. CONDITION REPORT: Jacket - slight fraying to cuff lining, gold braid is tarnished but overall good condition; dress - the bodice side seams have been let out and the hem has been lowered. Stains to ivory silk lining
An Alexander McQueen gold and midnight-blue brocaded dress, 2010, narrow grey label and size 38, the fabric woven with foliage, eagles and mythical creatures, draped and pleated into wing-like points to front, sheer organza neckline, bust approx 86cm, 34in, waist approx 61cm, 24in CONDITION REPORT: Good condition. Lacking belt.
An Yves Saint Laurent for Christian Dior couture rose-printed slubbed silk summer ensemble, 'Shape of Tomorrow' line, Spring-Summer, 1960, labelled and numbered 104422, comprising: cocktail dress with low scooped back, weighted hobble-hem, loose jacket with flounced hem, zip and buttons to fasten, bust 81cm, 32in (2) CONDITION REPORT: Overall good condition. Dress: faint perspiration stains at underarms (barely noticeable), hem needs re-stitching. The narrow hobble hem is heavily weighed around the circumference entirety with lead discs. Some seam pull to organza lining at hip dart (minor). Jacket: the flounced puff-effect hem has been altered, possibly to reduce fullness.
A fine brilliant yellow Spitalfields brocaded silk robe à l'Anglaise, circa 1750, woven with brightly coloured large scale oriental poppies, posies and swags, the ground figured with arabesques and wine silk spotted cartouches, the robe with linen lining to bodice, pleated front robings, double tiered engageants with bows, the hem lined in fine yellow silk; with matching petticoat front panel trimmed with pinked furbelows; and a stomacher trimmed with rosettes and braid (3) CONDITION REPORT: Glorious colours, fabric is superb and very fresh. Most 18th century dresses have been altered to some degree. There is no machine-stitching anywhere in the dress. I suspect that the sleeves have had perspiration areas removed and re-set. The silk on the inside shoulder bands - the raw edges look fresh. The front robing bands would originally have been longer and their positions have moved. The underside sleeve seams have been slightly let out to widen. The skirt has been shortened at the waist level. The fabric itself is superb, the left sleeve is lacking its lead weight. Petticoat front - it has no back and attaches with ties like an apron. Creases at the centre-front waist suggest it was originally the side/front of a petticoat. It is formed from 2 full width panels - the sides from pieced sections of fabric. The furbelows have been placed over the newly arranged petticoat panel. Stomacher has been made up using the matching silk in the 20th century - extremely well done
A Callot Soeurs embroidered ivory satin orientalist dress, circa 1926, un-labelled, embroidered in pale green and primrose floss silks, couched gilt threads, with large palmette to front skirt, spangled with pearlised sequin flowers, satin sash panels tie in a bow to the rear, with trained floating panel below, green chiffon camisole bodice, bust 86cm, 34in CONDITION REPORT: Satin ground has badly perished over the shoulders and underarms, and all around the circumference of the waist above the sash. The front skirt has numerous splits around the embroidered motifs which are not immediately obvious. Good colours, but satin ground is generally fragile. Splits in the green chiffon inner bodice. Poor condition, a good study document.
A Zandra Rhodes black felted wool 'circle' coat, 1968-70, labelled, with yellow top-stitched detailing, yellow thongs and beads; together with a yellow silk jersey dress with 'lettuce' frills c.1972; and a Lily of the Fields printed chiffon dress, c.1972, average bust size 86cm, 34in (3) CONDITION REPORT: Coat has slight damage to yellow lining, exterior is generally ok. Yellow dress has bad moth damage down front and sleeve. Chiffon dress has tears to hem area, fading over shoulders.
A Robert Piguet couture blue lace cocktail dress, circa 1950, yellow on black woven satin label and numbered 56262, with boned integral corset, finely pleated skirt, over layered petticoats, with belt, bust approx 92cm, 36in, waist 71cm, 28in (2) CONDITION REPORT: Leather backing to buckle is worn, lace over 3 little neck buttons is worn (minor), 1cm at centre V neck seam needs re-stitching.
BodyMap HalfWorld collection, 1985, labelled, comprising: long cotton jersey dress with flared hem; lilac cotton dress with gold print and stretch seersucker edges; and a Cat in the Hat collection cotton jersey top, 1984 (3) CONDITION REPORT: All have been washed numerous times. Long dress: two faint light brown stains near hem, otherwise good. Lilac dress: print is faded across shoulder/upper bodice but not immediately obvious, faint light brown stain to front left hip area, otherwise good. Top: good condition
Princess Diana's Catherine Walker sea-green sequined evening gown, worn for the State visit to Austria in 1986, labelled 'The Chelsea Design Co Ltd, London', of Jacob Schlaeper sequined satin, figure-hugging with ruching down the centre-front seam, the skirt with front slit to the knee, bust 86cm, 34in, waist 61cm, 24in This dress formed part of a large group order from Catherine Walker about a month before the Princess' intended State visit to Austria. Diana had enormous faith in Catherine's taste and judgement, so much so that on this occasion she didn't even ask to see provisional sketches - just asked her to select and make the dresses on her behalf. This extremely glamorous, sparkling gown was the only totally sequined example to form part of the Princess' 1980s wardrobe. Diana wore it with a diamond and emerald choker necklace, which she had been given as a wedding present by H.M. The Queen Mother. She was photographed wearing the dress many times: To the Vienna Burgtheater in 1986; To a charity ball at Osterley House to raise funds for the British Paraplegic Society; To the 1993 film premiere of 'Biggles'. Provenance: 'Dresses from the Collection of Diana Princess of Wales' auction, Christies, 25th June, 1997, lot 50. This dress was then sold in 'Fit for a Princess: Important dresses formally in the collection of Diana, Princess of Wales' auction, Kerry Taylor Auctions, 19th March 2013, lot 4. CONDITION REPORT: Good condition. No obvious losses of sequins. Very faint discolouration along satin lining to neckline edge (minor). Very, very faint deodorant marks on underarm lining. Satin lining has been let out from underarms to waist (the Princess put on weight between 1986 and 1993, the last occasion she wore it). 1cm spot stain to lining above rear skirt slit. Very, very faint fading along crease lines to satin lining at sides of slit opening.
A Christian Lacroix for Jean Patou black sequined cocktail dress, circa 1986, labelled, with boned red moiré bustier/cummerbund, organza petal-like ruffles to bodice and hem and sequined lace puff-ball hobble skirt, bust 81cm, 32in CONDITION REPORT: Good condition, light soiling to inside lining, small stain to rear right side of cummerbund. Would benefit from dry cleaning.
A 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 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 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.
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.
A Thea Porter abaya/kaftan dress, mid 1970s, couture labelled, of red and green chiffon, heavily embroidered with gold metal thread and sequins, edged with pink velvet and knotted braid, the hem inset with a patchwork of printed silks and Persian-style brocades, matching rope belt (2) A nearly identical dress was exhibited in 'Bohemian Chic', a retrospective of Thea Porter's work at the Fashion and Textile Museum, London, 6th February- 3rd May 2015. For a photograph of the exhibition showing this, see 'Thea Porter: Bohemian Chic' by Laura McLaws Helms and Venetia Porter, p.38. Elizabeth Taylor owned a near identical version, see Christies 2011 auction. CONDITION REPORT: Repairs to chiffon across shoulders, 11cm long (by 4cm at widest point) repair to blue area of chiffon at rear right sleeve. 2 small holes to chiffon lining only front left near hem (minor). Otherwise good.
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.
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