The Summer before last I interned at one of the most recognisable specialist auction houses in London -- Kerry Taylor Auctions. Established in 2003, Kerry Taylor Auctions focuses on the sale of historical dress, vintage accessories and antique textiles. The female-led auction house is regularly frequented by private collectors and representatives of international museums looking to expand their costume collections. The auction house holds two types of sales multiple times each year: the more approachable in price and more wearable in style "Vintage Fashion, Antique Costume and Textiles" auction, and the bi-annual "Passion for Fashion" sale, which features the finest examples of 17th century dress, clothing from the wardrobes of British royalty, items worn by instantly recognisable names and much more.
One of my goals for this academic year is to reach out and talk to more people, especially those working within fields that I find particularly interesting. Completing a work placement or month-long internship is a great starting point, but unless you return to the people you met there and keep in touch, it will not be an experience that you can benefit from in the long-run. Talking to people who are undeniably far more knowledgable and experienced (and usually far more busy) is never easy, but I think it's important to try. As long as you're kind and genuinely interested it should be ok!
Since historical dress is the subject I would like my future career to revolve around -- granted I'm not yet sure in exactly what way -- I knew that getting back in touch with the auction house I interned in would be a very good next step. And considering that it is no longer a train journey away, now that I am studying and based in London, it also seemed like the logical thing to do.
So I came up with the idea to represent a Polish collector of vintage clothing at a Kerry Taylor Auctions sale.
Garments from this private collector's collection have been exhibited at the Central Museum of Textiles in Łódź, Poland and in numerous other cultural and art institutions around the country. Last summer I went to see an exhibition composed entirely of garments from his collection. A blog post about it with LOTS of pictures is still in the works. After seeing the exhibition I was intrigued to find out more about this undoubtedly very passionate collector, however, it was not until November that the idea of getting in touch with him occurred to me. I knew that Kerry Taylor Auctions was preparing for an upcoming sale and I decided to mention this. It seemed to me the perfect opportunity for the purchase of one-of-a-kind vintage couture to add to his collection and I proposed to help him select pieces to bid on, inspect them and then bid on his behalf on auction day. To my delight, when I presented my idea, he was intrigued and interested in the auction house as well as that particular sale itself, especially the section dedicated to royalty. Not that I was surprised, since there were some truly fantastic pieces -- black mourning bodices belonging to Queen Victoria, childhood dresses worn by Queen Elizabeth and Princess Margaret in the 1930s, letter correspondence between Princess Diana and British couturier Victor Edelstein and a stunning Elizabeth Emanuel gown worn by Diana during her 1986 visit to Bahrain which ultimately sold for £130,000 (not to mention the gown's corresponding design sketch which also sold for a record of £5,500 in the previous lot).
This was the first time I attended a live auction. It was an experience that I will not forget and hope to repeat in the near future. The fact that I had interned at Kerry Taylor Auctions and considering that it is a relatively small auction house compared to the likes of Sotheby's or Bonhams made the event all the more pleasant and intimate, though nonetheless exciting. On this occasion the lot I was bidding on quickly surpassed the upper limit I had agreed with my client. Nevertheless, the earlier condition report I gave him and the original suggestions I made taught me about how such collaborations work. I know I still have much to learn but taking the evening bus home from Bermondsey on that cold Monday evening after sitting for almost five hours through the auction of 252 lots left me feeling the happiest I had been in a long time -- tired, but happy. Here's to hoping that next time I lift my paddle up a bit higher!
Click here to view the final results of the 10th December 2018 auction I attended.
When I look at early 1950s fashion photography I notice a couple of things very clearly. Most obvious are the black and white tonality, the highly stylised set-up and the immediately distinguishable dress silhouette. But one additional aspect also rarely escapes my attention -- the refined and mannequin-like poses of the models photographed. A perfect example is visible in the photograph above by Irving Penn. The models do not interact; each is in her own world yet simultaneously fully aware of the photographer, holding her previously-planned pose for a few seconds longer. Look at the model in the centre, turned in profile towards the viewer. How could her intention be anything other than to look as noble and elegant as possible? It is the structured poses of the models, combined with the often restrictive clothing, that gave fashion photography of the early 50s an unattainable, idealistic feel, which served to showcase the perfectionist craftsmanship of haute couture.
A group of fashionable jet setters pose elegantly at the French Casino Le Touquet as they contemplate their next move in a serious game of what looks like blackjack. The moment is captured for eternity by famed photographer Richard Avedon in August 1954. It was taken around the same time as his now iconic shot of Sunny Harnett at the same location wearing an evening dress by Madame Grès. The group photograph, however, is less dreamy and hazy. Both images feature model Sunny Harnett, yet here she is focused on the game. As she stands behind fellow fashion model Renee Breton the two form an intriguing team. Both otherworldly and aloof the slinky women are grounded through their undeniable involvement in this popular game. Talk about girl power!
Although high street fashion retailers try to create unique designs each season, it is undeniable that trends are a recirculation of the past. Who can see this better than those who know a little about the history of dress? However, because of these modern twists and "updated" silhouettes, it can be difficult to find clothing in stores like Zara or H&M that truly have that vintage feel. Searching overflowing clothes rails in dark shopping malls for simple shirts that would not look out of place as part of an authentic 1950s outfit or bags that echo beach fashions of the previous century can be an arduous task.
A seemingly simple hairstyle, the high ponytail, combed tightly towards the back of the head was all the rage among teenagers during the late 1950s. Setting new trends in order to break away from uncomfortable starched petticoats and arduous time-consuming hairdos, contemporary youth used their new fashions to turn their backs on conservative ideals and set themselves apart from the pre-war-born generation of their parents. The high ponytail is arguably the most "modern" of vintage hairstyles and one that has to this day retained its cool-factor and universal appeal.
For a long time monogramming personal objects was not only a symbol of ownership. Engraved objects were seen as more precious and valuable and therefore, aside from one's own initials, it was common to engrave the date of a memorable occasion, an intimate phrase, family crest or a dedication. All in an effort to add personal value to an otherwise easily reproduced item. Until the 1950s objects would often come with a small empty plaque allowing one space for a small engraving -- typically two or three letter initials. Usually these were the small, everyday items, such as cigarette cases, jewellery, notebooks, powder compacts, glasses cases, watches as well as travel items such as suitcases, vanity cases, storage boxes and bags. Initials could then be engraved, embossed or embroidered onto an empty name tag or a purposely-designed plaque. While the latter two methods are still frequently in use today, it is engraving that has become a phenomenon of the past.
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