Wednesday, August 27, 2014

DAPHNE GUINNESS CLOTHES ARE TO DIE FOR

KEE@FSWMAG.COM

 The Daphne Guinness Collection; Sold to Benefit the Isabella Blow Foundation, was a spectacular single-owner evening auction which took place on 27 June 2012 at Christie’s South Kensington saleroom. 

Comprising around 100 lots, the auction featured dresses, coats, skirts, tops and jackets belonging to Daphne Guinness, as well as selected photographs and her signature shoes.

 The purpose of the auction was to launch and raise funds for The Isabella Blow Foundation. 

With the help of Christie’s specialists, Daphne selected pieces which embodied her personal style which perfectly matched her slim figure and millions as she is from the Guinness stout family!

 The auction provided the perfect opportunity for fashionistas to buy rare couture pieces and designer items – most of which were acquired by Daphne directly from the designers themselves. 

Estimates for individual lots started from only £300, with the majority on offer for under £3,000. The star lot of the sale was a stunning one-of-a-kind sculptural metallic silver mini dress, made specifically for Daphne Guinness by Alexander McQueen in 2008 that went for around RM 100,000!

The auction included exceptional designs by the likes of McQueen, Chanel, Balenciaga, Gareth Pugh, Christopher Kane, Lanvin, Lacroix, Prada, Gucci, Alaia and others. The Collection fetched over RM 500,000.

HIGHLIGHTS
A unique, haute couture gown, made specifically for Daphne Guinness
A SCULPTURAL METALLIC SILVER MINI DRESS
ALEXANDER MCQUEEN, 2008

With padded shoulders and bell shaped skirt, constructed with integrated corset
Labelled 'Alexander McQueen'

This design was first viewed by Daphne in Alexander McQueen’s collection in 2008. After seeing it, Daphne asked Lee to create four dresses in this style, in different materials (one black, one black long sleeved, one feathered, and one silver). McQueen didn’t make the dress for his shop, it was a show piece. A favourite dress of Daphne’s, she has worn it to several high profile occasions and has been photographed with the likes of Mario Testino and David Furnish whilst wearing it. 


A BLACK TULLE ‘ROBE DE STYLE’ SIGNATURE GOWN
LANVIN, WINTER 2006
An homage to Lanvin’s signature robes of the 1920s, sleeveless, embellished with silver and glass beads, with stiffened, tulle petticoats
Labelled, 'Lanvin, Hiver 2006'

Daphne bough this dress in the Lanvin store in Paris and wore it that night for a friend’s birthday party.



A LEMON YELLOW SATIN AND HIDE ‘BUBBLE’ DRESS
CHRISTIAN LACROIX, 1987
The bodice of brown and white hide, with sweetheart neckline and integrated corset, the skirt puffball, tapering to quilted, fitted tube skirt
Labelled 'Christian Lacroix, Paris'

This was the first piece of couture Daphne bought from Christian Lacroix. Having led to her meeting Lacroix’s muse, Marie Martinez, with whom she has since become great friends, it holds important memories for Daphne. Representing Lacroix’s Southern routes it is an iconic piece; the cow hide was typical of him, and the puff ball skirt is a very Spanish look which he often revisited.


A SHEER WHITE SILK MINI DRESS
CHRISTOPHER KANE, PROBABLY AUTUMN/WINTER 2008
Sleeveless, A-line, applied and trimmed with pleated grosgrain ribbon rosettes to the front, embellished with Swarovski crystals, the hem embroidered with rows of white acetate discs, with silk petticoat
Labelled 'Christopher Kane'

Having heard about the wonderful new British talent that was Christopher Kane, Daphne visited his shop, saw this dress and immediately fell in love with it. It was one of the first things she bought from Christopher Kane.



A PAIR OF LADY BELL PLATFORM ANKLE BOOTS
NORITAKA TATEHANA, PROBABLY AUTUMN/WINTER 2010-11
Heel-less, the red metallic leather embossed with floral scrolls, with zip fastening at the back
Stamped ‘Noritaka Tatehana’ to the sole

Ordered from Noritaka directly, these shoes took around eight months to be made. Daphne loved them, not-so-much for their practicality, or lack thereof, but because she viewed them as pieces of sculpture, more as concept pieces for looking at – fashion as art.

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