c. 1924-1926, This embroidered satin dress in a Chinese style is one of Norman Hartnell's earliest known designs. Hartnell opened his couture house in Mayfair in 1923 and rapidly gained a reputation for making exquisite evening gowns. There is a strong streak of theatricality in all his clothes and Hartnell began his design career working for the theatre. He continued to design lavish gowns for actresses to wear on and off the stage throughout his life.
museumoflondon.org.uk
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“Above all, remember that the most important thing you can take anywhere is not a Gucci bag or French-cut jeans; it's an open mind” Gail Rubin Bereny
This spectacular dress was worn by Mrs Carl Bendix, later Viscountess Allenby of Megido, at the Dream of Fair Women Ball held at Claridge's Hotel in February 1928. The Ball's theme was 'women of the past, present and future' and this dress represented the present. The dress was given to the London Museum after the ball to be 'exhibited after 1960 as a perfect specimen of our quaint period'. The design, with its cutwork silk and embroidery borders, is a playful, modern variation on the traditional wedding dress. It is said to have been inspired by Renaissance paintings. Hartnell made several wedding dresses of this design: versions were worn by the daughter of Lady Lacon for her wedding in 1928, and by the Duchess of Argyll in 1933.
museumoflondon.org.uk
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“Above all, remember that the most important thing you can take anywhere is not a Gucci bag or French-cut jeans; it's an open mind” Gail Rubin Bereny
c. 1930. Designed by Hartnell for Lady Jowitt when presented at Court following her husband's appointment as Attorney General. Court Presentations were stopped during the First World War but recommenced in 1921. The occasion required gowns which were glamorous but conformed to court dress regulations. In this stunning silk and gauze gown, Hartnell has used beads and embroidery to create an effect of winter snow. At court it would have been worn with a train and a feather headdress. Hartnell's reputation as a society couturier developed through the 1920s and in 1935 he was asked to design for a member of the royal family. He made the wedding dress for Lady Alice Montagu-Douglas-Scott for her marriage to the Duke of Gloucester, and in due course he became a much favoured dressmaker to Queen Mary, the Queen Mother, and Her Majesty Queen Elizabeth II. His crowning achievement was to design the Queen's coronation dress in 1953.
museumoflondon.org.uk
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“Above all, remember that the most important thing you can take anywhere is not a Gucci bag or French-cut jeans; it's an open mind” Gail Rubin Bereny
Black chiffon evening gown, circa 1930, with labelled black satin petticoat, the bias-cut gown with overall latticed bands and lace insert; together with a pair of black lace cami-nickers.
kerrytaylorauctions.com
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“Above all, remember that the most important thing you can take anywhere is not a Gucci bag or French-cut jeans; it's an open mind” Gail Rubin Bereny
Black chiffon Norman Hartnell evening gown, late 1930s, un-labelled, the neckline and shoulders emblazoned with sumptuous jewel-like beads, gold sequins and spangles, flounced hem; together with a tie belt, bust 86cm, 34in, (2) Provenance: originally belonged to one of Hartnell's models.
kerrytaylorauctions.com
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“Above all, remember that the most important thing you can take anywhere is not a Gucci bag or French-cut jeans; it's an open mind” Gail Rubin Bereny
Cloth of gold and sequinned evening/court gown, late 1920s - early 1930s, yellow and ivory block lettered label to the slip, the column of gold brocade smothered in paste brilliants and tiny sequins which gradually change from silver to gold at the hem, trained skirt, bust 97cm, 38in, together with an associated cloth of gold court train, (3) Provenance: Marchioness Curzon of Kedleston.
kerrytaylorauctions.com
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“Above all, remember that the most important thing you can take anywhere is not a Gucci bag or French-cut jeans; it's an open mind” Gail Rubin Bereny
Evening gown, early 1930s, with woven signature label London and Paris, of striped tulle cut on the bias and adorned with pierced foliate sequins, goffered tulle floating panels to the hem, integral black satin petticoat, matching capelet, bust 97cm, 38in Provenance: Marchioness Curzon of Kedleston.
kerrytaylorauctions.com
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“Above all, remember that the most important thing you can take anywhere is not a Gucci bag or French-cut jeans; it's an open mind” Gail Rubin Bereny
Bridal gown, circa 1957, of sumptuous ivory satin, the fitted bodice and swallow-tail train covered in pearlised shell and floral shaped beads, silver bugles and sequins, large satin bow to the centre back.
Floral sequined rose pink velvet evening jacket, late 1940s-early 1950s, labelled, with pointed front bodice, bustle-back rear tails, sleeves with angular cut-away cuffs, adorned with leaf shapes filled with tiny floral sequins in pink and white.
Sleeveless with low curved neckline in front. Two tongue-shaped satin panels covered with beadwork and lined with silver cloth covering front, and forming shoulder straps. Band of beadwork continuing down bodice back to form V neck filled in with flesh coloured silk crepe, and round low waist to bodice front. Skirt hangs free. Panels very heavily embroidered with eads round edges and at hem.
Petticoat : Slightly shaped bodice of white silk with silver ribbon straps, joined to slightly shaped silver fabric skirt with band of bead embroidery at hem.
Norman Hartnell 03.jpg
Photographic Company : Peter Clark Ltd.
Venue/Event : Venice Festival of the Arts and Costume. Excelsior Hotel , Venice at midnight 6 Sept 1951.
Date : 1951
Description : Fine wool suiting is chosen for this tailored suit. The jacket has unusual front buttoning and an interesting note is the stand-away pockets which are also carried out on the slim-fitting skirt.
images and info : vads.ahds.ac.uk Rights London College of Fashion/The Woolmark Company
Norman Hartnell 04.jpg
Photographic Company : Peter Clark Ltd.
Date : 1958
Description :A royal blue and jade green wool tweed cape and suit. The cape, which is collarless and fastens with one outsize button, is cut on full and generous lines and the shoulders are soft and rounded. Deep folds form the sleeves. The matching collarless suit has a softly bloused bodice which fastens with one button at the waist and is worn over a slim fitting skirt.
Norman Hartnell 05.jpg
Fabric Manuf.: Galloway Reels
Designer : Norman Hartnell
Photographer : Alan Boyd
Photographic Company : Peter Clark Studios
Accessories : Hat: Claude St. Cyr
Date : 1959
Description : This coat and dress in pale olive green hopsack weave wool indicates a trend to come. A three-quarter length fitted, belted coat, with a waist-deep cape trimming of beaver, is worn over a slim, belted dress with buttoned panel front.
Norman Hartnell 06.jpg
Fabric Manuf.: James Hare
Designer : Norman Hartnell
Photographer : Otto Karminski
Date : 1956
Description : Aptly called "Drapery", this elegant afternoon dress in mushroom-coloured gossamer featherlight wool chiffon is worn with a Cossack-style hat and stole of natural blue fox.
Norman Hartnell 07.jpg
Designer : Norman Hartnell
Photographer : Alan Boyd
Photographic Company : Peter Clark Ltd
Date : London Autumn/Winter Collections 1956/7
Description : This jacket and suit ensemble is in red and black lightweight tweed. The loose hip-length jacket buttons to a tabbed black Persian lamb collar. The suit emphasis is on the hips, where tabs and overlapping side panels give a basque effect. The skirt is reed slim.
images and info : vads.ahds.ac.uk Rights London College of Fashion/The Woolmark Company
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