Cher | 1978 Cher...Special Performance Worn Sequin Bob Mackie Designed Costume

A custom Bob Mackie costume design for Cher for the Cher...Special that aired on April 3, 1978, on ABC.

Cher wears this nude-illusion iridescent halter-neck for a choreographed disco performance. The embellished design is a partially lined leotard with an asymmetric, irregular skirt hemline. The performance piece has a low-cut back with thin spaghetti straps that hook at the neck. It is composed of soufflé fabric and fully embellished (tambour embroidered) with bugle beads, iridescent teardrop sequins, and rhinestones. The costume includes a silk and silver lurex scarf with beaded fringe tassels.

Cher was photographed twice wearing the costume by renowned photographer Clive Arrowsmith (see supporting image) and by James Fortune with Gene Simmons in 1979.

Cher | 1977 Sonny And Cher Performance Worn Bob Mackie Design Jumpsuit

A custom Bob Mackie emerald green jumpsuit design worn by Cher on The Sonny and Cher Show for a performance of "Nights on Broadway" with guest stars Engelbert Humperdinck and Barbi Benton, aired on January 28, 1977 (CBS 1976-1977).

The disco-era design features an emerald sheer silk chiffon top with tambour embroidered iridescent green bugle beads, mock turtleneck, kimono-style sleeves, and emerald green wool wide-leg pants. The top of the jumpsuit blousons at the waist, accented by long wool corded ties with beaded tassels knotted on the left side. The interior has an Elizabeth Courtney Costumes Hollywood label with an "EC" black handwritten marker notation, meaning Elizabeth Courtney, Bob Mackie, and Ray Aghayan's costume house located in Hollywood.

Tina Turner | 1977 Bob Mackie Lynn Anderson Show "Turn It Up" Sequin Bodysuit (with Magazine)

A Bob Mackie sequin bodysuit with fringe skirt, embellished with rhinestones and sequins arranged in a flame motif, was worn by Tina Turner while performing "Turn It Up" for the Lynn Anderson show in December 1977. This custom piece was also worn for concerts; Tina was photographed backstage by Tony Korody on August 1, 1977, while performing in Las Vegas. The photographs Korody took were used as the cover for Jet Magazine, January 5, 1978 issue.

The bodysuit has a halter neck and a low-cut neckline. The base fabric is spandex with a cotton net overlay set with faceted rhinestones and applique sequin stripes arranged to look like flames. The stripes create fringe panels at the front and back that quickly become animated with Turner's kinetic choreography. A Bob Mackie label is sewn on the interior of the bodysuit.

In Bob Mackie's documentary Naked Illusion, the designer recalls how Turner would return from Paris with cheap sequin dresses and ask Mackie if he could make a cavewoman costume. He remembers how Turner would put on the garment and begin to cut it up.

Mackie was quoted in The Cut saying, "You don't get a Tina Turner very often who knows exactly how they want to look and how they want to move... I never had to inspire Tina Turner. She came already equipped."

Tina Turner | 1977 Bob Mackie Caesar's Palace Performance Worn Winged, Chain, Fringe Bodysuit (With Photograph)

A custom Bob Mackie gold and silver chain fringe bodysuit with pleated gold lamé wings sewn at the back, worn by Tina Turner for a 1977 Harry Langdon photoshoot (in Los Angeles), Turner's 1977 Ceasar's Palace Residency from July to August, and for a televised concert with Tom Jones at the Warner Theater in Washington D.C., September 11, 1978 (later broadcast on September 24, 1978).

A nude illusion bodysuit with gold and silver chainlink fringe bordering the plunging deep V neckline. The fringe continues from the neckline into the skirt panels, a longer one at the front and a shorter panel at the back, sewn to a spandex bodysuit. Souffle is the outer layer fabric, with rhinestones sewn on the strategic cut-outs at the plunging neckline, sides, and low-cut back. At the back of the costume are pleated gold lame fabric wings with rods for Tina to hold them and spread her wings.

The costume emphasized Tina's theatrical performance qualities and showcased her commanding presence on stage. In her memoir That's My Life, Turner recalls this specific costume, saying, “I looked like I was about to take flight and soar — which was exactly how I felt about being on my own for the first time." Turner was an innovator who used her costumes and fashions to bring theatricality to her performances.

Bob Mackie recalls designing for Tina Turner in an interview with Good Morning America, saying, "Tina had a look, and she had those amazing legs, that you would just look at and say, 'Wow, look at those legs,' and she moved beautifully. [...] She was in charge." In the late 70s, Turner took control of her life and career after separating from Ike Turner. The style of her fashions and costumes enhanced her intricate choreography and her spirit, which took over every performance, making her the Queen of Rock and Roll.

Property comes with an 8 x 10-inch photograph.

Tina Turner | 1977 Bob Mackie Photo Worn Beaded Gown (With Photo)

A nude illusion beaded evening gown designed by Bob Mackie and worn by Tina Turner for a 1977 photoshoot with Harry Langdon in Los Angeles and for a guest appearance on Laugh In, episode five, which aired on February 1, 1978.

An illuminating, fully embellished evening gown, unmistakably Mackie, with the exterior beaded soufflé fabric matching Turner's skin tone, is lined with a spandex bodysuit and modesty panel. The dramatic asymmetrical thigh-high slit is the final flourish to this show-stopping evening number.

Bob Mackie recalls designing for Tina Turner in an interview with Good Morning America, saying, "Tina had a look, and she had those amazing legs, that you would just look at and say, 'Wow, look at those legs,' and she moved beautifully. [...] She was in charge." Turner, in the late 70s, took control of her life and career following the separation from Ike Turner. The style of her fashions and costumes enhanced her intricate choreography and her spirit, which took over every performance, making her the Queen of Rock and Roll.

In Bob Mackie's documentary Naked Illusion, the designer recalls how Turner would return from Paris with cheap sequin dresses and ask Mackie if he could make a cavewoman costume. He remembers how Turner would put on the garment and cut it up.

Mackie was quoted in The Cut saying, "You don't get a Tina Turner very often who knows exactly how they want to look and how they want to move... I never had to inspire Tina Turner. She came already equipped."

Property comes with a black and white photo.

Bob Mackie | Fall 2001 Foreign Intrigue Runway Collection Evening Gown and Coat

A Bob Mackie original design, a fully beaded ruby-red colored embellished evening gown with a black velvet overcoat trimmed with black fox fur, from the fall 2001 collection, Foreign Intrigue.

The fully embellished halter-neck gown reflects Mackie's dress codes of glamour and impeccable, fitted silhouette. Sewn on netting, the surface design is arranged in a geometric pattern with individual geometric patterns inside each diamond. This design has an hourglass silhouette, fitted bodice, waist, and hips, with the skirt going into an aline shape with a floor-sweeping hemline. It is partially unlined at the neck and chest and then lined at the bust, torso, and skirt. The gown is paired with a hooded black velvet evening coat with Dolman sleeves, trimmed with black fox fur, and lined with red satin.

Bob Mackie | Red Sequined 1987 Runway Sample

A Bob Mackie red sequin cocktail-length dress with ruffled underskirts, runway sample, circa 1987.

A fitted, fully embellished red sequin and beaded cocktail dress, fitted bodice, strapless bodice with a sweetheart neckline, and an a-line voluminous skirt lined with multi-colored, knife-pleated ruffle skirts. The embellishments feature lines of stacked sequins and bugle beads arranged in a chevron pattern. The interior is fully lined and has a Bob Mackie label sewn at the interior along the zip closure.

Bob Mackie | Fall 1991 Black Velvet Evening Gown

A floor-length black velvet and chantilly lace evening gown designed by Bob Mackie for his fall 1991 runway show titled The Cole Porter Collection, celebrating Cole Porter's 100th birthday with 1920s and 30s-style garments referencing the composer's music, adding to the theatrics of the show.

Sophisticated elegance with a hallmark Mackie nude illusion reveal. The design features a mock turtle neckline with an asymmetrical cut bodice with back velvet on one side and blush/beige silk crepe overlayed with chantilly lace on the other (the lace is embellished with bevel back rhinestones). The seam of the bodice runs diagonally from the neck to the hip, creating a nude illusion type of reveal. The hip is accented with a jeweled cluster and faux gemstone over a panel mimicking a leg slit with blush/beige silk crepe and chantilly lace. Mackie created a tailored evening look with padded shoulders, a fitted bodice and hips, and a column skirt that goes into a slight train at the back. A Bob Mackie label is located on the interior along the zip closure.

The fall 1991 collection was featured on CNN Style with Elsa Klensch. Klensch said, "Mackie puts on a dazzling show. He makes saucy, seductive evening clothes [...] that recall the nostalgia of times gone by." Mackie, in his interview with Klensch, explains how he drew inspiration from the 20s, 30s, and Art Deco embroideries to flavor his designs

Bob Mackie | Spring 1992 Betty Boop Wedding Dress

An original Bob Mack fully sequined figure-hugging wedding mini dress and floor-length veil from the 1992 spring collection, 20th Century Legends. The collection paid homage to eight style legends Mackie dubbed true originals, whose style was their own.

The strapless dress with vermicelli beadings and sequin hearts features a sweetheart neckline, fitted silhouette, and ruffled flounce, an homage to the iconic mini dress worn by Boop in the comics and films. This hallmark Mackie design features satin piping and a mix of bugle, lockrosen, and sequin embellishments. The back has a hidden zip closure with a hook-and-eye and a satin bow. The interior has a built-in underwire bra and is lined. The flounce is lined with ecru silk satin for a subtle contrast. A floor-length veil comes with the dress, composed of tulle ruched and trimmed in an ecru silk satin and embellished with paillettes. The veil is attached to a headband with a large white and ecru sequin heart. A Bob Mackie label with a sample number is sewn at the interior.

Bernadine Morris for The New York Times (November 8, 1991), who reviewed the collection, wrote, "Lucille Ball, Mary Martin, Martha Graham, Betty Boop, Diana Vreeland, Rita Hayworth, Billie Holiday, and Grace Kelly were the women who inspired the clothes as well as the production. Each was portrayed by one of today's popular models, who usually play themselves on the runway. With the aid of wigs, hair ornaments, and the clothes they wore, the models became their characters."

Aretha Franklin modeled a version of this design for the cover of Jet Magazine on April 20, 1992, titled "ARETHA FRANKLIN, QUEEN OF SOUL, HOLDS ROYAL BIRTHDAY BASH."

Princess Diana | Jacques Azagury 36th Birthday Evening Gown

This is a Jacques Azagury design created at Azagury, 50 Knightsbridge, London, for Diana, Princess of Wales. The original design was worn for Diana's 36th birthday at the Tate Gallery's 100th anniversary celebrations on July 1, 1997.

Naomi Watts wore this gown for Oliver Hirschbiegel's 2013 biopic Diana. This is a rare fashion collector's piece; only three of these gowns were made with the original fabric, this includes the gown worn by Princess Dian on July 1, 1997.

This gown is made of the remaining archival fabric which was used for Diana's gown worn in 1997 and the gown owned by Renae Plant founder of The Princess Diana Museum purchased in fall of 2023. Only three gowns were made of the this archival fabric used to produce the gown worn by Princess Diana.

The black gown is crafted from Chantilly lace and hand-embroidered with sequins and two types of beads, bugle and seed, to create surface designs of scrolls and flowers. The design features black satin shoulder straps with bows. A Jacques Azagury label is sewn on the interior.

This design is part of Jacques Azagury's Famous Five dresses, designed for Princess Diana before her untimely passing on August 28, 1997. The black embellished chantilly lace gown showcased Diana's independence and fashion, which contrasted with Royal protocol, especially wearing black, which was traditionally worn only in mourning. The original gown, dubbed the 36th Birthday Dress, was gifted to Princess Diana by Jacques Azagury, who was not just a client of the designer but a friend as well. Diana originally planned on wearing another gown to the gala, but she loved Azagury's design so much that she changed it at the last minute. This design was the last gown Diana would wear to a public function.

Diana was introduced to Jacques Azagury's designs when she accompanied Anna Harvey, then British Vogue fashion editor, to the London Design Trade Show, which featured up-and-coming designers. Azagury was in awe meeting the princess, who came to his store in Knightsbridge three weeks later to purchase the dress she saw on display at the show. Diana would wear numerous dresses and gowns by Azagury; one of her favorites was an ice blue silk georgette mini-dress worn June 3, 1997, to the Royal Albert Hall for a performance of Swan Lake.

The property comes with a copy of Diana: Her Fashion Story, by Georgina Howell and a Jacques Azagury felted hanger and garment bag.

Christian Dior | 2000 John Galliano Dior Gazette Fly Girl Dress

A bias-cut newspaper-print cocktail dress designed by John Galliano for Christian Dior's 2000 fall collection, look 34, the design was seen on model Angie Schmidt on the runway.

This iconic black-and-white newsprint features made-up headlines and images of then-creative director John Galliano. The dress is composed of a matte viscose, jersey-like fabric with spaghetti straps and gold-tone CD hardware attaching the straps to the draped neckline of the bodice. A Christian Dior label is sewn at the interior, marked a French 38, new without tags.

This seasonal print for Dior was a commercial success with Sarah Jessica Parker as Carrie Bradshaw wearing the same style "Dior Gazette" printed bias-cut cocktail dress in Sex and the City (Season 3, Episode 17) when she has lunch with Big's wife Natasha, who confronts Carrie about her affair with her husband. Since the design's appearance on the show, it has entered the pop zeitgeist as a coveted fashion must-have.

John Galliano's 1984 Saint Martins graduate collection, "Les Incroyables," caught the attention of every fashion editor and buyer. The entire collection was purchased and sold at Brown's department store in London. His fashion shows have become idolized in the fashion world, especially his fall 1994 fashion at São Schlumberger Paris home. Galliano was Dior's creative director from 1996 to 2011.

Hermes | 2016 Jaune Poussin Porosus Crocodile Retourne 35 CM Birkin

This is an Hermes retourné 35 cm, jaune poussin, crocodile porosus Birkin with gold hardware. The design features rolled top handles, a gold-plated padlock accented with crocodile leather, a clochette, and gold leaf embossed brand and exotic leather identification stamps. This bag is dated 2016, has minimal wear, and is in excellent condition.

This bag has a special carat stamp that identifies the leather as crocodile porosus. Birkins are handcrafted in France, utilizing the brand's saddle stitch technique created by founder Thierry Hermes. This technique was created for the rare occasion that the thread of a stitch breaks; the other stitches remain unaffected. The signature designs include a flap, an expandable gusset, a turn lock closure, and four feet at the base. The interior is lined in matching chèvre leather with internal compartments (open pockets at the front panel and a zip compartment at the back panel).

The Birkin premiered in 1984 and was designed by Jean-Louis Dumas, who created and named this iconic bag for and after Jane Birkin. While traveling on a plane with Dumas, Jane had her signature panier basket, which fell from the overhead bin, spilling its contents. Dumas began designing a bag for the French actress on the flight, with the first designs being drawn on an airsickness bag. The coveted bag was designed after the house's first handbag the Haute A Courroies (HAC) designed to carry equestrian equipment and sporting attire. The Birkin inherited its predecessor's trapezoid shape, flap, and expandable gusset.

Metal hardware was tested on the KEE gold tester, and the metal hardware was identified as gold-plated.

The lot comes with a branded drawstring dust bag.

The property in this lot can either be shipped to its final destination within the United States or be personally picked up with government issued identification at Julien's Auctions showroom in Gardena, CA. The buyer, if taking the property outside of the United States, is responsible for following all the applicable United States laws and regulations to export the property to the country of destination. It is the buyer’s responsibility to ensure they are legally importing the property to the destination country in compliance with the laws of the destination country for importation. We advise you, the buyer, to familiarize yourself with the applicable United States laws and the laws of the country of importation before bidding on this lot. A failure to obtain any required documentation for export and/or import permits from the applicable authority (and any consequences that arise from failing to transport the property in compliance with laws and regulations) does not give grounds to cancel the sale of this lot/property. A buyer choosing to pick-up the property from Julien's Auctions, California sales tax will be applied against the purchase of the lot. Julien’s Auctions shipping and post-sale service can be reached by email ([email protected] and [email protected]).

Drew Barrymore | Kurt and Bart 1997 US Magazine Mark Seliger Butterfly Wings

A custom-designed pair of nylon mesh, airbrush, monarch butterfly wings worn by Drew Barrymore for a US Magazine Mark Seliger photoshoot. The wings were made by costume designers Kurt and Bart.

A pair of metal wire wings applied/wrapped with nylon mesh with a custom airbrush pattern design referencing monarch butterfly wings. The wings have five parts: a metal harness with bendable straps covered by foam and fabric, four individual pieces for the wings, with two larger pieces for the upper part of the wings and two small pieces for the lower part. The wings come with orange and violet feathers that are worn as antennas.

Kurt Swanson and Bart Mueller provide insight about the piece and the significance to their career:

"We shot this in December of 1996 for US Magazine, working with photographer Mark Seliger. It was still very early in our styling career, and Mark was one of the first major photographers to take a chance on us. This shoot marked the beginning of what would become years of creative collaboration—and was probably one of the first times we traveled on location for a job. It felt like a big break.

The location was Bastrop, Texas—a tiny, historic town with a single train track and a three-block-long main street. Drew Barrymore was in town filming Home Fries, and we shot her just before the production’s Christmas break. Besides styling her in vintage pieces and contemporary fashion, the real centerpiece of the shoot was a theatrical moment: a Kurt-and-Bart-style transformation of Drew into a butterfly. She had just gotten a butterfly tattoo, which sparked the concept.

We had unearthed treasures at the now-defunct Eaves Costume Company, once the resting place for forgotten gems from Broadway and the New York City Opera. That’s where we found the vintage crystal bodysuit with faded velvet petals. The wings we built from hand-painted silk stretched over a wire armature, and we finished them with Swarovski crystals and broken gold leaf to keep the delicate, faded glamour aesthetic. The antennae? Feathers we hand-dyed and trimmed ourselves.

The last shot of the day happened at dusk. As Drew stepped onto the tracks, transformed into our butterfly, the moment felt suspended in time. Mark captured something magical—sun-faded, worn, dreamlike. That kind of visual storytelling became a trademark of our collaborations with him. Even now, that image remains special and a favorite.

Just as we wrapped, with the last light gone, we wandered over to Main Street—and there was Santa Claus, driving the town’s vintage firetruck decked out in Christmas lights. A perfectly strange and sweet end to a perfect day."

Kurt and Bart began their careers as stylists working with pop icon Britney Spears. They went on to become costume designers on blockbuster films like The Hunger Games: Mockingjay Parts 1 and 2 and indie films like Baby Girl, starring Nicole Kidman.

Property was featured in a special issue of the US Magazine The New Young Hollywood in March 1997. The magazine featured the Mark Seliger image of Drew Barrymore wearing wings with feather antennas.

Britney Spears | 2007 Gimme More Leather Vest

A fitted leather vest with embellished studwork and rabbit fur collar worn by Britney Spears in her music video "Gimme More," the lead single from her fifth studio album Blackout, working with producer Danaja.

A form-fitting leather vest top with a zip-up front, rabbit fur collar, safety-pinned revolver with leg patch (similar to Walking Gun by artist Laurie Simmons, 1991, photograph), and hand-set studwork at the back. Each side of the vest features lacing at the open side seams. The vest has a defined basque waistline with a hand-cut hem. Inside the collar, handwritten in silver marker reads, "Molly."

Britney writes about her experience recording Blackout in her memoir, crediting the process and work as "the easiest, most satisfying album I ever made." Spears continues documenting the process and her involvement in her memoir The Woman in Me, writing, "The album was a kind of battle cry. After years of being meticulous, trying to please my mom and my dad, it was my time to say 'Fuck you.' I quit doing business the way I always had before. I started doing videos on the street myself. I would go into bars with a friend, and the friend would just bring a camera, that's how we shot 'Gimme More.'"

The Walking Gun patch has significant meaning. The artist Laurie Simmons's message relays, "Doll is capable of killing its master at a moment's notice." This message is evident in Spear's work for Blackout, where she enforces her control over her music and its autonomy so that the lyrics can relay her thoughts, rebellious emotions, and thoughts on her public and private life.