This is a different post. It is about a dress we have never seen Diana wear. She wore it to a private dinner event, which is why we have no photographs of her in it. Because of this, we have no recorded reaction to this dress, nor can we make a judgement in relation to her. I'm sure she would have looked great in it, as she did in all of Catherine Walker's creations.
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We do have a photo of her standing near the dress. Close enough? Mirelle Levy bought the dress for $21,450. It is described in the auction catalogue:
The strapless dress with a boned bodice is of printed silk organza with sprays of deep pink blue and yellow roses. The full skirt is flat in front, gathered at the sides and worn with a white organza and silk tulle petticoat.
The one thing I do know about this dress, is where it is now. It was donated to the Metropolitan Museum of Art in New York City in 1998. They did not bid on the dresses in 1997, but I am reminded of the immortal words from Richard Martin, Curator of the Costume Institute at the time of the auction:
"This is the last great Cinderella story of the 20th century," Mr. Martin said earlier yesterday, "but that's not what the Metropolitan Museum looks for." He added that Diana's dresses had 'associational' value because they were worn by her, but not in his view, have historic or artistic value."
Despite this, the museum accepted not one, but two of Diana's dresses in 1998. However, they had not changed their viewpoint towards the dresses when they accepted them.
While the Costume Institute had publicly stated it would not bid to buy any of Princess Diana's dresses in the 1997 Christie's auction, we said we might receive one in due course. Due or not, we have received two Catherine Walker ballgowns, both very characteristic of the princess' style for ceremonial but youthful evening wear.
Would we have accepted the dresses if there had been no association with Diana? Probably not. But while I would not wish the Costume Institute to serve the cult of celebrity, clothing does not entirely lose its social an emotional dimensions simply because it is being considered by a museum. Fashion remains whole and human - always intimate, always feeling - and so must the museum's judgements.
As of 2020, both dresses are still in their collection.
© Marilyn Braun 2020
Thank you for enjoying this article. If you use the information for research purposes, a link to credit the work I've put into writing it would be appreciated.
Sources
Our New Clothes: Acquisitions of the 1990s
Met Publications: Recent Acquisitions, A Selection 1997-1998.
Browse the Met collection: Ballgown spring/summer 1990
Diana cleans out her closet and charities just clean up
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