Look 24, the black satin ground entirely covered in shades of blue, purple and grey sequins, edged and interspersed with raised metal beaded stripes, trained hem

Image of Daphne Guinness and L'Wren Scott © Billy Farrell/Patrick McMullan via Getty Images
Bust 32 in. (81 cm.) approx.; waist 24 in. (61 cm.)
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Lot Essay

L'Wren Scott described the inspiration for this gown: 'At the end of a two and a half year tour on the road and the full moon lighting up the sky over Paris, I was really feeling the rock influence. The twilight sky in shades of purple was a haze in the back of my mind.' Daphne Guinness wore this dress when she and Ms Scott attended the Costume Institute Gala 'Superheroes' at the Metropolitan Museum of Art on 5 May 2008. Scott took inspiration for this gown from an early 1930s bias-cut gown in her vintage archive, closely echoing the degrade tones of blue and silver beads and sequins.

I remember wearing this dress so well. That evening I felt at once ethereal, invincible and mermaid-like.
We left the Metropolitan Ball together, because we were both staying at the Carlyle Hotel. I told her, as I observed the endless stream of limousines and the queue of people on the steps waiting, that I was going to walk the six blocks back.
She was rather amazed and slightly wary of this unexpected plan: she was always protective of me. She had a point, as I was no doubt wearing jewelry and my impossible shoes that terrify everyone except myself. She said she would walk with me.
And what a fabulous walk home in the velvet indigo New York night we had. We laughed so much on that walk, much to the astonished looks of the couple of people we passed on the way.
Wearing L’Wren’s clothes felt right. Always so feminine yet structured, she considered the pursuit of the silhouette with as much enthusiasm as I did. The result was a joy. She used sequins with equal measures of abandon and restraint.
L’Wren’s innate understanding of chic: that overused word that in today’s world, seems sadly obsolete as a concept – made her stand out. She had an appreciation for her craft, and her pursuit of elegance and her attention to fine detail defined her designs.
Her immaculate shows were intimate and civilized, alas, another old fashioned idea in today’s world. They reminded me of my first Haute Couture shows from when I was a child: filled like a salon mainly with friends, artists and real clients. It was an incredible undertaking for an independent designer.
She tended to know which of her pieces I would most enjoy wearing, and I would often ask her to make me things especially. This understanding between us and our many adventures together cultivated a close friendship. Her clothes were made to last, and her memory endures in them, but above all in the hearts of those of us who knew her, and lost her, far too soon.
L'Wren was self taught and understood about helping people in the industry when she saw an opportunity to do so. She started designing and making her own clothes aged twelve, because of her height. She shared my passion for promoting young talent. I know she would be thrilled that her dress was playing a part in that. I miss L’Wren every day.
- Daphne Guinness

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