Elizabeth Taylor's 'Lucky Charm' Oscar Dress Found in Suitcase in London

A Christian Dior dress worn by Elizabeth Taylor at the 1961 Oscars was discovered in a suitcase in London after more than 50 years Daniel LEAL AFP
A Christian Dior dress worn by Elizabeth Taylor at the 1961 Oscars was discovered in a suitcase in London after more than 50 years Daniel LEAL AFP
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Elizabeth Taylor's 'Lucky Charm' Oscar Dress Found in Suitcase in London

A Christian Dior dress worn by Elizabeth Taylor at the 1961 Oscars was discovered in a suitcase in London after more than 50 years Daniel LEAL AFP
A Christian Dior dress worn by Elizabeth Taylor at the 1961 Oscars was discovered in a suitcase in London after more than 50 years Daniel LEAL AFP

A "lucky charm" Christian Dior dress worn by Elizabeth Taylor on the night she won best actress at the 1961 Oscars is to be sold at auction next month, after being stored in a suitcase in London for over 50 years.

It had been assumed the floral print gown with a crimson silk bloom at the waist was already in the Christian Dior archive in Paris, AFP said.

In fact, the gown -- along with 11 other garments owned by the star -- had been carefully stored in a large plastic suitcase in her former personal assistant's spare room since 1971.

Taylor, accompanied by fourth husband Eddie Fisher, wore the dress designed by Marc Bohan for Dior to the 33rd Academy Awards.

Her relationship with Fisher, whom she was accused of stealing from actor Debbie Reynolds, was considered a scandal and had sparked a storm of negative publicity.

The outcry had left Taylor convinced she would not win, said Kerry Taylor, whose specialist vintage fashion auction house is selling the dress.

"She had been the bridesmaid and never the bride at the Oscars and on this occasion she really didn't expect to win having been passed over before and having had all the negative press over Eddie Fisher," she told AFP.

After her Oscar triumph, the star came to regard the dress as "something of a lucky charm" and took it with her all over the world.

"Elizabeth Taylor was still taking this dress from place to place with her after 10 years. She didn't wear it on other occasions, she just liked to have it with her," Taylor said.

'Just second hand dresses'
The garments in the suitcase were among a large number gifted to former employee Anne Sanz, whose husband Gaston worked as Taylor's chauffeur and bodyguard.

The couple travelled the world with the actor and her fellow Hollywood star husband Richard Burton at the height of their fame in the 1960s and 70s.

But despite the Dior dress's sentimental value, by 1971 Taylor's travel wardrobe was sometimes running to 40 huge suitcases and she was happy to let it go.

The actor opened up her wardrobe at London's Dorchester Hotel one day in 1971, telling Sanz "take whatever you like!"

Taylor had also given Sanz a white cocktail dress and matching bolero for her wedding.

Other items due to be sold include Tiziani haute couture by Karl Lagerfeld and a "black widow" robe Taylor wore in the 1967 film "Boom", also by Lagerfeld.

Taylor and Burton were godparents to the Sanz's daughter Elizabeth but Anne and Gaston quit after their star employers' second separation, torn over who to continue working for.

Over the years, Sanz wore a couple of the dresses and gave others away to friends and family, never regarding them as particularly significant or valuable.

"Anne obviously wore the white matelasse dress for her wedding and there was one other dress that she wore -- a yellow and blue dress with matching coat," Kerry Taylor said.

"But in a sense, these were just second-hand dresses that belonged to Liz Taylor. So what? This was before celebrity mentality became the thing," she added.

The auction at which the Dior Oscar dress is expected to fetch between £40,000-60,000 ($48,000-$73,000) will take place in London on December 6.



Notre Dame Cathedral’s Reopening Spectacle Capped a Stellar Year for Luxury House LVMH

CEO of LVMH Bernard Arnault, left, Antoine Arnault, CEO of Berluti , center right, and members of the Arnault family talk in Notre Dame Cathedral before France's iconic cathedral is formally reopening its doors for the first time since a devastating fire nearly destroyed the 861-year-old landmark in 2019, Saturday Dec.7, 2024 in Paris. (Ludovic Marin/Pool via AP, File)
CEO of LVMH Bernard Arnault, left, Antoine Arnault, CEO of Berluti , center right, and members of the Arnault family talk in Notre Dame Cathedral before France's iconic cathedral is formally reopening its doors for the first time since a devastating fire nearly destroyed the 861-year-old landmark in 2019, Saturday Dec.7, 2024 in Paris. (Ludovic Marin/Pool via AP, File)
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Notre Dame Cathedral’s Reopening Spectacle Capped a Stellar Year for Luxury House LVMH

CEO of LVMH Bernard Arnault, left, Antoine Arnault, CEO of Berluti , center right, and members of the Arnault family talk in Notre Dame Cathedral before France's iconic cathedral is formally reopening its doors for the first time since a devastating fire nearly destroyed the 861-year-old landmark in 2019, Saturday Dec.7, 2024 in Paris. (Ludovic Marin/Pool via AP, File)
CEO of LVMH Bernard Arnault, left, Antoine Arnault, CEO of Berluti , center right, and members of the Arnault family talk in Notre Dame Cathedral before France's iconic cathedral is formally reopening its doors for the first time since a devastating fire nearly destroyed the 861-year-old landmark in 2019, Saturday Dec.7, 2024 in Paris. (Ludovic Marin/Pool via AP, File)

The reopening of Notre Dame was a solemn celebration of cultural and spiritual renewal. Yet for some, the historic cathedral's revival also felt like a meticulously choreographed branding event from LVMH and other luxury conglomerates.

Bernard Arnault, the lowkey billionaire behind luxury powerhouse LVMH and a key Notre Dame donor who regularly tops the list of the world’s richest men, was at the center of the celebration. He was surrounded by his family, the French president, the archbishop and clergy, and the unmistakable symbols of his luxury empire’s influence, including its brands Louis Vuitton and Dior.

First lady Brigitte Macron held a conspicuous Lady Dior handbag. Louis Vuitton artistic director Pharrell Williams performed kitted out in Louis Vuitton. South African soprano Pretty Yende also contributed with a rendition of “Amazing Grace” while wearing a Dior gown adorned with 110 carats of diamonds.

Welcome to the “inauguration of the LVMH arena,” commented television journalist Yann Barthès about the cathedral ceremony this week.

LVMH has enjoyed unprecedented visibility in France in 2024, especially as a high-profile sponsor of the Paris 2024 Olympics.

Some questioned the taste of such brand prominence occurring in a sacred space like the beloved Gothic monument, while noting LVMH's crucial contribution to the reconstruction.

“You can’t blame monsieur Arnault, a businessman, to do business. But people are now asking if it was an appropriate venue for a display like that,” said fashion PR consultant Theo Fontaine.

“It’s been a great PR year for LVMH—that’s for sure,” Fontaine added. “The Olympics and now Notre Dame. The whole world has been watching.”

Not far behind Arnault sat representatives of Kering, adding another layer to the ongoing rivalry between France’s two largest luxury conglomerates.

Kering CEO François-Henri Pinault attended alongside his wife, actress Salma Hayek, who wore a tailored Gucci coat. Gucci is Kering-owned.

The event, marking the culmination of an 840-million-euro restoration effort following a devastating 2019 fire, brought together global dignitaries and cultural icons.

The Notre Dame restoration united France’s corporate giants. Arnault’s 200-million-euro donation was the largest, followed by 100-million-euro contributions from Pinault and the Bettencourt-Meyers family of L’Oréal. Over 250 companies and 2,000 craftspeople contributed to the five-year restoration effort, which reconstructed the spire, repaired vaulted ceilings and restored stained-glass windows.

As the bells of Notre Dame rang out across Paris, the cathedral’s rebirth stood as a testament to collective effort — but also for some as a symbol of how France’s seats of power and its prized luxury industry are inextricably intertwined.

French President Emmanuel Macron and Brigitte Macron welcomed heads of state, including President-elect Donald Trump, Britain’s Prince William and Elon Musk, to a ceremony steeped in tradition — and high fashion.

Arnault attended with his family, including Dior chair and CEO Delphine Arnault, LVMH image and environment director Antoine Arnault, Moët Hennessy deputy CEO Alexandre Arnault, LVMH Watches CEO Frédéric Arnault, and Louis Vuitton product and development director for watches Jean Arnault. Antoine Arnault’s wife, model Natalia Vodianova, was also in attendance.

“I am proud of the outpouring of generosity from all over the world, to which the LVMH Group and my family wanted to contribute from the very beginning, which has enabled the restoration of this jewel of our heritage,” Antoine Arnault said in a statement posted to LinkedIn.

“This extraordinary project highlighted the excellence of French know-how and the talent of nearly 2,000 architects, workers and craftsmen of all trades,” he added.

Yet, public reaction was mixed

Papuna Biliseishvili, 24, who watched the ceremony in Paris, quipped, “If the devil wears Prada, the cathedral wears Louis Vuitton and Dior.”

Cari Lefebvre, 27, said “this is the most PR the Catholic Church has seen in centuries.”

Marie-Claire Dubois, a 45-year-old Catholic worshiper from Paris, expressed her disapproval. “This is a sacred place. It is beautiful that these companies contributed, but the branding should have remained outside.”

While the grandeur of the reopening sparked debate, Arnault’s donation and LVMH’s contributions to the cathedral restoration—including 36 300-year-old oak trees for the spire—have been widely praised.

LVMH’s influence at the Paris 2024 Olympics further cemented its stellar year. The company crafted custom display cases for 5,000 medals and the Olympic torch, showcasing its artistry and precision. Berluti, another LVMH brand, designed costumes for the opening ceremony, while an Olympic-themed Vogue World fashion show, supported by the group, drew international attention during Paris Couture Week.

Tensions between Arnault and Pinault, the driving forces behind LVMH and Kering respectively, were on full display with their brands’ prominent appearances at the cathedral. This rivalry dates back decades to a bitter bidding war over Gucci in the late 1990s, which Pinault’s Kering ultimately won. Since then, their competition has extended beyond fashion into the realms of art, philanthropy and global influence.

In Notre Dame, French luxury was also championed by the French Catholic church — and was on display even in the stitch of the liturgical vestments. French fashion designer Jean-Charles de Castelbajac was called on by the church to design the cathedral’s 2,000 garments. The unorthodox designs were fun, modern — and perhaps shockingly minimalist. They ensured that even the clergy’s robes reflected high-fashion artistry, further underscoring the intersection of faith and fashion at the event.