David Lynch auction: More than 450 personal items go under the hammer
It's been nearly five months since we lost visionary director David Lynch, and now his memorabilia are up for auction.
Julien's Auctions and Turner Classic Movies (TCM) have announced the David Lynch Collection, which includes more than 450 items like Lynch's vinyl collection, books, scripts, paintings, instruments and treasured movie collectables. Even some of his woodshop tools and accessories.
'Julien's and TCM are honored to represent and offer to the public for the first time this incredible collection of one of the greatest and most revered filmmakers of all time, David Lynch,' Catherine Williamson, the managing director of entertainment at Julien's Auctions, said in a press release.
'These historical and cherished pieces reflecting David Lynch's singular artistic vision, as well as his passions and pursuits ranging from his director's chair, espresso machine to his guitar, record collections and Twin Peaks style decor, come directly from the home of the visionary artist whose enigmatic films stirred our most imaginative and collective surreal dreams.'
You can check out the full collection here. Here are some of the ones we'd love to snap up:
The chair is emblazoned with his name on the back in gold. The current bid at the time of writing is $7,000.
An original Moviola Midget used for viewing 35mm film reels to assist in the editing process. Current bid: $1,250.
Fancy setting up your own Black Lodge? Current bid: $1,750.
Find your way to the place 'both wonderful and strange' with this map drawn and signed by David Lynch. Estimate: $40,000 – $60,000.
A group of three scripts from the production of Lynch neo-noir masterpiece Mulholland Drive. Current bid: $2,250.
The live auction is set for 18 June on Julien's Auction's website and at their Gardena auction house.
The revolution in the European fashion world continues. After the arrival of Georgian designer Demna Gvasalia at Gucci and Pierpaolo Piccioli at Balenciaga, as well as the departure of Donatella Versace, who sold the historic brand to the Prada group, a new change of chair has been announced by Dior today.
Italian artistic director Maria Grazia Chiri is leaving the French maison of the LVMH group after nine years.
"After nine years I am leaving Dior. I am delighted to have been given this extraordinary opportunity. Together we have written a great page of which I am immensely proud," Chiuri wrote in a note released on Thursday.
The designer presented her latest collection on Tuesday in Rome in the gardens of Villa Albani. The fashion show was celebrated with a standing ovation and drew rave reviews from the press.
"I express my heartfelt thanks to Maria Grazia Chiuri, who, since her arrival at Dior, has done an extraordinary job with a stimulating feminist perspective and exceptional creativity, all permeated by the spirit of Monsieur Dior, which has allowed her to design collections of great prestige. She has written a key chapter in the history of Christian Dior, contributing significantly to its extraordinary growth and being the first woman to lead the creation of women's collections," wrote Christian Dior Couture president and CEO Delphine Arnault on the fashion house's X account.
It has not yet been announced who will replace Chiuri at the helm of the brand, but it is likely to be Jonathan Anderson, who replaced Kim Jones at the helm of Dior Homme since April. He could become the first designer to lead both the men's and women's collections of the Parisian fashion house.
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After nine years as creative director of womenswear at French fashion house Dior, Maria Grazia Chiuri officially announced her departure on May 29. The news comes just after her spectacular Cruise show in her hometown of Rome, staged in the opulent setting of Villa Albani Torlonia. A heartfelt tribute to her city and a graceful way to take a final bow, the show marked a fitting end to her tenure. Throughout her time at the Parisian label, Chiuri became known for her unapologetically feminist message and her dedication to celebrating the art of craftsmanship. Here, we look back at four runway shows that defined her years at Dior. Spring-Summer 2018 Couture Surrealism has long been a source of inspiration for fashion houses and designers, drawn to the movement's boundary-pushing aesthetics and its iconic artists— Man Ray, Dalí, Miró, Magritte, Tanning—who paved the way for today's expressive and liberating creative landscape. For this collection, Chiuri found inspiration in the work of surrealist painter and writer Leonor Fini. Black and gold rectangular masks that only reveal the eyes recall Salvador Dalí's signature motifs. Domino prints twist and distort across checkered dresses while feathers burst from waistlines. Gowns are shaped like hourglasses or birdcages—semi-sheer dresses with visible white frames evoke René Magritte's iconic cages. Chiuri explored motion and perception with sheer layers and a monochrome palette. Black feather butterflies layered over white counterparts create dramatic contrast on a black gown. Fall-Winter 2019 Maria Grazia Chiuri paid tribute to the 1950s by spotlighting the Teddy Girls—a subculture of young British women influenced by rock 'n' roll. Overshadowed by their male counterparts who were often dismissed as juvenile delinquents, the Teddy Girls were among the first to embody an independent cultural identity in post-war England. Having grown up during wartime rationing and austerity, their bold fashion choices—mixing aristocratic garments with edgy hairstyles and rock'n'roll-inspired accessories—set them apart. The Italian designer created 89 looks, featuring structured jackets and coats with oversized collars, vinyl bucket hats draped in black veils, and tulle and tartan skirts of varying lengths. Cinched belts and pearl chokers added contrast. Many strapless dresses echoed the dandy-inspired silhouettes worn by the Teddy Girls, stripped of traditional refinement. Chiuri once again used the T-shirt as a platform for her feminist voice, this time printed with: 'Sisterhood is global.' Fall-Winter 2022 After exploring British 1950s fashion, Chiuri turned to the same decade's French-style heritage. The years 1950–59 were formative for Dior, marking the brand's rise after its founding. Naturally, Chiuri reinterpreted the label's iconic 'New Look' introduced in the wake of World War II. The iconic Bar jacket—tightly cinched at the waist and flaring at the hips—was paired with fluid black skirts. Demure shirt-collar dresses and sheer floral lace tops were contrasted with high-tech motorcycle gear in electric blue, yellow, orange and green. Airbags were worn across the chest, gloves extended above the elbows, and protective armor wrapped around the shoulders and torso. Chiuri paid homage to icons of French elegance, notably singer Édith Piaf, whose voice played during the show and whose spirit was embodied in somber black velvet dresses. A nod to Christian Dior himself appeared in raspberry-pink and rhubarb-green floral prints. Juliette Gréco's androgynous style also inspired the show, with long skirts, turtlenecks in tweed and cashmere, and oversized jackets walking the runway. Fall-Winter 2025 Maria Grazia Chiuri collaborated with visionary American director Robert Wilson for her final show. The collection was inspired by Virginia Woolf's novel 'Orlando,' a love letter to her muse Vita Sackville-West, whose life inspired the story's gender-defying protagonist. Divided into five dreamlike acts, the show unfolded in near-total darkness. Surreal elements came to life on stage: a pterodactyl flew above the runway, glaciers emerged from the floor, and fireballs opened the show. In a nod to Orlando's fluid journey through time and gender, Chiuri blended feminine silhouettes (corsets), masculine tailoring (structured blazers), and androgynous pieces (skirts and trousers). Reflecting the novel's time-spanning narrative, the garments featured historical references from multiple eras. Nineteenth-century–inspired coats were reimagined in innovative fabrics, while rich baroque details appeared alongside modern touches. Ermine fur swung beside black leather and printed tops, while lace, ruffs, embroidery and flared cuffs added to the theatricality. In some looks, Chiuri even wove in quotes from Virginia Woolf—a final creative offering to the house of Dior.
Fashion Network
3 days ago
- Fashion Network
Four runway shows that defined Maria Grazia Chiuri's creative era at Dior
After nine years as creative director of womenswear at French fashion house Dior, Maria Grazia Chiuri officially announced her departure on May 29. The news comes just after her spectacular Cruise show in her hometown of Rome, staged in the opulent setting of Villa Albani Torlonia. A heartfelt tribute to her city and a graceful way to take a final bow, the show marked a fitting end to her tenure. Throughout her time at the Parisian label, Chiuri became known for her unapologetically feminist message and her dedication to celebrating the art of craftsmanship. Here, we look back at four runway shows that defined her years at Dior. Spring-Summer 2018 Couture Surrealism has long been a source of inspiration for fashion houses and designers, drawn to the movement's boundary-pushing aesthetics and its iconic artists—Man Ray, Dalí, Miró, Magritte, Tanning—who paved the way for today's expressive and liberating creative landscape. For this collection, Chiuri found inspiration in the work of surrealist painter and writer Leonor Fini. Black and gold rectangular masks that only reveal the eyes recall Salvador Dalí's signature motifs. Domino prints twist and distort across checkered dresses while feathers burst from waistlines. Gowns are shaped like hourglasses or birdcages—semi-sheer dresses with visible white frames evoke René Magritte's iconic cages. Chiuri explored motion and perception with sheer layers and a monochrome palette. Black feather butterflies layered over white counterparts create dramatic contrast on a black gown. Fall-Winter 2019 Maria Grazia Chiuri paid tribute to the 1950s by spotlighting the Teddy Girls—a subculture of young British women influenced by rock 'n' roll. Overshadowed by their male counterparts who were often dismissed as juvenile delinquents, the Teddy Girls were among the first to embody an independent cultural identity in post-war England. Having grown up during wartime rationing and austerity, their bold fashion choices—mixing aristocratic garments with edgy hairstyles and rock'n'roll-inspired accessories—set them apart. The Italian designer created 89 looks, featuring structured jackets and coats with oversized collars, vinyl bucket hats draped in black veils, and tulle and tartan skirts of varying lengths. Cinched belts and pearl chokers added contrast. Many strapless dresses echoed the dandy-inspired silhouettes worn by the Teddy Girls, stripped of traditional refinement. Chiuri once again used the T-shirt as a platform for her feminist voice, this time printed with: 'Sisterhood is global.' Fall-Winter 2022 After exploring British 1950s fashion, Chiuri turned to the same decade's French-style heritage. The years 1950–59 were formative for Dior, marking the brand's rise after its founding. Naturally, Chiuri reinterpreted the label's iconic 'New Look' introduced in the wake of World War II. The iconic Bar jacket—tightly cinched at the waist and flaring at the hips—was paired with fluid black skirts. Demure shirt-collar dresses and sheer floral lace tops were contrasted with high-tech motorcycle gear in electric blue, yellow, orange and green. Airbags were worn across the chest, gloves extended above the elbows, and protective armor wrapped around the shoulders and torso. Chiuri paid homage to icons of French elegance, notably singer Édith Piaf, whose voice played during the show and whose spirit was embodied in somber black velvet dresses. A nod to Christian Dior himself appeared in raspberry-pink and rhubarb-green floral prints. Juliette Gréco's androgynous style also inspired the show, with long skirts, turtlenecks in tweed and cashmere, and oversized jackets walking the runway. Fall-Winter 2025 Maria Grazia Chiuri collaborated with visionary American director Robert Wilson for her final show. The collection was inspired by Virginia Woolf's novel 'Orlando,' a love letter to her muse Vita Sackville-West, whose life inspired the story's gender-defying protagonist. Divided into five dreamlike acts, the show unfolded in near-total darkness. Surreal elements came to life on stage: a pterodactyl flew above the runway, glaciers emerged from the floor, and fireballs opened the show. In a nod to Orlando's fluid journey through time and gender, Chiuri blended feminine silhouettes (corsets), masculine tailoring (structured blazers), and androgynous pieces (skirts and trousers). Reflecting the novel's time-spanning narrative, the garments featured historical references from multiple eras. Nineteenth-century–inspired coats were reimagined in innovative fabrics, while rich baroque details appeared alongside modern touches. Ermine fur swung beside black leather and printed tops, while lace, ruffs, embroidery and flared cuffs added to the theatricality. In some looks, Chiuri even wove in quotes from Virginia Woolf—a final creative offering to the house of Dior.
Fashion Network
3 days ago
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After nine years at Dior, Maria Grazia Chiuri moves on
Born to a seamstress who ran a small atelier, Chiuri has long been drawn to fashion. Now 61, she studied at the Istituto Europeo di Design in Rome and began her career at Fendi, an LVMH brand, in 1989. There, she focused on handbag design and contributed to creating the iconic Baguette—one of the defining 'it bags' of the 1990s. Chiuri's career took off when she partnered with longtime collaborator Pierpaolo Piccioli. The pair caught the eye of Valentino Garavani and, in 1999, were entrusted with designing accessories for Valentino. Following the brand's acquisition by investment firm Permira in 2007 and the retirement of its founder, Chiuri and Piccioli stepped into the roles of co-creative directors for accessories. By late 2008, they were promoted to oversee all of Valentino's fashion collections. Their tenure saw the rise of the Rockstud pump, which became a global sensation. Under their leadership, Valentino experienced renewed energy, capturing the attention of younger consumers and gaining critical acclaim. When Qatari investment firm Mayhoola acquired the brand in 2012, Chiuri and Piccioli continued modernizing the house. By 2015, Valentino was nearing €1 billion in annual revenue. In 2016, Chiuri made history as the first woman appointed as artistic director of Dior. From her debut, she used fashion as a vehicle for feminist expression. Her runway shows regularly featured bold slogans such as 'We Should All Be Feminists' and 'Sisterhood Is Powerful.' While honoring Dior's storied heritage, Chiuri infused the brand with a contemporary edge, designing refined, wearable pieces that resonated with younger audiences. As she explained after her first show, her mission was 'to be attuned to the world and to create fashion that reflects today's women. Fashion that supports them through change, helping them break free from stereotypes.' In 2019, Chiuri received the title of Chevalier of the French Legion of Honor—one of several accolades that mark her influential career.
