Andreas Murkudis auctions fashion history artifacts from his private collection. Most auction pieces are rare collectibles that were accessible only to a limited circle of people. They hold both sentimental and real value and many mark a turning point in fashion history.
Each obtainable item is connected to a personal story that Andreas Murkudis wants to share with a younger audience in an almost didactic mission. The purpose of these auctions is to marry aged objects with contemporary narratives.
Andreas Murkudis auctions his private collection pieces from decades of fashion history. In the early decades of Murkudis’ career, fashion thrived on exclusivity and limited runs, which makes the items on offer artifacts with both sentimental and real value.
The majority of items mark a turning point in fashion history.
Every item in the auction is connected to a personal story, and for Andreas Murkudis, it is time to share these objects with a new generation ready to appreciate their value. This is the purpose of these auctions — to relate with old memorabilia with new narratives.
"I remember how my brother and I sometimes snuck into shows because we had no invites; sometimes we were caught, other times we were lucky”
Gaultier, known for his eccentric collections and unique sense of humor, reinterpreted Adam and Eve in the Garden of Eden as Rastafarians in a unique pop-up invitation. Andreas Murkudis participated in the utterly outré performance set in a ’90s clubland-inspired Eden with Madonna in the front row, Gaultier’s grandmother walking the runway next to flirtatious Adam and Eves, and actress Rossy de Palma concluding the show in a black puffball gown – all told, a show Andreas Murkudis considers Gaultier’s best, and a work of art in itself.
COMME des GARÇONS’ progressive vision and stance is expressed in this photo card for their A/W 1994 show, photographed by Cindy Sherman. Cindy Sherman, who was at the time an unknown conceptual artist and feminist photographer, was responsible for the design of several collaborative editorials that have become eulogized in the canon of fashion history. The photo card depicts a creature that could be male or female, sculptural or human, from the Renaissance or the future. This ambiguity leaves the viewer wondering about the origin and the statement of the cult image.
Céline published photo books as linked mood boards accompanying their collections. Inspired by the COMME des GARÇONS‘ Six Magazine, these photo books illustrate Phoebe Philo’s artistic approach to each new season. No text, no introduction, no branding — just visuals ranging from blurred black and white photographs to female bodies in elongated poses and iconic images of Romy Schneider and David.
Published in 1978, Deborah Turbeville’s “Wallflower” is a true testament to her idiosyncratic photographic style contrasting the clean aesthetic of her contemporaries like Helmut Newton and Guy Bourdin. Starting out as a fashion editor at Harper’s Bazaar and Mademoiselle, Turbeville developed an anti-sleek and soft, dream-like focus in her own photography that typically displayed character rather than fashion. “Wallflower” beautifully reflects her inimitably atmospheric photographic language through 150 coloured pages.