National Gallery Victoria Expands Fashion Collection

The National Gallery of Victoria (NGV) in Melbourne is building a world-class collection of historic and rare fashion items. This effort is largely supported by philanthropist Krystyna Campbell-Pretty, who has donated over 600 pieces to the museum's fashion and textiles department. Her contributions have significantly enhanced the NGV's holdings, making it a notable player in the global vintage fashion market.

A Strategic Approach to Fashion Acquisitions

Krystyna Campbell-Pretty began her focused support of the NGV's fashion department after the death of her husband, Harold, in 2014. Initially, she was a long-time supporter of the museum. Her involvement grew when she joined its foundation board. This new role led to a significant shift in the museum's acquisition strategy for fashion.

The NGV director, Tony Ellwood, informed Campbell-Pretty about a collection of 130 fashion designs from 1800 to 2003. This collection belonged to French designer Dominique Sirop and included works by designers like Worth, Chanel, Vionnet, and Madame Grés. Campbell-Pretty first tried to involve other major donors, but they showed no interest.

"This was not planned. This was not a vision," Campbell-Pretty stated about her initial involvement. "I have to say, 10 or 11 years ago, I don’t think people in this country realized what vintage fashion would become. So I talked to my solicitor and my accountant, and they said, ‘You can do what you like.’ So I did: I gave him the money."

Until then, the NGV primarily relied on patrons donating items from their personal wardrobes. Campbell-Pretty recognized the need for a more deliberate approach. She soon became an active buyer in the vintage market, developing a strong passion for acquisitions.

Building a Cohesive Collection

Campbell-Pretty, who has a background as a researcher and management consultant, combined her new passion with her analytical skills. She collaborated closely with the NGV's curators to develop a strategic plan for collecting. This involved extensive research and careful selection of pieces.

She regularly visited Paris and found a key source in Didier Ludot's vintage emporium at the Palais-Royal. Ludot was known for his reserved demeanor, but Campbell-Pretty eventually earned his trust.

"He would treat everyone as if you were an unwanted reptile, you know — but we developed a relationship," she recalled with humor.

The acquisition process became systematic. "We’d scour every auction, look at all the things we wanted, develop wish lists, and it became quite a serious thing," she explained. This methodical approach helped build a diverse and important collection. "Little by little, it has developed and expanded, and with each new expansion, there’s new joy."

Key Pieces in the Collection

• Karl Lagerfeld’s 1992 black Chanel dress with gold chains: This iconic piece was worn by Penélope Cruz in the film “Broken Embraces.”
• Paco Rabanne metal dress from 1967: An example of avant-garde design.
• Elsa Schiaparelli and Christian Lacroix designs: Campbell-Pretty introduced these designers to the NGV collection.
• Gabrielle “Coco” Chanel’s little black dresses: Classic examples of timeless fashion.

Navigating the Competitive Vintage Market

The market for vintage fashion is booming, leading to increased competition, particularly from other major museum collectors. Campbell-Pretty often finds herself bidding against Jorge Yarur, a textile and banking heir who founded the Museo de la Moda in Santiago, Chile. Yarur is known for his extensive collection and long history in the market.

"He’s been at it for a lot longer than I have and he has money," Campbell-Pretty remarked. She can often sense when Yarur is bidding, even if he is participating online. "I know the sorts of things he buys. Sometimes we align very closely, and sometimes we don’t."

This competitive environment adds excitement to the acquisition process. "There’s a thrill, and there’s also a time when I think I’m against him, but I’m going to let him have that one, because I want something else later in the auction," she explained.

Upcoming Exhibition and Personal Taste

Campbell-Pretty has been acquiring vintage Vivienne Westwood pieces for an upcoming exhibition titled “Westwood — Kawakubo,” scheduled to open on December 7. Her acquisitions for this show include the famous platform shoes Naomi Campbell wore when she fell on the catwalk.

While Campbell-Pretty personally prefers feminine designs from houses like Dior and Dolce & Gabbana, and values her vintage Yves Saint Laurent pieces, she separates her personal taste from the museum's needs. "I buy everything, even if I don’t like it. In fact, I’ve probably bought more that I didn’t like than I did," she stated.

Leaving a Lasting Legacy

Campbell-Pretty has not set a strict budget for her acquisitions. She makes purchases on an ad-hoc basis. "It’s all the things your accountants tell you you mustn’t do," she said with a laugh. "I’m just buying when I can, and hoping for the best. You only live once."

Over the past decade, she has observed significant changes in the vintage market. Prices for key pieces have risen, partly driven by celebrities and their stylists wearing vintage items on red carpets. For example, the Kardashian-Jenner family often wears archival Gaultier, and Zendaya has worn vintage Versace and John Galliano-era Dior.

However, Campbell-Pretty notes a difference in motivation. "A lot of these people are not actually valuing the garment or the item for its history," she lamented. "They’re buying for an event, and they’re one-off, and then it’s forgotten about."

Campbell-Pretty's motivation is long-term. She believes strongly in the role of museums, noting that many NGV exhibitions are free. "It’s trivialized, but without beauty, people are not at peace emotionally," she said. For her contributions, she was appointed a Member of the Order of Australia in 2019. Despite her significant impact, she is not interested in having a wing named after her at the NGV. "Name doesn’t matter," she concluded. "The depth of what you leave, that’s what matters."