Looking Good Flog It: Trade Secrets

Over the years on Flog It, we've travelled the length

and breadth of the British Isles,

rummaging through thousands of bags and boxes along the way.

You've brought in something rather special, haven't you?

I think between £350-£500.

We've seen everything from corkscrews to costume jewellery,

and we've had some breathtaking results,

as we put those items under the hammer.

-Yes!

-Wow!

Flog it has taught us to sort out our Treen from our Troika,

and inspired thousands of collectors along the way.

In this series we want to share the inside knowledge with you.

Welcome to Flog It Trade Secrets.

On today's show it's all about looking good, and we'll be giving

you the low-down on what to buy for fashionable ladies and gentlemen.

And some tips on what names to look out for

when you're buying vintage fashion and jewellery.

That is a nice watch.

-Is it a military watch?

-A military Air Force watch.

We'll see some of the most stylish items Flog It has valued over the years.

This was pretty much nearly the best one I've ever seen.

With some incredible results at auction.

GAVEL BANGS

-Yes, what a turn of profit!

-Excellent.

Our experts divulge the tricks of the trade.

Always buy the best.

Never compromise.

If it's a great big diamond ring,

the diamond is always going to be valuable.

Stick to the basics of quality, maker and style or design.

There's money to be made out there.

Fine clothes and jewellery have always been a mark of wealth

and sophistication for men as well as women.

Recently there's been a real boom in the market for vintage.

The whole vintage market has really expanded over recent years.

You've got people like Paloma Faith that have been tweeting pictures

of her at a retro fair recently, and that's really good for business,

it gets the young people interested into an emerging market

and they might expand out of it into other areas.

Perhaps you have something in your wardrobe or jewellery box

that could be worth a small fortune.

The current look is to mix and match old and new, quite legitimately.

I think there's a trick in this business.

What you do is go and find a whole load of plastic jewellery

and kitsch stuff and then you call it retro or vintage

and put some extra prices on it, and then it sells!

Who doesn't like a bit of bling?

On many occasions it's great to put on a brooch or a diamond necklace

or maybe a tie pin and some cufflinks to make a bit of a splash.

Over the years on this show, you've brought us

thousands of items of jewellery to our valuation days.

More than likely it's because you don't like it any more and

don't want to wear it, it doesn't suit you, it's gone out of fashion.

After all, who would wear a ruby necklace in a supermarket?

But how can you tell your diamonds from a bit of paste,

and what should you look for when you go out buying?

In 2008, Bob brought in an item which got Michael all aflutter.

The dragonfly brooch was absolutely gorgeous.

This was pretty much nearly the best one I've ever seen.

The minute I saw it I thought, I'm having this.

I think Thomas Plant was with me.

I elbowed him out of the way discreetly. It was a wonderful thing.

It's really a family heirloom.

It belonged to my mother-in-law

and eventually it was handed down to my wife.

Was it something that was kept in a bank vault

or was it worn on high days and holidays?

I never saw my wife wear it, ever. It was kept in the safe.

So often the way with these things.

But it is a tremendously delicate brooch.

Firstly, we've got the fantastic detail of the workmanship involved.

This goes back to a period in Victorian jewellery,

about 1870-1880, where there was a fad for insects.

There was a whole vogue for these things.

But there are a couple of features that are more unusual

with your dragonfly brooch than many I see.

The first thing is that normally the wings are either silver or enamel.

It is most unusual to get, in this case aquamarines cut to fit in.

We've got the body highlighted with little diamond chips

and the tail running down.

Sadly, a couple have fallen out

but that's no big job to have those replaced.

I see.

I wasn't really disappointed that the diamonds were missing because

I did very briefly used to work for a diamond merchant, and those

diamonds to replace were only about £2 or £3 each.

And someone to do the work, maybe £30-£40. It wasn't a big job.

It's only when the stones start to become large that they become expensive,

and they were just very small chips,

Little rose cuts along the tail.

We've got the edges of the wings highlighted in diamonds as well.

Little eyes, they are rubies. But all of this work is mounted in silver.

Really?

But the body of the dragonfly and the base of it is all in gold.

It's set on a trembleuse -

a collection of springs

that allow the jewel to move and shimmer and tremble.

If you turn it over you can see the tremendous workmanship

that's gone into this.

It had a triple trembleuse.

It's difficult to do, so to do it three times rather than once

is just an indication of the quality of it.

Sometimes these brooches do tremendously well at auction.

I think we've got to bear in mind

that this is probably the best one I've seen.

So I think we should push the boat out

and put £2,000-£2,500 as an estimate on it

and put a fixed reserve of £2,000.

For such a stunning piece,

that presents good value to anyone at the auction.

Who knows, two people might battle it away to well above that.

Let's hope it's a lively auction.

Quality you judge by manufacture.

You look at the object and think how difficult it is to make it.

All of that gold work had to be pierced out by hand.

Then the silver had to be laid on top,

then the stones have to be selected and set.

It's an enormous amount of work.

A lot of the finest antiques, you couldn't make them

today for the price you pay.

That is where you recognise the quality of things.

So, how did it do at auction?

I had a chat to the auctioneer just before the sale started.

He agrees with the valuation, but said brooches aren't fashionable.

Let's find out what the bidders think in Cirencester.

It's going under the hammer now.

We are now onto Lot 365, the dragonfly brooch.

A very stylish looking piece here. It should be 2,000 or 3,000 really.

Start me at two.

2,000.

1,800.

I can start you here at 1,550, on the book at 1,550.

He's got a commission bid.

1,600. And 50.

1,700. And 50.

1,800. And 50.

1,900. And 50.

2,000.

We've sold it.

The book's out at 2,000, 2,100 now.

At 2,000 on the left.

At 2,000. 2,100 can I say now?

At £2,000, are you sure now?

It's on my left at 2,000. All done.

BANGS GAVEL

-Super result. Fantastic.

-Just hit the reserve. That's good.

-Put it there.

-I'm pleased with that.

This brooch was a particularly fine example of 19th-century jewellery,

and it flew in the saleroom.

However, there are still great finds to be made from this period.

If you go back to 19th, late 18th century jewellery,

that has fallen out of favour.

And often that is gem set and beautiful quality.

So I think stop looking at the 20th century and go back

and look at the 18th and 19th century and you'll find some bargains.

Quite right, Michael.

Taste is always changing, so buy pieces which are out of vogue

to see a hefty return when they are back in favour.

And a great tip to remember is small gems can be replaced relatively cheaply.

Repairing damage could help the value if you are selling.

But bling isn't just for the ladies.

If you're going to buy a watch, what name springs to mind? Rolex.

And Harry, from Barnsley, he brought in a Rolex.

But what I loved about it is that it was understated.

That's a sign of real class, isn't it?

You go and buy these watches today, they cost you thousands

and thousands of pounds.

Diamonds all around them, mother of pearl faces.

-They're not very subtle, are they?

-No, they're not.

I'm going to talk about it in a minute,

but tell me the history of this little piece first.

My father inherited it and it's come to me after his death.

-I've never worn it.

-Came down through the family.

-And you don't want it, you want to sell it?

-Yes.

Henry, that would break my heart to sell that.

With an item of luxury you don't always need a brand-name,

the quality will out.

And in this instance, the quality just shouted at you.

Then when the name Rolex is revealed, well, you can't go wrong, can you?

-Do you know how old it is?

-I believe it's about 1930.

Let's have a look.

-There are import marks. You reckon it was 1930?

-I think so.

I think you're probably three years out.

There are import marks here for Glasgow 1927.

-The bracelet...

-It's just a cheap one.

Is clearly a cheap replacement.

That, with a nice strap on it, nice, black strap,

-I would love to own that.

-Oh, well, there we are.

And if that were in my family there's no way I'd be selling it.

-So, there's only one thing we haven't discussed.

-Yes. What do you reckon?

I think this sort of retro look,

vintage look is really popular at the moment.

I think that we can put an auction estimate on that of £200-£400.

-Oh, right.

-We'll put a reserve on it of £200.

I'm sure it will do well.

What are you going to spend the money on if it makes £200-300?

The car needs a service.

How can you trade a Rolex for a car service?!

Did the watch's quality shine through at auction?

Lot number 275, the gentleman's Rolex.

Silver case wristwatch, import mark for 1927. Another beauty.

-Lots of interest on the book.

-Good!

Must start this one at £420.

420. I'll take 440 elsewhere.

440, I'm looking for.

This one's going to sell.

Anyone fancy 440?

With me at 420.

Hammer's dropping.

BANGS GAVEL

Brilliant, we've done it. Above top end, anyway. It's a good result.

Get the car fixed. Thanks very much.

£420 was a good result for a watch which wasn't rated by its owner.

You know, we sold that watch in the dim and distant past,

but I think there's a chance today that would make more money.

These things are very, very fashionable.

The thing about Rolex is it doesn't always say Rolex on the face.

What you've got to do is open the back up

and it will say Rolex stamped on the movement.

So you might find a watch that's got nothing on the front

but it's got Rolex on the back.

Just bear that in mind when you're looking.

Good-quality watches can be a sound investment.

Other names to look out for include Breitling, Omega,

Raymond Weil and Cartier.

Men's jewellery can have dips in popularity.

But if you stick to quality, you generally can't go wrong -

as Thomas discovered in Dunstable back in 2007.

Margaret, I think I've found something really quite delightful.

I must admit, I'm quite attached to them, as you can see.

What first attracted me to these cufflinks were the size.

They were really oversized for your cuff.

They had this offset, beautiful pearl, this Baroque pearl.

So the mixture of the very yellow gold

and then the pure whiteness of the pearl worked brilliantly.

I think if one was going to wear a pair of very glitzy

and showy cufflinks, I mean they're not everyday,

they were sort of dress, those were the ones to have.

They were a gift to my partner from his brother.

-His brother actually made them.

-Where was he from?

-They're both from Germany.

-And when do you think these were made?

-Probably about 30 to 35 years ago.

-Looking at the mid-'70s.

-Yes.

They look very '70s, don't they, very retro cool.

I'd put it more sort of Art Deco style.

Yes, I know what you're thinking, Art Deco,

because they're geometric and they've got the offset of the pearl.

But I think we're looking at the more modernist, retro style,

the postmodern style.

On Flog It we see a plethora of items from all different ages.

And yet we are very used to looking at the 20th century.

You're looking at big names.

But when a piece is Artisan-made, it still has a value.

Unfortunately, rules are rules and I can't bid for items at auction

-when we take them in for Flog It.

-That's a shame.

-It's a huge shame.

-I believe that £200-£300 is a sensible estimate.

-Yes.

As regards to a reserve, which I believe it should have, don't you?

-Oh, I think so.

-I think £200 with discretion would be very sensible.

-Yes, I agree.

-You agree, brilliant.

I'm now going to take them off.

-We'll put them into the auction for you.

-Thank you very much.

-Thank you.

When you're looking at the late 20th century designer items,

anything retro or vintage, what one has to look out for

from a collector's point of view is names.

the exception to the rule were these cufflinks.

They were made by a member of the family.

There are great artists out there

but they had a good metal content in them.

But my advice is to go for the big names,

because you'll never go wrong.

But without a designer name, did the cufflinks struggle at auction?

-We've got £200-£300 put on these, haven't we?

-We have.

By our expert, Thomas, who would have loved to have worn them today.

Yes.

I was under the impression that cufflinks were definitely

a thing of the past until you told me they're not.

No. Everybody's wearing them at the moment.

They are smashing, aren't they?

Now we have a pair of continental gold Baroque pearl-set cufflinks.

Where do we go, £200 for them?

Do we go 200? Yes, we'll start then.

100.

110. I bid 20 for you, sir.

And 30 and 40.

150. 160.

Yes, we're getting there.

170. 180.

190. Are you going to be 200?

At 200, we're bid now.

£200 for those.

At £200. 10, is it?

210. 220.

You're out.

At 220 the room is out.

220, I'm selling.

220, make no mistake, you're out.

I sell them for £220.

< Result!

-That's good, that's good.

-Good estimate, Thomas.

So remember, ideally look out for names, but a well-made,

quality piece by an unknown maker

can sometimes do the business.

And precious metals and precious stones will always be attractive...

even if you don't plan to wear them.

Andrew, you're a big lad, what are you doing with a girl's bracelet?

I found it at a boot sale last year.

-Did you?

-And...

I know it's going to be cheap then, when I hear that, how cheap?

-It was a pound.

-A pound?!

When I heard he paid a pound, it's a mixed emotion, actually.

Part of it is a slight jealousy, not really.

It was a bit mean to knock it down from £2 to £1, I thought.

But there's a dealer in all of us, I think.

I suppose at the time you didn't necessarily realise that

it was a row of 39 diamonds?

It was very dirty when I first bought it and it didn't look expensive.

I knew it was gold but I didn't think the gems would be diamonds.

Was it mixed up with a load of rubbish?

It was with costume jewellery, bits missing out of them and all sorts.

So I threw it in the door pocket of my car when I left,

and it stayed there for about three months.

Then one day you decided to have it looked at?

I was cleaning the car out and found it again.

I thought, "The stones look a bit sparkly in it."

But didn't think they'd be diamonds.

They do look a bit sparkly, don't they?

They do now, it was cleaned up very well.

To the naked eye it can be hard to decide

whether something is diamond or paste.

There are diamond testers available that many of us have,

but if you know what you're doing, you can tell from the naked eye.

Generally speaking, if it's mounted in gold,

nine, 18 carat or higher, then it's almost always going to be a diamond,

because you wouldn't put a paste into an expensive gold mount.

Common sense is often the best place to start.

There is 39 diamonds which means a total carat weight

of about 3.9 carats.

-Yeah, it's on the clasp.

-Is it marked on there as well?

-On the end of the clasp, that bit just there.

-Oh, I see, 3.93.

And it's 18-carat gold, import marks for 1997.

So it's modern, but very wearable, isn't it? I would have thought, anyway.

It doesn't necessarily have to be old to be valuable in all cases.

But especially in jewellery, old-cut diamonds often had carbon

inclusions and flaws, it's all to do with the clarity of the diamond.

And how wearable it's considered and how fashionable.

If we pitch it at 600 to 800, it shows the buyers it's on the market,

it's here to sell and hopefully that'll get a few people in after it.

So, if we put a £600 reserve, if it doesn't make that,

you can have it back, because it's got to be worth that.

But being modern, did it tempt the buyers at auction?

The diamond bracelet, a lot of diamonds in here at £600 bid.

At £600 I have.

Nice bid. it's in, you've done it.

Where's 20, at 620, 640, 660...

..660, 680. 700, 720.

At £720 now, where is 40?

< Get in there!

At 720 now, and 40 do you like?

At 720, a lot of diamonds in this lot at £720.

It is going at 720...

Yes! What a turn of profit.

£1 into 720.

What an incredible result!

It just goes to show there are still gems to be found

if you rummage in the right bags and boxes.

Here's what we've learned so far.

Give things a good clean to see what you've got.

Have them checked over by a jeweller,

and choose things which are wearable.

If you think it's stylish, others probably will too.

If you're buying a diamond, always buy over a carat

if your pocket can afford it.

Because if you buy over a carat, the single stone, it will always

retain its value throughout the whole of its life it's with you.

Diamonds may be for ever, but what do our experts think is

a good investment if you can't stretch to precious stones?

I think at the moment going to an auction and buying a big job lot of

costume jewellery, you can pick them up for just a few pounds and then

go out and sell them and you'll make yourself some serious money.

Costume jewellery has risen loads recently in the last few years.

There is value in costume jewellery that maybe

we used to discard in the past.

So, the consensus is be on the lookout for costume jewellery.

Flog It regular Christina Trevanion is the first to admit

she has a thing for sparkly gems and jewels.

But as we know, fashions change,

and the things your granny wouldn't leave home without,

you may not want to wear today.

So if you want to sell your jewellery or

if you want to keep it, there are some very clever but simple

ways of making it look better, as Christina has been finding out.

The thing I love about jewellery is that the stones

we see today have been formed over millions of years in some

of the most hostile environments on Earth.

Think volcanoes, deserts and icecaps.

That's where gemstones are formed,

yet we get the privilege of being able to wear them today.

Gemstones, by their very nature are unique,

but the jewellery they're set into is dictated by fashion,

and fashions change.

But if you inherit granny's jewellery and it's not to your taste,

there's no point it sitting in a drawer, so what do we do with it?

I'm on my way to meet Nigel, a local jeweller from Shrewsbury.

-Hi, Nigel.

-Morning, Christina.

-Hello, how are you?

-I'm very well, and yourself?

-Good, very well, thank you.

Tell me about modern and antique jewellery.

Have you noticed modern jewellery isn't selling so much any more?

-Have you started selling more antique?

-Certainly, yes.

Specific things. Unfortunately, the jewellery trade is very

fashion-orientated and grandma's old jewellery isn't terribly

fashionable, the brooches and grandma's engagement ring.

So, we're basically looking for old jewellery

we can convert into new jewellery.

-Obviously there's still sentimental attachment to that jewellery?

-Absolutely.

Jewellery they've inherited and they don't really want to wear it any more,

and they want it made into something modern and contemporary,

and something they can wear and then maybe pass down to their children.

-OK.

-I've got some ideas I can show you. Would you like to see?

-Yeah!

-Here we are.

-OK.

-These are items that we acquired at an auction.

-Right.

Specifically for the idea of converting them

into something modern and contemporary.

So, we've got a wedding ring, an engagement ring. And then...

-a beautiful little brooch.

-Sweet little brooch.

So can I come and have a look?

Of course, you're very welcome, we'll show you everything from start to finish.

Oh, fantastic.

-In here, Christina.

-Wow!

Welcome to our little workshop, very traditional.

What are we going to make?

-We're going to make a bracelet.

-Using...these pieces?

-Hello.

-Hello there.

-I believe these are for you?

So what are we going to do?

I'm going to un-set your diamonds.

This is the first time I've been in a workshop,

so it's amazing to see this.

To see this end of it, it's brilliant.

Oh my goodness!

This is a really simple tip which hopefully will help you

distinguish between diamond and another very effective diamond simulant, cubic zirconia.

So we'll have a look at these two stones.

This stone here, which you might be able to see some of this newspaper text through it.

And so this one should look a solid, grey-ish, black colour,

you shouldn't be able to see a huge amount through it at all.

This one is the diamond.

That is singular refractive and therefore the light doesn't

travel through the stone in the same way and you can't read the text.

So there we go, all for the price of a newspaper.

I'm drawing the gold down to make the right size for the links.

So working with nine carat gold today,

which has a slightly higher alloy content.

It would be difficult to work it in its raw state,

so heating it makes it slightly more malleable.

MACHINE GRINDS

-Those are going to form the basis of our links?

-That's right.

OK, so how do we make those into links now?

We wait for them to cool down and then we saw.

It's so great to see this process actually happening.

I hadn't actually appreciated how every single link is handmade. Amazing.

At auction we're finding men's jewellery is becoming

increasingly popular, therefore prices are rising sky-high.

So here's a top tip for all you gents out there.

What about if you inherit granny's engagement ring,

taking the stones and having them set into a beautiful pair of cufflinks.

That way, you get to keep granny's jewellery and it hasn't broken the bank.

Back in the workshop, Adrian continues to work on the new bracelet.

-Hi, Adrian.

-Hello.

-How are you getting on?

-OK, that's what I've done while you've been away.

-Wow!

So those stones from the ring we saw downstairs and those will be going into those?

-That's right.

-Fantastic.

I'm amazed at how quick the process has been.

I really thought it was going to take a long, long time.

I just wonder whether you've managed to have a look at our bracelet?

It's all done, ready for you to have a little look at.

-Ooh, brilliant! Can I see it?

-You certainly can.

-Brilliant.

The moment of truth.

Oh! Oh, wow!

Oh, that's beautiful.

-Gosh, are those the diamonds from the brooch and the ring?

-Yeah.

-Is that the wedding band?

-That's the wedding ring, yeah.

That's the 22 carat wedding ring.

-You can see the beautiful contrast in the gold.

-That's a brilliant idea.

It's worked really well.

And all handmade.

Beautiful, fantastic.

Time and time again on Flog It, I hear people telling me

they've got jewellery sitting at home that they don't wear.

This is such a shame, jewellery was made to be worn.

It was made to be enjoyed.

Why not, if you've got jewellery that you're not wearing

and that you don't want to sell, why not think about having it remodelled,

so you can wear it and enjoy it for years to come.

Still to come, more strikingly stylish items.

-May I show you the hat?

-Please, I'm yours.

Don't stop, I love it, hold that.

And we'll share insider info on how to make your own fashion finds.

It's important to use them, but not abuse them.

Obviously, they're only worth something if they're in good condition.

And we'll learn more about collectable vintage icons.

Iconic pieces, that really stand out in the whole history of fashion,

that's what people are after.

Earlier, we saw Andrew who bought a diamond bracelet

for £1 at a car boot sale.

But how do you recognise a precious stone

in a bag of costume jewellery?

A few years back, I learnt the trade secrets you need to know.

They say diamonds are a girl's best friend and I'd love to buy

this one for my girlfriend, but how can I tell it's a quality piece?

And what should I be paying?

There's an expert in this saleroom who's hot on his rocks.

He's a specialist in valuing precious stones

and his name is Jethro Marles.

Jethro, this one's not a diamond, this one's a huge, great big rock.

I think if I bought something like that,

I'd be paying it off on HP for the rest of my life.

You and me both, actually, Paul.

But, first of all, if you were thinking of buying this stone,

you are doing the wrong thing right away

because you're looking at it in totally the wrong conditions.

One of the first things you have to do is to judge

the colour of a stone and you don't do that in conditions like this.

-You need to get to daylight.

-Right.

Either go to a window or, if you're in a good auction house,

-an auction house that has got a daylight lamp.

-Yeah.

And you look at your stone in daylight conditions.

The other thing to make sure is that you put it on a white background.

So, if you look at this stone now,

whereas in the ordinary light it looked quite colourful

and you wouldn't notice,

can you see now that it's got a slight yellowish tint?

Yes, it has gone yellow.

The first thing you have got to do is compare the colour of this stone

with the colour-graded cubic zirconia that we've got over there.

You can see the difference straight away, can't you?

Absolutely! But, of course, colour is only one of the things

-we have to consider.

-What's the next, then?

The next thing we have to consider is the clarity of the stone.

-We need something like that.

-We need to go out and buy...

We need to go out and buy a little magnifying glass, a ten times loop,

which is what they're referred to.

Get a good quality one and then practise using it.

What you want to do is to hold your hand up to your eye

so that the lens is right in front of your eye

and as close to your eye as possible and then you can magnify,

go in and out, so that you can see all aspects of the stone

you're looking at.

What other things might you need to consider about the cut and the proportion?

The only other thing you need to think about is

the cut of the stone, not just the proportion

and the way the stone has been cut, but the shape of it.

So the cut does really mean the shape, does it?

If you like. So here we are looking at a circular brilliant-cut stone

and this particular stone is worth about £2,000 a carat.

If this had been a rectangular stone, of the same colour

and same clarity grading, it would have been worth about £1,800 a carat

Unlike gold, where the carat is a measure of the metal's purity,

with diamonds, a carat refers to the stone's weight.

So the heavier the diamond, the bigger the carat.

Do these same rules apply to valuing coloured gemstones?

To a large extent, they do.

But with coloured gemstones,

whether it's emerald earrings like this which are a nice modern pair

worth perhaps 1,500 to £2,000, this large, impressive green

tourmaline with diamonds around, that's worth about £500 at auction.

Ruby and diamond cluster down there, pretty rubies,

that's going to make perhaps £1,500 to £2,000

and then this stunning Ceylonese blue sapphire with two diamonds

on either side, that's going to make in the auction up to £10,000.

It's the colour, it's the brightness and the intensity of the colour.

They don't have to be dark, they don't have to be light,

strong and bright is the answer.

-Right, that's the key factor for those?

-Absolutely.

So when looking at precious stones, remember the four Cs,

colour, clarity, cut and carat

and, if in doubt, seek the advice of an expert.

If you could choose any beautiful antique, what would it be?

I put that question to our experts.

Today it's Anita.

Anita has a love for the bright and the beautiful,

but this isn't just limited to flamboyant jewellery.

Hanging in Kelvingrove Art Gallery in Glasgow is a painting

she covets more than anything else.

Well, I love pictures

and my most wanted item would have to be a picture.

The picture that I would choose is a picture which was

derided by the critics in its day

and remained unsold for many years.

The picture is called The Druids Bringing In The Mistletoe

and it's a collaboration between two of The Glasgow boys,

Hornel and George Henry.

The Glasgow Boys were a group of artists who worked in

and around Glasgow around about the 1880s.

Now, this is a wonderful, wonderful, colourful picture

and in this picture, these artists were moving away from

realism into symbolism.

In this picture, we see the Druids who are Iron Age priests,

performing an ancient ritual in the winter solstice.

You see this wonderful pyramid of figures

coming down from gathering the mistletoe from the oak trees.

It's a picture which thrills me,

with the vibrancy of the colours

and its wonderful, thought-provoking symbolism.

When it was painted, this picture was dismissed by the critics of the time.

Today it is much admired.

It just goes to show how over time fashion and taste

change and develop.

I can remember, as a child, walking to many a local jumble sale

with my mother and having lots of fun buying things for next to nothing,

but they do seem to be a thing of the past nowadays

and that's partly due to online auction sites

and the rise in interest in vintage and retro fashions.

If you know what to look out for, there's some serious money to

be made out of old clothes and that's where our experts come in.

I was at an auction sale the other day

and I bought a pair of patent leather shoes,

fit me perfectly,

size 8½ and I looked pretty good

wearing those in my DJ and they cost me £4.50.

As David's shoes show, this is an emerging market and prices are low.

It's a great time to collect and invest for the future.

Here are some of our most interesting items from over

the years on Flog It and what we've learned from them.

First, here's Christina, who fell for some iconic accessories

from the '60s and '70s.

Oh, yes, Margaret and her lovely handbags,

her collection that she brought in that, I think,

held quite a few memories for her.

She used them, which is so important with vintage textiles, as well.

It's important to use them, but not abuse them.

They're only worth something if they're in good condition.

You've got the most wonderful collection of handbags.

Where's it all come from?

Most of them I acquired in a trunk from my late husband,

I was given to dispose of.

Right. Have you ever used them?

Erm... This one I have, yes. This one I have.

And I used it at quite...

-..at quite a grand ball in Brighton.

-Oh, fantastic!

I think I was drawn to them mainly because they were

so wonderfully representative of their era.

That wonderful black and white check,

that just so inspired the swinging '60s

and it's just fabulous, loved it.

The '70s Perspex, just lovely, really loved it.

This has got the most wonderful label inside it.

It says Saks Fifth Avenue, which was one of the most luxurious stores in New York.

It's fantastic, I love it

and to have come from such a luxury place,

it's the most wonderful product.

You can imagine somebody going to New York,

picking this up as a souvenir of their wonderfully glamorous trip to New York

and tripping back down Fifth Avenue.

This one here, this one's Italian.

I think this is quite 1960s, 1970s, these very clean lines here.

There's use of this new material, this is quite Perspexy.

It's just really glam, isn't it? It oozes glamour with a nice original strap to it, as well.

I think we don't get as many vintage textiles

and clothes as I'd like to see because, by their very nature,

clothes go in and out of fashion and you tend to bin them

or get rid of them or charity shop them, or whatever.

You don't really think of them as being of particular value,

whereas that's why they ARE of value, because of their scarcity.

It's great that they are in really, really good condition

because to a costume collector, that's really important.

Handbags are a wonderful thing to collect, they don't take up too much space.

Margaret, why are you selling your collection?

Where I store them in the box room,

my chimney is rather giving trouble and it's getting damp.

So, their condition might deteriorate

and that's the reason.

They are getting back in vogue

but they're not really going to be hugely valuable,

because I think people who are collecting handbags

are collecting them because they are still relatively affordable

but I think, at auction, if we were to put these forward to auction,

we'd be looking at probably putting them as one lot.

I think it would be best to sell them all together

and I think we're looking somewhere in the region

of maybe £30 to £50 for the group, something like that.

-How do feel about that?

-I would like 30 in my pocket, shall we say.

-OK.

I think it's very difficult to put a value on things like that,

especially when only one or two of them had particularly good names

and labels attached to them,

because the thing with vintage textiles,

and collectors will tell you, that they can't collect everything

from that particular maker so you have to choose the very best of what you find.

Good advice, a collector should be picky and go for quality.

With a few names amongst them,

how did this ready-made collection fare at auction?

Assorted handbags and evening bags.

Handbags and glad rags, here we go.

Some in the Mary Quant style, the black and white,

very well recognisable black-and-white chequered bag there.

A little bit of interest with me.

30, 40.

-At £40 I'm bid.

-Oh!

At 40, here to be sold, 40.

May I say 50 on the bags there?

At 40, with me, 50, a lady's bid.

-I have 60 on the book.

-Oh!

70 do you want?

At £60, on the book at £60.

Five if it helps you.

It goes at 60, will be sold. Five if you want. £60...

Margaret, that's fabulous, £60.

-That's great.

-Well done. That was a tough call, really.

Hard things to put a price on.

What is a good starting point

for a budding collector of vintage style?

I think handbags would be a sensible item to collect

because often, as a smart handbag, it wouldn't have been used as much

so it would show slightly less signs of wear, or damage.

They were brought out for special occasions and things like that

so look for good condition pieces.

Personally, for me, it would be handbags, shoes, hats,

coats and pretty much everything!

One of Flog It's most glamorous contributions was Millie Rich,

such a vibrant character. She appeared on the show twice.

In 2003, she wowed Mark with her stylish items,

shown off with great flair and elegance.

How could you forget Millie Rich?

Of course I remember her, she was wonderful.

-I've got a Dior hat.

-I love it.

This looks absolutely nothing in the hand, this should be worn.

Plus, a parasol. This is from Paris.

It was given to me as a present by a long-forgotten admirer.

Don't poke my eye out.

But now I've reached my early plenties,

I think it's a bit too flirty for me!

It is a bit flirty, isn't it?

You have to picture who would use a parasol.

You have to think of a petite Edwardian, Victorian lady

who was promenading down the sea front in a hot summer's day.

And, equally, a wonderful thing from the 1950s,

this wonderful travel hat.

In classic black design.

-May I show you the hat?

-Please, I'm yours.

-Don't stop, I love it, hold that.

-I will.

Are you getting all this?

-It looks awful, doesn't it?

-No.

Then you do the Mata Hari bit.

Oh, wonderful.

The key thing to the hat, it was by Christian Dior

and it was a scruncher.

You scrunched it up and then it popped back into life.

The fashion house of Dior has become worldwide renowned

for its quality, classic design.

I think the key thing to fashion collecting is name.

It's got to be the right designers, Chanel, Dior, Vivienne Westwood.

We must look at this wonderful parasol you've brought in.

If we look at it now and open it up,

-this is very gaily decorated.

-It is, isn't it?

Erm... With these wonderful flowers and things

-and this lovely velvet edging.

-It's very "Folies Bergere".

It's very Parisienne, isn't it?

Yes, quite, and all hand-stitched on the inside.

-It is, isn't it?

-You never see handwork now.

Tell me, why are you wanting to sell these lovely things?

As I say, now I've reached such advanced years, I thought

perhaps somebody younger could reap the benefit of its flattery.

What is it we should do, sell them as one lot in the sale?

-I'll take your advice, you're the expert.

-I think we should,

-and we'll try...

-I bow to your superior wisdom.

-Oh, Millie, you're such a flatterer.

-I know.

-And it'll get you everywhere, you know.

-It has, I'm here, aren't I?

-Exactly! For a second run.

-Thank you so much.

-What if we put 70 to £100.

-That sounds wonderful.

-And give them a go and see what happens.

-Absolutely, absolutely.

I'll tell you what I'll do with the money,

I'll put it in my running away box and join the Raggle Taggle Gypsies.

Fantastic! I didn't even have to ask you the question.

-I know, but I knew you were going to.

-Exactly!

So the stylish Millie Rich's items go under the hammer,

but will the Dior label entice the buyers?

How have you been since the first series?

-People keep stopping me, it's amazing.

-Do they?

I didn't know that I was so noticeable, but apparently I am.

-But you look so fantastic.

-More, more.

And you look so much younger.

Well, naturally, I shall be 86 on my next birthday.

This is your lot, your hat and parasol.

Lot 202.

£20 for the two.

The Dior hat and the parasol, 20 I'm bid.

I'll take five on the lot.

At £20, maiden bid. 25. Bidding?

30, 35, 40.

45, 50, 55.

Blimey.

60.

65, 70?

No, lady's bid in the seating, at 70.

Out at the back of the room.

I'm selling it, done then on 70.

GAVEL BANGS

-I am so thrilled we've done that.

-That's respectable.

-It was.

And your number, madam, is...

7340. Thank you.

-I've got a bit of a surprise for you, Millie.

-Really?

-You know I like to shock.

-Do you?

-In public?

-No, your hat was bought by your daughter.

-No.

-Yes, and she's here, right now.

Oh, Sheila, why did you do that?

-Because you look so lovely.

-How sweet...

You just look so beautiful, that you shouldn't sell it.

-Now you're making me feel like crying.

-Oh!

-That's really sweet of you.

-Thank you.

It just goes to show you're never too old to look good

and remember Mark's advice.

Name, it's got to be the right designers.

They may know the top tips for collecting vintage clothes,

but not all our dashing male experts are going to win any awards

when it comes to their own wardrobes.

As you can tell, looking at me, I'm no expert in fashion.

What am I wearing? A suit and tie.

It doesn't come much more boring than that.

Some of us do like to look our best.

On a more serious note, looking good isn't just for the ladies.

Chic accessories for men can be highly collectable, too,

as Anita will reveal.

I had a wonderful swagger stick that was brought in by Janet.

Erm, swagger sticks are marvellous, they're a fashion statement.

They're all about showing off and to have something that brings

a smile to your face, is just really what the collectors want.

-Janet.

-Yes.

Where did you get this wee monkey?

He actually belonged to my great aunty and great aunt lived with

Grandma and Grandad, she was my grandfather's sister.

She was bedridden.

So the thing I remember about it is, when she needed attention,

a cup of tea, or anything, she knocked on the floor and everybody went running.

She was quite a formidable lady.

You have sticks which are used to help you in walking

-and you have other sticks which are fashion statements.

-Right.

-This is a fashion statement.

-Right, OK.

-It's what I would call a swagger stick.

-Ah-ha.

A swagger stick would have been used, or worn,

by a gentleman of fashion.

Someone who liked his clothes,

someone who liked to cut a dash

and he would walk along and enjoy the admiration

of all the young ladies around.

-It's made of... It's a lacquered, ebonised stalk here.

-Yeah.

But the most interesting thing about it, is the handle here

where we have this brass monkey.

ANITA LAUGHS

-He's finely moulded, so the quality is there.

-Ah-ha.

At the turn of the century, people were interested in exotica,

exotic animals from distant lands,

so this would have been something which would have been

telling people they were up with all the modern trends,

that they knew about the exotic travels that were being

done by a gentleman of leisure, at that point.

It was making a statement about himself, about what he knew,

perhaps even the places that he had gone to.

Now there are collectors for this type of thing, Janet,

-but it's not enormously valuable.

-No.

But it is collectable.

-Yeah.

-Erm, did you have it on display, or...

No, it came from Mum's and then literally went into my loft

because I'm not planning on being bedridden for a few years yet.

You know, it wasn't needed.

So you won't be doing...

I hope not.

-It's time really to pass it on, let it go to a collector.

-Exactly.

The value I would put on it would be between 30 and 50.

Would you be happy to sell it at that price?

If he gives somebody else some pleasure,

because he doesn't do anything for me, so he might as well move on.

-Let's put a reserve price of say, £25 on it.

-Ah-ha.

As I say, you're not going to be able to fly to the Bahamas

-with that money, but it will go on to a collector.

-Right.

The early 20th-century swagger stick with the ebonised cane handle.

I'm bid 15 to start at 15.

20, five.

At £25, a commission bid. 30 in the room.

-At £30, it's against the book. 35, 40.

-That's good.

45... 45, 50.

-Yes.

-55.

55 - down at the front at £55.

-Wow!

-£55.

-That was better.

-That's not bad, is it?

-That's not bad at all.

There is a bit of commission, there is not a great deal of money.

It's not our most expensive item.

What a wonderful starting point for a collection.

For £50, it's nothing really and you're getting something

which has age, a little bit of quality and lots of fun.

So let's take a closer look at some of those trade secrets.

Buy vintage now, while it's still relatively affordable.

Condition and name are all important.

Check in the back of your wardrobe - what you think is jumble,

may be priceless.

Look always for pieces which are identifiable

as designed by somebody, in particular,

or is associated with a fashion house, or a label.

You've got Gucci, that sort of thing.

You've got Dior, those are the names that people are after.

If you've got something by Vivienne Westwood,

don't just discard it, because in years to come,

I think it's going to be worth a huge amount of money.

The same is true of Stella McCartney.

But it's not just about names, iconic style moments are key

when it comes to collecting vintage fashion.

You've got the Tweed suits from Chanel, for example.

You've got the new look pieces from the 1950s,

as well as Vivienne Westwood, the punk pieces that she designed,

again iconic pieces that really stand out in the whole history of fashion.

That's what people are after.

And there's nothing more distinctive than the look of the swinging '60s.

The '60s were a time of great vibrancy in London.

It was a youth-orientated cultural Revolution that emphasised

the new and the modern.

London has burst into bloom.

It swings, it is switched on.

Everything new and kinky is blooming at the top of London Life.

Fashion was a symbol of the confident youth culture.

Young men, as well as women,

were expressing themselves through their clothes.

In the early '60s, men were strutting their stuff

in the stylish Mod look.

Later in the decade, showing their hippy flair with bellbottoms and tie-dye.

I think there's a tremendous search for individuality.

Carnaby Street started it off and so you can walk anywhere now.

And...wear anything you like.

Areas of London, such as Carnaby Street and the King's Road,

came alive selling the cutting edge clothes of the era,

from Mary Quant's geometric miniskirts

to Ossie Clark's daring prints and fluid cuts.

Biba was one of the big names in fashion during the '60s,

founded by Barbara Hulanicki.

Biba tasted its first success in the guise of a gingham dress

which featured in the Daily Mirror.

Biba's individual and fresh approach to fashion soon became

synonymous with the coolest fashionistas

and if you have clothes from that era, you could be in the money.

In Hartlepool in 2005, I valued a stunning Biba dress owned by Liz.

-You're modelling it for us.

-I am, indeed.

-I lived just around the corner from the Biba shop.

-In London?

-In London.

There are a lot of vintage clothes collectors and I think

the vintage and retro clothing is a strong textiles market.

Anything from things that you can wear from the Victorian era,

right through to the 1970s

-is a market that people still look for.

-Yes.

The designer pieces are still affordable as the Biba dress proved

as it went under the hammer.

£80, for the last time.

Come on, a bit more, please.

He's sold it, that was quick.

The hammer went down really quickly.

-We're happy with that, we said 80, didn't we?

-I'm happy.

But when it comes to the big sellers of vintage fashion,

it's all about the person who once wore it.

A diamond-encrusted 1960s Dior evening gown,

owned by Elizabeth Taylor, reached over 500,000

when it went under the hammer.

And a pair of Queen Victoria's bloomers made

a staggering £4,500

and everyone would love to get their hands on a classic James Bond suit,

a snip at £46,850.

But not all of us can afford this,

so if you want to collect '60s fashion,

my top tips are look for designer names, such as Biba and Mary Quant.

Iconic pieces should always be desirable.

Miniskirts, kinky boots and kipper ties!

And condition is a must.

If it's moth-eaten, leave it well alone!

And last but not least, it should be seen -

don't hide it away in your wardrobe.

If you're going to buy vintage clothes,

buy clothes that will fit

and that you can wear.

I mean, it's all very well spending lots of money

on a very nice Coco Chanel cocktail dress,

but if you're size 16 and the dress is size 10,

you've wasted your money, really.

Buy what you like and wear it with pride

and show off your individual style.

So, if you want to collect vintage clothing,

there are lots of places to find it.

Auction houses and specialist dealers are increasingly selling.

But your best bet for a bargain is to look out at charity shops.

But remember, textiles decay,

so check the condition of anything you want to buy.

Look at things through a magnifying glass

and also, if it's dark, shine a torch on them,

or better still, take them outside to the daylight,

because all the imperfections will obviate themselves.

You can still find iconic pieces very cheaply.

It's worth bearing in mind

you're not just buying an item of clothing,

you could be buying a part of British social history.

In 2009, I learned the story of one of Britain's style icons,

who herself had a love of all things vintage.

Without a doubt, her 1970s Victorian-inspired dresses

are truly iconic

and look set to be collectable.

Laura Ashley and her business-minded husband Bernard

hit the high streets of London

with their Welsh-made ladies' fashions in the 1970s.

How would a capital still swinging from the '60s

react to clothes inspired by a rose-tinted view of country life?

# Sugar and spice and all things nice... #

The look was wholesome,

harking back to an Edwardian and Victorian period.

High collars, lace, ribbon, floral prints and long hems

created clothes that were pretty, conservative,

and definitely feminine.

Amazingly, young ladies all over the country

packed away their kinky boots and miniskirts

and covered themselves up in Laura Ashley designs.

By the 1970s, the Laura Ashley empire

had firmly established a place in the world of fashion.

I've come to this country retreat

to meet a lady who can give me an insight

into the life of Laura Ashley - biographer Anne Sebba.

So why was country life in Wales so influential in Laura's life?

Laura was born in Wales.

Now, of course, that didn't remain in Laura's mind

because she went back to live in London,

but she continued to come for holidays to Wales.

She was put on the train with her sister

and a guard looked after them,

and it was these holidays in Wales

that made a really deep impression on Laura.

Laura met and fell for Bernard Ashley

and after a long courtship they were married and set up home in London.

Laura was determined to be a devoted housewife.

This meant that any job she undertook

could not interrupt her domestic chores.

Laura went off in one of her lunch breaks to the Victoria and Albert Museum,

saw a patchwork exhibition,

with all these wonderful little tiny Victorian prints

made into a brilliant patchwork quilt and thought,

"Well, I want to do this, this is something I can do at home."

Went off to try and buy the prints, couldn't find them anywhere,

so said to Bernard, "Why don't we print them ourselves?"

And they were restricted to tiny little squares

because that was all they had room on the kitchen table for.

So the first products they made were table mats,

which Laura would hem herself, or little square napkins.

And Laura herself took them off to John Lewis,

was terribly nervous waiting to see the buyer,

and their first order was almost as much as they could cope with.

She waited up all night hemming the squares

in order to complete a repeat order for the buyer at John Lewis

and that's how they got going.

As production started to grow, so did the Ashley family

and with young children in tow, they moved to a bigger premises.

The countryside was calling,

so after a period in Kent,

the family and the business headed to Wales,

settling in the town of Carno

and opening a factory in the town's disused railway station.

One of the main reasons that Laura really felt

a family atmosphere in the factory was so important

is because she didn't really believe

that women who were mothers should have a full-time job,

so she got round that in a number of ways.

She would insist that Friday afternoons

was free time for all the mothers, and they went home.

Friday afternoon was definitely a time to be with your children.

As far as she herself was concerned,

and by this time she had four children...

So, Laura got round it by saying

that actually the factory was Laura Ashley, that is, herself.

It was an extension of the family.

So it was a way of her being able to have a full-time job

without contravening this very deep-seated philosophy

that mothers should not work away from the home.

She believed that domesticity was absolutely crucial.

By the mid '60s, Laura was ready to expand fully

into the area of fashion design.

With strong views on how she thought women wanted to be dressed,

Laura launched her range of ladies' fashions

and her first high street shop in South Kensington, London.

The floral dresses carrying the label "Made In Wales"

flew off the racks.

So why were her dresses such a big success?

All sorts of reasons.

Don't forget, we're in the '60s.

Laura absolutely hated hot pants and miniskirts.

She thought they were ghastly.

So she reacted against that to an extent

and she genuinely believed that for a woman to wear high necks and conceal

was actually much sexier

and that men liked to imagine what was underneath

-rather than revealing all.

-Yes, yes.

So it was a time when no country wedding in England was complete

without a smattering and sprinkling of Laura Ashley dresses.

They were very countrified, but also very theatrical and romantic.

The '70s was a time of change.

Greater sexual and political freedom

meant women's roles were being redefined,

and yet, in contrast...

Laura was still attracted to a rose-tinted view

of the Victorian and Edwardian periods.

Did Laura lead the traditional life she wanted to promote?

It's very interesting.

She worked very hard to try and lead a much more rural life

than in fact is possible,

since was the head of a multi-million empire by the end.

She was always good at making the man feel

that he was the one doing the important things.

And so, for example, when she went on a plane,

she would take her needlework with her

and pretend to do her needlework

so that Bernard could feel

that he was the one doing all the man's stuff.

Because she believed that women wanted domesticity -

and that's reflected in her dresses -

and not to go into an office and look smart,

that was the antithesis of what Laura cared about in her design philosophy.

So keep your eyes peeled for early Laura Ashley items.

Her fabrics and designs are unique

and could be the next big thing in the world of vintage fashion.

Clothes and jewellery go in and out of fashion all the time

but spotting a bargain never goes out of style.

I hope you've enjoyed today's show.

Join me again soon for more Flog It! Trade Secrets.

Subtitles by Red Bee Media Ltd