CAMPBELL-WALTER Fiona (Model)

Fiona Campbell-Walter wears the duchesse satin ball gown, stole and gloves of an aristocrat, the society she represented in the 1950s. Born the daughter of an admiral in the Royal Navy, she was encouraged by her mother to become a model at eighteen, and was photographed by Henry Clarke, John French, Richard Avedon and David Bailey. She attended modelling school and soon became a Vogue regular, chosen for her aristocratic looks. She was also Cecil Beaton's favourite. Always in the gossip columns, Campbell-Walter married Baron Hans Heinrich Thyssen-Bornemisza, an industrialist. Together they were prolific collectors, living mainly in Switzerland. They had two children but divorced in 1964. A high point of the Baroness's career in 1952 was to feature on the front cover of Life magazine - a surprising but understandable source of aspiration for fashion models, given its intellectual gravitas. 

Also look up for Beaton, Clarke, McLaughlin-Gill

CAMPBELL Naomi (Model)

Herb Ritts casts Naomi Campbell as Pan, representing eternal spring. Her athletic frame is regarded as being as near perfect as it is possible to be - even in the fashion industry. Azzedine Alaïa realized her potential early and dressed Campbell in his clothes, which are as equally demanding of perfection. She sought stardom from an early age, attending stage school in London, and has rarely been out of the news since she was hailed as a supermodel. Known for her diva-like qualities, she has a star-like ability to dominate a picture or catwalk. She was dubbed "the black Bardot" for her full lips and sexy demeanour, although she claims to have encountered prejudice, saying, "This is a business about selling - and blonde, blue-eyed girls are what sells". However, her success has contributed to a broader conception of the feminine ideal. After many decades, she is still in demand and in 2007 appeared in Dior's 60th anniversary show at Versailles.

Also look up for Crawford, Evangelista, Moss, Ritts, Schiffer

CALLOT Marie, Marthe, Regina & Joséphine (Callot Soeurs) (Designer)

This panniered lace dress represents the exotic work of the Callot Soeurs. Its sheer vest is wrapped over a bodice and caught into flowers on the hip. The laced skirt is appliquéd with more floral motifs. The sisters worked with exquisite and unusual materials, including taffeta inspired by eighteenth-century dresses, rubberized gabardine and Chinese silks, with Orientalisme as favourite theme. They are remembered for introducing the fashion for the gold and silver lamé evening dresses popular in the 1910s and 1920s. They were influential into the 1920s when Madame Marie Callot Gerber, the eldest sister, was referred to as the backbone of the fashion world of Europe. Madeleine Vionnet said of her training at Callot Soeurs, "Without the example of the Callot Soeurs, I would have continued to make Fords. It is because of them that I have been able to make Rolls-Royces". 

Also look up for Bernard, Boué, Bruyère, Dinnigan, Duff Gordon, Vionnet

BUTLER Nicky & WILSON Simon (Butler & Wilson) (Jewellery designers)

A face is framed by glittering diamanté jewellery, one eye obscured by an amusing lizard. Recognizing the potential for antique costume jewellery in the late 1960s, antique dealers Nicky Butler and Simon Wilson started selling Art Deco and Art Nouveau treasures at London's most fashionable markets. By the time they opened their first shop in 1972, Butler and Wilson had themselves started designing. Their eponymous period-inspired and often witty creations raised the profile of costume jewellery. The change in conventional attitudes towards genuine fakes, however, was never more conspicuous than in the opulently ornamental 1980s, when glamorous ambassadors of Butler & Wilson's style included Jerry Hall, Marie Helvin, Lauren Hutton and the Princess of Wales, who often wore their bejewelled designs for formal evening occasions. 

Also look up for Diana, Hutton, Lane, Winston

BURTON Sarah (Designer)

The Duchess of Cambridge's wedding dress unites the old and the new. The ivory satin bodice is narrow at the waist and slightly padded at the hips, drawing upon the Victorian tradition of corsetry so beloved of Alexander McQueen. Sarah Burton's cutting technique and tactile exploration of the fabric create an elegant, streamlined, modern silhouette, while hand-cut English and Chantilly lace (another McQueen trademark) embellish the dress. Burton had not yet finished her degree at London's Central Saint Martins when she began an internship at Alexander McQueen's death in 2010. In 2011 Burton won Designer of the Year at the British Fashion Awards and the International Designer of the Year Award from Elle UK in 2012. Burton was awarded an Order of the British Empire (OBE) in 2012 for services to the British fashion industry. 

Also look up for Central Saint Martins, McCartney, McQueen, Treacy

BURROWS Stephen (Designer)

A geometrical printed jersey dress by Stephen Burrows is decorated with his trademark "lettuce" edging. Deliberately created by closely zig-zag stitching on raw seams, it is an example of how Burrows sparingly used machine techniques to decorate his fluid, sexy vision of modern feminity. The full cut of this dress will have produced a wake of rippling fabric, giving it sinuous movement. Customers who visited his store-within-a-store, Stephen Burrows' World at Henri Bendel, in the 1970s, came for simple jersey and chiffon outfits that then defined New York style. In 1971, Halston told Interview magazine that Burrows was "one of the unrecognized geniuses of the fashion world... Stephen gives the most original cut in America today. And the thing is really the cut". One of Burrows' favourite cuts is the asymmetric (where the hem is cut on the diagonal), about which he said, "There's something nice about something wrong". 

Also look up for Bates, Halston, Munkacsi, Torimaru 

BURBERRY Thomas (Designer)

A geometric layout illustrates all the features that have made the Burberry check as British as the Liberty print or Scottish tartan. Thomas Burberry, a country draper, developed a water and wind-proof fabric he called gabardine; his first raincoat went on sale in the 1890s. Designed for field sports, it was later used by officers in the trenches of the First World War and dubbed the "trench coat". Many of the original features, from epaulettes and storm flaps to the metal D-rings, still appear on the coat today. The coat's shape evolves to keep pace with fashion movements. The distinctive beige and red check lining was first used in the 1920s and Hollywood stars of the 1940s invested it with an aura of glamour. Given new life by the Japanese Burberry-fever of the 1980s, it has since been applied to everything from umbrellas to bags. In 2001 Christopher Bailey became creative director and in 2009 was appointed chief creative officer. 

Also look up for C. Bailey, Brooks, Creed, Hermès, Jaeger