When Adrian first walked in announcing PFC Auctions’ sale of two costumes worn by Margot Fonteyn, my first response was, “who?”

Call me ignorant, but I had never heard of the dame. The rest of the office were – as I’m sure you are – well aware of Fonteyn and were obviously excited.

A quick Google revealed that Fonteyn was actually one of the greatest ballet dancers ever to have lived, famed for her unrivalled partnership with the world renowned Rudolph Nureyev.

Fonteyn’s skirt worn in Romeo & Juliet with Rudolph Nureyev

For years, their immortal performances in Swan Lake and Romeo & Juliet among others had passed me by. Admittedly, I’m not the most dedicated lover of ballet, but the way that Fonteyn moves across the stage has had me captivating from the first demi-plié down to the final faille.

But what really piqued my interest was the fascinating character behind one of ballet’s most beautiful dancers.

Prima Ballerina Assoluta of The Royal Ballet, performing for Queen Elizabeth II, Margot Fonteyn had formed one of the most successful ballet partnerships of her day with Robert Helpmann by 1961.

Standing at the top of the ballet world, she was expected to retire aged 42.

The beautiful jewel-encrusted bodice worn by Fonteyn in Swan Lake – one of her defining performances

However, one of the most exciting young male dancers, Rudolph Nureyev, decided to defect from the Soviet Union just as she was due to announced her departure.

Fonteyn couldn’t resist one last moment in the spotlight, and immediately formed a partnership with Nureyev, performing Giselle when he was just 24.

Despite rumoured love affairs with the bisexual Nureyev, Fonteyn had married Dr Roberto Arias, a Panamanian diplomat, in 1955 and remained loyal to him. So much so, that she became embroiled in her husband’s failed coup d’etat on the South American state in 1959, forcing her to return to England from her adopted home.

But Dr Arias had made his enemies, and in 1964 one of them shot him, leaving him quadriplegic. It seems Fonteyn’s desire to continue dancing was not only spurred by her love of the art form, but also by the need to pay for her husband’s increasing medical bills.

She continued to dance until 1979, when she was a remarkable 60 years old. Amazingly, she returned to the stage in February 1986 for one final performance as The Queen in The sleeping Beauty – even then her skills surpassed many of the young dancers that night.

Simply put, Fonteyn was an icon, one of inimitable charm and beauty, whose dances are skill widely talked about today among ballet fans.

I only wish that I could have seen her perform in the flesh, yet the stunning costumes currently selling at PFC Auctions have brought me closer to the world’s greatest ballet dancer than I could ever have hoped.

Discover more about Margot Fonteyn and place your bids here: www.pfcauctions.com