to detail soon drew prestigious clients, including Margot Fonteyn, Margaret Lockwood, Phyllis Calvert and Gladys Cooper. One of his early collections was sold to Chicago department store Marshall Field's, a significant boost for his business and British couture's reputation. In 1948, he joined the Incorporated Society of London Fashion Designers – entrance required a vote from existing members – making him one of the leading names in London fashion design. Sherard not only created gowns for private clients, but also costumes for some 30 West End theatre productions, including The Mousetrap and The Reluctant Debutante, during this period. His business had support from other members of the family, with his sister-in-law – referred to in a newspaper article simply as "Mrs Sherrard", the wife of his brother Peter – acting as his chief assistant, taking charge of the label's publicity and providing advice on collections. By 1952, Sherard had accrued enough funds and reputation to move to a new salon in Curzon Street, Mayfair and he also lived in nearby Albany for two years, sharing a grand apartment at a stellar London address with Fraser and two dachshunds Hansel and Humperdinck; it was the location of many parties. The events surrounding the Coronation of Elizabeth II created more business for the firm, with some 40 assistants creating outfits for a growing clientele. Brand hallmarks Lavish occasion outfits – whether New Look-inspired ballgowns or slimline and classical sheath dresses – were Sherard's forte and his bestsellers. Throughout the 1950s and early '60s, he developed variations on these themes, such as a black lace and taffeta flamenco-style cocktail dress that is now part of the Victoria and Albert Museum (V&A) archive and featured in its 2007 exhibition The Golden Age of Couture. A 1961 review of his spring lines syndicated to the US and Canadian press describes his use of the 'wagtail' line (short at the front tapering to long at the back) on jackets. The review noted that he had even used this style to create a bolero with full-length train for the bridal gown in his show's finale. Later career In the early 1950s Sherard attempted to branch out into ready-to-wear with a line known as Pumkin, but this proved unsuccessful. In common with other London couturiers, he found business increasingly difficult in the 1960s because of high production costs and the emergence of a new breed of youth-focused ready-to-wear