Australian women of the late 19th to mid 20th century focused on the home and its decoration was important. Embroidery and crochet work was an affordable way to personalise and add aesthetic value, and examples of embroidered and crocheted pieces could be found in most Australian homes, decorating or protecting furniture. Embroidery and crochet work provided a much needed creative outlet for someSeven pieces of lace of fine cotton possibly dyed or stained. All but one are straight edged. .1 is scalloped.lace handcraft crochet needlework

This item is an example of a fashionable accessory used by women in the first half of the 20th century.A coin purse made of light blue dyed sheepskin. It has a gold coloured metal frame and clasp and is a rectangular shape.coin-purse accessories-women's sheepskin purse personal-effects money-containers

Item issued to Mavis Irene KEILLOR No 105119 WAAF, enlisted 30.12.1942 age 22 years. Discharged with the rank of Aircraftwoman Laverton Transit Departure and Reception Centre on 6.12.1945. Kit Bag, faded dark blue, 12 brass eyelets. Appears to have been dyed dark blue over the original khaki colour.Painted on side & bottom: “105119 WAAAF”equipment, kit bag, waaaf

Was worn by donor's husband's grandmotherFeather Accessory. Three feathers 13 cm long, dyed orange and set in the shape of a fan into a 5cm long matching orange plastic holder.costume accessories, hat accessories

This jacket is by the prolific spinner and weaver Jean Inglis. It has been woven with a warp of commercially brought wool & a weft of hand spun Corriedale. It is completed in a Swedish lace style of weaving. The highlight of the jacket is the blue section of fabric on the top left shoulder of the wearer, which works down to the bottom right hip. This pattern looks like long thin individual separate sections of fabric stitched to the jacket; however, only one section of fabric has been added. A dying technique has been utilised to give the appearance of multiple sections. This Japanese dyeing technique is called Shibori, “to wring, squeeze or press". It is a manual tie-dyeing technique, which produces several different patterns on fabric. The specific pattern on this fabric is known as Kumo Shibori. It utilises bound resistance. This technique involves folding sections of the cloth very finely and evenly. Then the cloth is bound in very close sections. The result is a very specific spider-like design. This design requires very precise technique. Specific to this jacket, the fabric for the dyed section was made with the same fabric as the rest of the jacket. A section of the excess fabric was concertina wrapped around a 100mm pipe and tied up before dying. This gives the consistent straight blue lines, with no bleed from the dye. The sections were then sewed into the jacket with the occasional sequin added for additional decoration and glamour. The jacket won 1st prize at the 1988 Geelong Show. Jean was assisted by the dress maker Ruth Randell with some of the design and sewing. Jean always found sewing “a bit of a bore”. The jacket also has an attached swing tag. It was added to provide information to the judges at the Melbourne Show on how the jacket was created. It comes complete with Jean’s self-proclaimed terrible handwriting. It was donated to the National Wool Museum in 2021.Cream singled breasted jacket with no overlap. The jacket has no column of buttons for fastening, or lapels. It is designed to be plain, to not draw attention. The jacket is highlighted by the Shibori dyed waves on the top left shoulder of the wearer, which works down to the bottom right hip. This blue dyed section of fabric is dotted with the occasional blue sequin. Internally, the jacket features a white silk lining for comfort. The jacket ends in a straight cut hem, including at the cuffs. The jacket has an attached swing tag. The swing tag is cream with a printed thin black boarder. Within the boarder, handwriting in black ink is found. It has a hole punch in the top left corner of the swing tag for attaching to the jacket.hand spun, hand weaving, textile design, textile production, shibori, kumo shibori

Square art quilt with tones of brown and cream.reverse side: Pamela Fitzsimons 2004 / SILK + WOOL DYED WITH EUCALYPTUS LEAVES / HAND STITCHED WITH SILK THREADhandicrafts quilting textile, national wool museum, fitzsimons, ms pamela, geelong, victoria, handicrafts, quilting, textile

Issued to internee.Internee issue overcoat, dyed from the original burgundy to dark brown after the armistice. Box pleat at back, belt with 3 buttons and 2 pockets with flaps.OLovercoat, internees, tatura

Wool was dyed in dyeing workshop at Warrnambool TAFE College. (unconfirmed)Gum Leaves /Alum mordanthandicrafts, south west college of tafe - textiles department, dyeing

Wool was dyed in dyeing workshop at Warrnambool TAFE College. (unconfirmed)Geranium petals/Red flowers/Alum-mordanthandicrafts, south west college of tafe - textiles department, dyeing

I am interested in the history and practice of weaving and textile production and the growing of cotton in different areas of the world, especially as it relates to my Lancashire, UK heritage. The cotton painting drop cloth has been dyed with Australian native plants and the warp threads exposed by removing the weft showing the simple robust structure of this fabric characteristic of the interlacing of warp and weft in plain weave. This work can be hung or can stand on a plinth or table.Wangaratta Art Gallery Collection. Donated by June Brown.A textile work that features a piece of cotton drop cloth that has has sections of the warp threads removed and other sections plant dyed brown to create a radial effect.hilary buckland, textile, plant dyed

Making marks with needle and thread across the landscape of life, sometimes treading lightly but often leaving scars. Wandering was inspired by marks left from the eucalyptus leaves on the fabric, a scrap of fabric easily carried, an idle moment to make a few marks with needle and thread. A longer time to stitch becomes a wandering mind, like taking a walk in the bush, deciding on the tracks ahead and reflecting on those already taken.Wangaratta Art Gallery Collection. Donated by June BrownA rectangular silk piece that has been botanically dyed brown with eucalyptus leaves and then green, blue, and orange cotton threads have been handstitched across the piece to create tracks.kathy beilby, botanical dying, handstitching, textile

Recipient of the Local Prize, Nillumbik Prize for Contemporary Art 2019. The imprints of eucalyptus ficifolia, eucalyptus polyanthemus, grevilia robusta and casuarina verticillata onto woollen blankets. They tell a story of home and comfort, of legacy and place, of connection and continuity. Large wall hanging comprised of strips of recycled woollen blankets stitched together. Each strip has been printed (eco dyed) with organic matter local to the Shire of NillumbikN/Aeco dying, wool, blanket, wall hanging, environment, botanical printing, nillumbik prize, local prize recipient, eucalyptus ficifolia, eucalyptus polyanthemus, grevilia robusta, casuarina verticillata, nillumbik, karena goldfinch

The quilt, alternatively known as a wagga due to its improvised nature of creation, was made by Harry Walter Hewitt Wilton (great grandfather of donor), b.1872, d.1950. Harry joined the Essex Regiment and served in the British Military in India, as well as seeing action in the Boer War. Married wife Mary Elizabeth in India in 1895, she was a seamstress. Harry was injured during a battle and made this quilt as part of his rehabilitation. Quilt was made using woolen army singlets. Harry and Mary moved to Victoria, near Orbost, in 1914. Patchwork style quilt with coloured pieces of dyed woolen singlets stitched together over a backing. Features feather stitching between pieces and around border edges. Size of a double bed.wagga, harry walter hewitt wilton

A court tennis ball, probably stuffed with densely wound woollen strips, and contained within a cover comprising of two pieces of stitched, red dyed cloth. Materials: Wool, String, Clothtennis

This copy of Homeri Ilias Tome I & II published in 1839 and belonged to Reverend William Henderson, founder of Ballarat College. Collected by K C Hofmaier (1963) by purchase of a library at Gembrook (Vic) which contained a number of books from the old Ballarat Latin Language Library, including school text books and theological works formerly the property of the founder of Ballarat College, Rev William HendersonHigh social significance due to connection with founder of the school Rev William HendersonMarbled card cover with calf binding and corners; raised bands on spine with six compartments; gold lettering on red-dyed title compartment; very worn; black and white illustrations at head of each chapter; Handwritten inscription on title page: W Hendersonwilliam-henderson, ballarat-college, keith-hofmaier, 1839,

Agricultural worker's hand-loomed linen smock, dyed brown. Fully hand-stictched with smocking details on front and back and sleeves. Opening at front and back neck area fastened with now missing buttons.smock, rural dress, linen, hand stitching, agriculture

Large light brown paper bag - probably used for packing hats Marked from Miss Maddison - Violet Street, Bendigo - Hats Cleaned and Dyed Printing surmonted vy a version of the royal Coat of Arms

Issued to P.O.W at Camp 13 MurchisonAustralian Military Forces issue jacket. Dyed burgundy and issued to P.O.Ws. Four patch type pockets on the front. Eleven AMF buttons, one brown button. Pleat at the back and band around waist. Two tabs on the shoulders.uniform, murchison, camp 13

Used for surgery. The suture is dyed blue to enhance visibility and does not adhere to tissue, making it more easily removable when ready. It is considered to be relatively biologically inert.This is one of a collection of items received from the practice of Dr Lachlan Hardy-Wilson, FRCOG, Launceston, Tasmania.Sterile suture in packaging. Labelling on packaging reads 'PROLENE Metric 3.5 (0)/ETHICON/TRADE MARK/BLUE MONOFILAMENT POLYPROPYLENE SUTURE/TAPERCUT* V-34/Sterile 36mm Length 75 cm/8444 ETHNOR/PTY LTD SYDNEY'.surgery

Over time, apron design and function diversified, and many trades and professions developed their own versions. Aprons were practical for protecting the wearer’s clothing as well as signifying their trade or craft. Wool dyeing was an industrialised profession to aid in the mass production of synthetic dyed clothing. This dyer’s apron would have protected the wearer from the chemicals of the dyer’s trade. There are several ways that fabrics would have been dyed including direct application, exhaust methods, continuous methods and waterless dyeing methods. As seen folded in archive box.dying, wool, apron, wool dying

Air to ground container WWI.Pouch, khaki, containing a lead weight inside. Two brass press studs, strong cotton bunting material plain dyed with white stitching. Attached are two long ribbons composed of three segments coloured green then white & red. Pouch: “HCR LO 1918, a broad arrow with No. 422” Handwritten on one of the white panels: “No. 7”containers-military, metalcraft- brassware, military equipment

The donors of this fur collar believe the collar to be between 80-90 years old. It was worn by the donor’s grandmother and mother as an accessory to Warrnambool and district balls and dances. It may have also been worn for warmth! The donors believe the fur would have been purchased in either Melbourne or Toorak. This fur could have been worn by either men or women. This fur collar is representative of fashion accessories in Warrnambool and District in the 1930’s.Fur collar, 1930’s. Rabbit fur collar, wide lapels, very soft fur with dyed pattern of light and dark brown stripes. Collar is lined with a heavy dark green woollen fabric. Between the fur and the lining there is a felt interfacingflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, fur collar, fur stole, fur accessory, clothing 1930’s, fashion 1930’s, fashion accessory, rabbit fur

Made by Jean Inglis for the Geelong Show 1986. Was spun, woven and dyed by Jean in Geelong, and was put together by a local dressmaker. Skirt is part of Chanel suit with item 7756. Earliest Date: 1986Cream coloured wool skirt with zipper at back.

Hand spun, hand dyed, hand woven and hand sewn suit which won best garment in the 1987 Geelong show. Size 12 in a design by Chanel. It was spun with variegated natural greys on a Sheridan horizontal spinning wheel. It was then dyed pink using natural dyes. The jacket had commercially brought warp and hand spun weft in twill on a 24” loom. All spinning, dyeing and weaving was by Jean Inglis of Geelong. The suit was sewn by Caroline Mogic of Geelong, with iron on interfacing, commercially brought trim. It was worn only once in the parade at the Geelong show. The pink suit jacket has four pockets with gold buttons on front, size 12. The jacket has a checker-plate pattern in which the predominate pink is always present and is accompanied in areas which have grey or white showing through the pink. This checker plate pattern continues down the sleeves of the jacket. The edge of the jacket has a lighter pink trim. A pink skirt accompanies the suit jacket. It has horizontal lines with pink as the predominate colour and areas of grey and white showing through in sections. geelong show, hand spun, hand dyed, hand woven, hand sewn, channel

The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners. A hat by the same milliner is in the Western Australia Museum.Grey straw woman’s hat retailed by Classic W.H. Pty. Ltd., featuring a low crown and a broad rim. The crown and the rim are in shades of grey: the crown fully dyed grey and the broad rim in bands of white and grey. Grey net is attached to the rim and crown.Label: Classic. W.H. Pty Ltd.classic w.h. pty ltd, women's clothing -- hats, headwear, cartwheel style hats

Presented to Jean Inglis as a prize for winning the textile competition at the 1988 Royal Melbourne Sheep Show. Her entry was a hand spun, woven and dyed wool suit for the Fashions for the Eighties parade competition. Earliest Date: 1988Dark blue felted wool sash with yellow text attached. Test reads "THE AUSTRALIAN SHEEP BREEDERS ASSOCIATION INC. / 1988 WEEKLY TIMES MELBOURNE SHEEP & WOOLCRAFT SHOW / WOOLCRAFT COMPETITION"