One of two underskirts accompanying a christening ensemble. First worn by William Thomas (Tom) Poulter in 1858, eldest surviving child of Mary and James Poulter. Used by generations of Poulter & Chapmans. The robe is reliably dated to 1858 but the two underskirts, shawl & bonnet may have been added to the ensemble at a later date.Early christening underskirt related to early Kilmore families.White cotton christening underskirt with pintuck & broderie anglaise detail to skirt. Excellent condition.poulter, chapman, christening

Bought to wear to donor's son's wedding and then didn't use the garment for the occasion. Wore it only two or three times since.1982 Three piece Jade ensemble in acetate and polyamide fabric. Summer weight French Spangaro label. Top has scalloped edging on neck and cap sleeves. Long sleeved jacket has clear buttons.costume, female

End of night ensemble finale, John Lidgerwood, Santa and Humphrey Bear at the 1983 Carols by Candlelight concert. Col. photographs of performers at the 1984 Carols by Candlelight concert84011-12 (7021) 84014-3, 60/133, 6, Community Support 45% (7113) 84012-22 (7119)carols by candlelight, john lidgerwood, humphrey b bear

Hand written and drawn invitation to a humorous cultural evening - 150 minutes - with the ensemble LIPA, including Slovenian music and songs, on Saturday, 29th July 1961 at pm at St Bridgit's Hall, Nicholson Street, North Fitzroy.Hand written and hand drawn invitation with the details of the eventinvitiation, cultural program, 1961

Colour photograph of David and Jessie Newman Harbeck on their wedding day. Jessie in pale blue ensemble, pink toned handbag and shoes, David in dark blue suit, white shirt and pale blue tie. Lakes Entrance Victoriagenealogy, celebration

See Ref. 4362Wood oblong block, with decorative line across top and down left side Brass plaque 3cm x 9cm on centre of block inscribed with words 'V.S.S.M.A. 1982. Recorder Ensemble'. Flaming torch set on top of block.Lewbury Trophy,Blackburn South Tilbury & Lewistrophies & awards, education

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This piece is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Ensemble consisting of sleeveless crop top (.1) and full length pants (.2). Bold floral print features blue and white flowers on a navy blue background. Top has a white Peter Pan collar. Swing tag attached.Swing tag: "SIZE 34 / STYLE 186/11 / PRICE $13.00".swimwear, watersun, david waters, ada productions, melbourne designers

This ensemble was not owned by Lady Barbara Grimwade unlike the rest of the garments in this collection. It was donated to the Gallery by Mrs Jessie Briggs after she became aware of the Gallery’s extensive Tu collection. Mrs Briggs (Krongold) wore this ensemble to the marriage of her son, Lionel Krongold, at the Kew Synagogue, Melbourne. To compliment this outfit, Mrs Briggs wore gold shoes and a small Italian gold bag with the gown, a pair of diamond drop earrings, gold chain with diamonds, a gold bracelet with four diamonds and a simple Omega gold watch.

The Music Advancement Society of Bendigo 2nd Concert 1970 Series 'Baroque Ensemble'. Conductor - Paul Coppens. Soloists - Piano - Monica Laczofy. Saturday, 6th June, at 8.15 p.m. City Hall, Bendigo. Programme 20 cents. Bolton Bros. Pty Ltd, Bendigo.event, entertainment, music, baroque ensemble, the music advancement society of bendigo, paul coppens, monika laczofy, bolton bros pty ltd

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979.Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981Another Kyoto confection, a kind of sweetened rice paste, is simply but strikingly wrapped in a package marked with its name (uiro) in vigorously written characters. Simplicity could hardly be carried further, but, as seen in this ensemble of three separate packages, the effect is altogether engaging. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

This ensemble would have been worn early in the second half of the 20th century. It would have been worn on special occasions rather than for everyday wear and would perhaps have been worn with a hat, gloves and high heels. This ensemble is retained as an example of a women’s outfit worn in the 1960s and 70s. It will be useful for display. This is a cotton wove dress and jacket in matching material. The pattern has bands width-ways and is in grey, brown and cream colouring. The dress is sleeveless with a rounded neckline and a zip at the back. The skirt section is slightly flared. The jacket has short sleeves and finishes at the waistline. The jacket has four buttons and a small collar.ladies fashions

It is not clear that this fringe was ever attached to the curtain suite; it may have come from an associated part of the original ensemble (eg pelmet) or from associated furniture. However, it is certainly connected to the fringe on the tieback tassels, whose tassels are finished with the same product. The detached gilt metal fringe has aesthetic significance as specimen of an opulent furnishing decoration in very lavish contexts, such as gold rush Victoria. Part of it still preserves the original bright gold metal, ie is untarnished; this is probably quite rare in Australian collections.Board wrapped w c.17m of heavy gilt metal fringe (known as bullion fringe) in several pieces, evidently detached from curtains, and/or furniture items. (No sign of it having been attached to the curtains). The fringe is composed of metallic thread very tightly wound over a cotton/linen thread, attached to a narrow header braid with an ornamental design worked in metallic gimp cord. The colour was originally gold, now tarnished on all parts exposed to air, but sections of the fringe under the top layers retain the luxurious gold finish. Westman (2019: 242) explains that 'gold thread' was made of gold fired onto silver bars from which thin, flat or round wires were cut to wrap around a core linen thread for use in trimmings. Shen notes that the very thin layer of gold often wears away, exposing the silver which tarnishes. Bullion fringe: fringe made of bullion, in the sense of precious metal, used for prestigious royal, ecclesiastical and military garments and furnishings. Westman (2019: 193, 240) says that by the 19thC, the name was also used for twisted thread long fringe made of wool, silk, cotton or a mix, as it is today. In this form, 'bullion fringe' became a lavish edge-trim in the early-mid-19thC wherever its vertical look could add richness to drapery. interior decoration - history

Dressy day ensemble set - Fitted dress with short sleeves and straight skirt Centre back metal zipper Band of cream guipure lace above the waistline Fitted cropped jacket with shawl collar trimmed in matching lace Three quarter length sleeves to the jacket Pipping trim to most edges Both pieces are fully linedLabelled "Duval of Melbourne Pure Silk"

Tickets to various performances (with seat allocations added - most with year date). A Sunday in Spring with Benola Singers and Youth Ensembles Oct 1990; Janine Ballantyne and Derek Jones (Vocal and Flute Recital) Sept. 1990 (x3); The Assad brothers (Classical Guitar Duo Recital) Sept 1990 (x2); Jones and Co. May ?? (x2).

This Item is part of an outfit owned, worn and donated by Annie McIntyre. Worn in 1986 it was part of a major collection designed by Vivienne Westwood. The V&A includes information about the minicrini collection that Westwood launched in Spring/Summer 1985 which "...marked what Westwood described as a "cardinal change" – a shift towards tailoring and "things that fitted" – and a more deliberate focus on reworking ideas taken from historical dress. The stand-out garment of Mini-Crini was Westwood's short, bell-shaped skirt – another cheekily sexual garment that combined the outline of a child's party frock with an abbreviated version of the Victorian crinoline."The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Navy blue woollen twin set designed by Vivienne Westwood. The twin set was worn with a wool minicrini by the same designer.A note written by Dione McIntyre accompanying the item describes its relevance and use: "Vivienne Westwood 3-piece ensemble purchased in London in the 1980s - consisting of navy 'twin set' and balloon skirt - worn with long white socks and dark flat shoes. Donated by Annie McIntyre."mcintyre collection, womens clothing, international fashion - london - 1980s, annie mcintyre, vivienne westwood, minicrini

This Item is part of an outfit owned, worn and donated by Annie McIntyre. Worn in 1986 it was part of a major collection designed by Vivienne Westwood. The V&A includes information about the minicrini collection that Westwood launched in Spring/Summer 1985 which "...marked what Westwood described as a "cardinal change" – a shift towards tailoring and "things that fitted" – and a more deliberate focus on reworking ideas taken from historical dress. The stand-out garment of Mini-Crini was Westwood's short, bell-shaped skirt – another cheekily sexual garment that combined the outline of a child's party frock with an abbreviated version of the Victorian crinoline."The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Blue woollen 'minicrini' by the British designer Vivienne Westwood.A note written by Dione McIntyre accompanying the item describes its relevance and use: "Vivienne Westwood 3-piece ensemble purchased in London in the 1980s - consisting of navy 'twin set' and balloon skirt - worn with long white socks and dark flat shoes. Donated by Annie McIntyre."mcintyre collection, womens clothing, international fashion - 1980s, vivienne westwood, annie mcintyre

Musicianship was a pursuit encouraged by the RVIB, who then established orchestras as a way of raising funds for the organisation. To this end, tours were often given around the state, so that the general populace could appreciate both wonderful musical talent and the work of the institution. In these images, various ensemble members and their instruments are displayed. Digital files of blind orchestra membersrvib orchestra, fundraising

The photograph is of a music ensemble from the Greek island of Ithaca, taken sometime between 1938 - 1941. Mandolin and guitar music and cantades singing was popular with the people of Ithaca and across the Ionian Islands. The preference for this style of music and song was a result of the influence of the Venetian rule of the Ionian islands for almost 300 years. The uniforms of the young men photographed suggest they may have been members of the National Youth Organization established in Greece during the years of the Metaxas dictatorship (1936–1941) with the stated goals of helping the youth in the productive spending of their free time and cultivating their national values and cooperative spirit. Membership was made compulsory, for all young people, despite the views of families. A range of coercive tactics were used for those who were reluctant to join. The youth movement disintegrated after the regime’s ending in April 1941. Many of its members joined the Greek resistance movement. Despite the regime being a right wing dictatorship, Metaxas refusal to submit to imperialist and fascist Italy resulted in Greece entering WWII on the side of allies. Many Ithacans who settled in Australia brought with them their instruments and their love of cantades and the Ionian style of music. At family gatherings and celebrations they would play their mandolins and guitars and sing their beloved cantades.A black and white photograph in postcard format of sixteen young men, members of a mandolin and guitar orchestra. They are all dressed in dark trousers and shirts with light ties. The Ithacan Historical Society has been stamped on the back.

Made by Mrs Sayer in 1980 at Deniliqiun TAFE "Garment Assembly" course which was 2 years long. A popular course which was common in those days, Mrs Sayer was always crafty but not good at the other subjects. She wore this hat with the full ensemble also containing a dress and wool coat from 1980 - 2014.Small brim women's sunhat. Sandy brown in colour. Floral ribbon tied around the hat just on top of the brim which is secured with a green pin on right side of hat. On the front there is a small gold ANZAC badge that reads "Lest We Forget". On the left hand side there is a brown brooch with feathers attached, and the back of the hat features another brooch, which is round in shape and features 6 jewels with one large jewel in the middle. The inside of the hat is lined with orange fabric.clothing, women, fashion, hat

Edith (Alice) WATSON (1914–2010) Murtoa | Australia Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. These works include commercial art, advertising and catalogue illustrations as well as figure construction and fashion-plate designs. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. Her folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family. Commercial artA folio of Fashion Drawing by Edith Alice Watson of the Ballarat Technical Art School. .1) Two women dressed in fashionable clothing- lhs tan ensemble and hat; rhs fuschia ensemble with black and white accessories plus fur stole. Signed lrs A.Watson. 1933. .26) The image with three women wearing a hats. This appears to be an example of ticket writing. Signed lrs "A Watson- 2nd term. 1932." .35) The image with a woman wearing a hat appears to be an example of ticket writing. Signed lrs "A Watson--11th-7-32." .23) female figure drawing. Signed lrs A.Watson. 1st Term. 1932 .21) female figure drawing. Signed lrs A.Watson. 2nd Term. 1932 .17) drawing of lips, side view. Signed lrs A. Watson. 1931 .18) drawing of lips,three-quarter view. Signed lrs A. Watson .37) Paper is embossed with 'Windsor & Newtons Bristol Board' stamp.(Griffin depicted in centre)alice watson, ballarat technical art school, art, drawing, figure drawing, alumni, costume drawing, fashion drawing, ticket writing, 1930's fashion, indian ink, edith alice watson, figure construction, advertising, commercial art

Child's christening ensemble worn by Philip ('Pip') Smith at his christening. Grandson of Stephen Robinson & Elizabeth Jane Hartnell of 'The Dene' & 'Overdale', Kilmore East. Three daughters - Elsie, Esme & Monica. Their daughter Monica Fleck Turner (1899-1990) m. Albert Smith (1890- 1951) in 1926. Phillip born 1928, d. 2006 at Seymour. Buried Fawkner Cemetery. Clothing from early Kilmore families.Child's christening dress, coat & Bonnet, silk, embroidered. All in very good condition, despite yellowing. TEX-51.1 Dress TEX-51.2 Coat TEX-51.3 Bonnetchild, christening, turner collection

Black and white photograph of the musical ensemble for the school’s production of The Mikado. BACK ROW L-R: Poo Bah - Tony Sutherland, The Mikado - Mr. Wilson, Katisha - Vicki Rooke, Ko-ko - Mr.Hastings, Pish Tush - Stephen Parnell FRONT ROW L-R: Pitti Sing - Diane Peters, Yum Yum - Pamela Stoneman, Nanki Poo - Greg Evans, Peep Bo - Lynn Horkingsmchs musical production

Western fashion in the 1890s saw women's capes become an item of fashionable choice as they fell gracefully over an expansive sleeve. Capes often had a high neck, and were frequently trimmed with jet passementerie and fur. This capelet has a fashionable dog-collar neckline which became fashionable from c.1895, lasting as a style to c.1905. The capelet was probably part of a mourning ensemble.The capelet originally belonged to Catherine Francis Ellen Gulliver (nee Wells) who was born in Ballarat in 1874. The item was passed by descent to her daughter Catherine Francis Helen Taylor (nee Gulliver) [born 1896], and then to her granddaughter, Doris Catherine Kriesfield (nee Taylor) [1922-2015]. Victorian-era capelet, designed to cover the shoulders, and ornamented with a double band of jet passementerie. The capelet has a high dog neck collar, which is lined with leather. The original lace, of which some remains, has been removed in the past, probably due to damage, leaving some traces of its original style. The front of the capelet has large hooks and eyes.fashion design, women's clothing, outerwear, capes, capelets, fashion -- 1890s -- 1900s, mourning wear