Showing 41 items
matching feather stitch
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Bendigo Military Museum
Uniform - PLUME, LIGHT HORSE, c. World War One
Part of the Leo Reoch Cohn Collection. See Catalogue No. 5527.2 for his service record.Emu feather plume for an Australian Light Horse slouch hat. Feathers are attached to pieces of leather and stitched together with black and white thread.australian light horse, emu plume, uniform, leo reoch cohn -
Bendigo Historical Society Inc.
Clothing - BABY CLOTHES COLLECTION: BABY JACKET, 1940s
Cream coloured hand knitted woollen baby jacket. Front opening with two buttons. Foldover collar and fold back cuffs. Yolk and sleeves with open pattern. Front and back feather and fan pattern with garter stitch edging.This collection of knitted and sewn garments were made in the early 1940s and were intended for a baby that was stillborn.costume, children's, baby jacket -
NMIT (Northern Melbourne Institute of TAFE)
Video recordings: Instructional NMCOT and NMIT 1980s
U-Matic Video recordings (Master tapes) mostly dated in the 1980s. Alphabetically: A house of all trades [No date] (14 min). An Introduction to floor managing An introduction to floor managing. Architrave: running the mould. Solid plastering. [No date] (17 min). Boom spray calibration (turf management). [No date] (6 min). Drafting. Module C51 Step no 4.(footwear) (1987) [No time] (Edit master) Fibrous plastering (1988) (Duration 11.00) Firm foundations: presenting a case for finance (21 min) Flux cored arc welding. Roof plumbing: fitting outlet. Friction in engineering (20 min). Grafting and budding techniques. (1986) (Duration 10.00) Horticultural courses at Collingwood College of TAFE. [No date] (10 min). Making a hand made thread. [No date] [No time] Making a hand-made thread Manual metal arc welding [No date] (24 min). Master saddlery; stitching: 1 saddle, 2 back. Microphones and their use in location sound recording [No date] [No time] Microphones and their uses in location sound recording Mold cutting [No date] [No time] Plain sailing: a film about business planning (20 min). Potentiometers, Part 1. (1983)(16 min). Preparation of artwork for video tape production (1977)(162 min). Preparation of instructional video tapes (1977)(12 min). Roof plumbing: fixing eaves cutters: Part 1 – fixing methods. [no time] Saddlery: hand stitching Safe saddle making. (1985) [No time] Solid plastering/Setting in Plaster and lime (1987) (Duration 10.00) (Edit master) Special electronic effects in video production. [No date] [No time] Splitting a stone using plugs and feathers [No date, possibly 1987] (Duration 9.40) (Master edit) The necessary art; videotape lighting: practical tips. (1974)(15 min). Tiling a staircase (1987) (Duration 25.00) (master edit) Water resistant board (W.R. Board): What is a word processor (26 min). WR Board northern metropolitan college of tafe, handbooks, nmit -
Bendigo Historical Society Inc.
Domestic Object - VICTORIAN BLACK SILK AND LACE PARASOL, Mid to late 1800's
Object. eight ribbed parasol. Black silk satin, and black cotton lace in a floral design. Eight peaks around the perimeter of the umbrella, attached to the double layer of fabric in the main body of the umbrella-an outer layer of silk, satin, and an inner layer of cotton. This lining is hand stitched. Frame, including handle of lacquered wood. Handle is graciously curved and carved like a feather. Top is finished with lace and a decorative satin ribbon-(5cms wide) bow with five loops, and nine cm tails.costume accessories, female, victorian black silk and lace umbrella -
Bendigo Historical Society Inc.
Clothing - GRAYDON COLLECTION: DARK BROWN FEATHER CAPE, 1880's - 1900
Clothing. Dark brown feather shoulder cape lined with dark brown satin. Gathered brown ribbon stitched over black seam of cape. Cord ties at front knotted togethercostume accessories, female, dark brown feather shoulder cape -
National Wool Museum
Quilt, Verandah quilt
Part of the "Wagga" collection. Maker unknown. Veranda quilt made from silk organza and containing duck feathers. Made in Korrumburra, c. 1914 - 1918.Quilt, with three large panels of pink printed fabric. Floral and patterned verandah quilt cover encasing duck feathers. Made from silk organza and other materials.quilting history, running stitch group, running stitch collection, quilting - history -
Southern Sherbrooke Historical Society Inc.
Textile - Helen Gibson collection - material, cottons, etc
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Brighton Historical Society
Clothing - Dress, c. 1974
This dress was worn by Brighton's first female mayor, Councillor Di Lopez, to a Mayoral Ball held at Brighton Technical School in 1977. Diane Margaret Lewis completed a law degree at the University of Melbourne, later marrying one of her classmates, criminal lawyer Ramon (Ray) Lopez. When she decided to run for the Brighton City Council in 1975, she was seen as an outside chance. Undeterred, she rallied a small group of friends and supporters and set out on an extensive door-knocking campaign that won voters to her side and successfully unseated former mayor Keith Devenport. She went on to serve two terms on council from 1975 to 1981. Di initiated many local projects, including the creation of a bike path along Nepean Highway and the first Brighton Festival, while balancing family life and a demanding ‘day job’ as personal assistant to Victorian Minister for Youth, Sport and Recreation Brian Dixon. She was a member of the Women’s Electoral Lobby and a champion for women’s representation, encouraging both Sally Allmand and Kate Harman to run for council (both were successfully elected). She advocated forcefully for an open, transparent local government in which ratepayers had the chance to participate and be heard. In 1976 Di became the first woman to hold the title of Mayor of Brighton, and she made it clear from the outset that she was going to do it her way. For the annual mayoral ball in 1977, ordinarily a staid traditional function, she chose a discotheque theme based on the Rod Stewart album Night on the Town, with a broad dress code of ‘black tie or jeans’: ‘You’ve got to get with the times,’ she said. ‘We want people to wear whatever they feel comfortable in.’ Di herself chose to attend in this knee-length chamois dress embellished with strings, ribbons, beads and feathers. It was both a fashion statement, exemplifying her colourful, flamboyant and forthright style, and a political one: a declaration of her intention to lead a progressive council, embracing the new and refusing to be hemmed in by dated traditions. In 2020 she was awarded an Order of Australia Medal for her service to local government and to the community of Brighton.This dress has local historical significance for its association with Brighton's first female mayor, Councillor Di Lopez, who wore it to a Mayoral Ball in 1976. The dress exemplifies her flamboyant reputation, modern outlook and willingness to break norms. At the time, the dress was a radical choice for a Mayoral Ball, where women typically wore formal evening gowns. With her choice of dress, Cr Lopez was making a public statement, breaking away from dated traditions and announcing her intention to bring the Mayor's office into the 1970s. In this way, the dress also points to the wider social and political changes taking place both in Brighton and across Australia during the mid-1970s.Three quarter length chamois dress circa 1974. Machine stitched with a v-neck and full length sleeves and an uneven raw hem, the dress is decorated with narrow thongs of chamois embellished with red beads and blue feathers. The open-fronted bodice is laced with red ribbon and the skirt is decorated with a large blue wool cross stitch and a combination of blue wool and purple ribbon cross stitch. Made in the style of an Indian 'Wild West Dress'.di lopez, chamois, brighton, brighton council, brighton technical school, mayoral ball, 1970s, feminism -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Nan’s Spirit Watching over me (Rita Dalton) Cloak, 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future. The white ochre was used to create the feather pattern. White ochre is deeply connected to spirit or ‘murrup’ as we call it in language. The ochre is used on our bodies in ceremonies to paint our body up and is also placed on graves when someone passes. The white ochre is our most sacred connection to our ancestors and is used to celebrate both life and death. I source the white ochre from the You Yangs and only take what I need for ceremony and my painting.White and black feather motif with yellow eye design on outer clock, brown feather motif in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Bundjil the Eagle Creator Spirit Cloak, 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Bunjil the eagle used to be a man called Karringalabil. As a man he created the first man and woman out of bark from the sacred manna gum tree and clay from the river bed. He created the plants, animals, mountains, waterways, sky and under Country. After which he turned himself into an eagle. He has two wives, Kunuwarra the black swan sisters. After he completed all of creation he flew up into the sky at Lal Lal Falls and he now watched over us as a star in the night sky and as an eagle by day.Brown, red and white tone feather motif with yellow eye design on outer clock, red and black diamond and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak -
National Wool Museum
Textile - Cloak, Dr Deanne Gilson, Waa the Crow Totem Cloak (Waa represents our ancestors watching over us), 2022
Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). Waa the Crow Totem Cloak (Waa represents our ancestors watching over us). Waa and all the birds get their names by the sounds the bird makes.Blue feather motif with blue star background on outer clock, blue and black feather design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art, cloak