The coat along with matching hat and dress ensemble was made in 1980 at the Deniliquin TAFE 'Garment Assembly' course which was 2 years in duration. Mrs Sayer was always crafty but not great at other subjects. Coat is lined with a petticoat which Mrs Sayer wore in 1958. The seal fur collar was purchased by Mrs Sayer's mother at the shop 'Manly Corso' in Sydney, after WW1 with money from her father.Light brown wool coat with seal fur collar attached. Lined with red fabric from the petticoat of a taffeta and lace dress that was worn by Mrs Sayer in 1958. Wooden buttons down coat and on sleeves. Coat has been handmade and has no label.coat, wool, fur, fashion

Made by Adolphina Noll in 1934 in Wilmington, South Australia as a wedding gift for Mr Joe and Mrs Ida (aka 'Ike') Fulwood. Mrs Noll was Ike's maternal grandmother and was 69 when she made the quilt. (It was used on a bed in a plain heavy woven calico cover which was secured with safety pins. The cover is not in existence.) It was given to Lois Densham in Adeleide from Ike, who was a close friend of Lois' sister, Doreen Saunders.Double bed sized quilt cover insert made from several items of clothing: men's frock coat (possibly from the 1900's), another men's coat (date unknown), a woman's coat with a fur trim on the pockets (possibly from the 1930's) and a woman's dress or skirt (circa 1920-30's). The clothing pieces have been arranged in an apparent haphazard way to create a shape with straight edges and corners to fit neatly into a cover onto a bed. Lining materials are apparent on the back of the woman's skirt/dress pieces which may also show that this item of clothing was either taken apart or never finished. Orange cotton lining material is also evident on some pieces of the men's coat.handicrafts, quilting, running stitch group, running stitch collection, highlights of the national wool museum: from waggas to the wool quilt prize - exhibition (22/09/2001 - 02/12/2001), noll, mrs adolphina fulwood, mrs e. g.

This fur collar is part of the Lingard Collection donated by Rod and Bev Lingard. It was made by Herbert (Bert) Lingard for his wife Sybil for whom he made nearly all of her dresses and coats..|Herbert, William Lingard was a tailor whose business 'Lingard Modes' operated in the Manchester Unity Building, Swanston Street, Melbourne, C1949. Later he worked from his home in 476 St Kilda Road Melbourne.|NP2453 shows Bert at his sewing machine.|NP2454 shows Sybil and Bert with friends Erne and Mag Simek.Brown fur collar and revere, lapin. Lined with black interfacing and edged with black bias binding.costume accessories, collar accessories

Black and white photograph of Mary Helen Davin in front of the door to the dairy. She is wearing hat, coat and fox fur, December 1939.davin, mary helen, mitcham model dairy

Five embroidery threads in skeins of shades of yellow (2) and green (3). One large wooden spool with small amount of brown thread. One Coats 60 thread bobbin lace white on a wooden reel. One Sylko 24 beige thread on wooden reel. One small wooden reel with no labels and pink thread. One ball of DMC 12 Perle thread in pale pinkCoats - J & P Coats 1000 Beste Qualitat meter vier fach Spezialertzeugnis fur fabrikanten 60. Dewhurst's Sylko Machine twist 24 Silk Substitute Shells. DMC Coton Perle 12 Made in France 10grams 141 yds. Anchor Soft Embroidery Fast Colour 110m/10.9 yd. Lesh & Handsley Perline Mercerised cottons . Sylko Trademark Embroidery Shade no 13 Made in England Silk Substitute J Dewhurst & Sons (Skipton) Size A color 334

Belonged to Jan Prenpaze and donated by her.Winter coat made of grey figured fabric, with black fur collar. Has satin lining and material-covered buttons.Tag says "designed by Wein Fashions of Melbourne" and "Pinguino Italian Fashion fabric".

The City of Brighton Mayoral robe features embroidered Coat of Arms on the sleeves, which were granted in 1970 by the British College of Heraldry. It includes two figures, the market gardener heralding back to Brighton’s early history in farming, and an aboriginal man, symbolising the original inhabitants of the area, the Bunurong people of the Kulin Nation. This robe was worn by the City of Brighton Mayor until Brighton’s amalgamation into City of Bayside in 1993.Full length mayoral robe with centre opening. Red wool with light brown fur edging on centre front opening and cuffs. The cuffs are also trimmed with wide bands of black velvet and each shoulder has an embroidered polychromatic roundel featuring the Brighton Coat of Arms. The bottom edge of the robe also has black velvet trim. city of brighton, mayoral robe, robe, ceremonial wear, coat of arms, r.w. bredin & son, ede and ravenscroft, bayside, mayoral regalia

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Long black velvet evening coat with an attached wide collar of brown fur. The same fur is used to border the long sleeves. The garment and or the attached fur would appear to be homemade.women's clothing, evening wear, australian fashion, evening coats, teresa mayer

The donor, whose parents owned an antique shop believed that the evening coat was owned by the family of Cr Morris Nathan and his wife Margaret Frances, nee MacKay. Maurice Nathan was born in Kew in 1914 and died in East Melbourne in 1982. He was a student of Trinity Grammar School, Kew. He was Lord Mayor, and his wife Lady Mayoress, of the City of Melbourne for two terms between 1961 and 1963. The age of the coat, created in a design typical of the 1920s would suggest that it is of an earlier vintage, almost certainly dating from the 1920s, but perhaps earlier. The opulence of the sequinned and beaded embroidery have led to the supposition that it may be an opera coat inherited from an earlier generation.Three quarter length, red and cream silk, padded evening coat highlighted on the cuffs and hem with iridescent sequins, beading and pearls of different shapes and sizes. These decorative features are arranged in a formal design, particularly at centre back. Above the beaded sections are sunbursts outlined in gold beads.Trimmed rabbit fur at collar and cuffs. The sleeves are shaped above the embroidered sections while the hem features a zig-zag profile. MEASUREMENTS - Neck to hem front 93cm; Neck to hem back 100cm; Circumference 126cm; Shoulder to cuff 72cm; Shoulder width 36cm.Traditionally, pre acquisition, stored in brown suitcase embossed in gilt with the name R. NATHANevening jackets, opera coats, fashion -- 1920s

Imitation fur products were initially popular due to their relative cheapness. As the 1960s progressed, faux fur became more popular due to social uneasiness about the wildlife and farmed fur trade. Whereas real fur hats might be seen as matronly, smart, light and bright, clearly fake fur hats were designed for a younger market, and proved more suitable to the light weight fabrics of dresses and coats that became fashionable in Australia in the 1950s.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. Most of the hats in the collection were created by milliners for women. There are however 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.Faux ermine black and white woman’s hat.Nilheadwear, women's hats, hats - 1960s, fashion accessories, faux fur

Fur hats were a necessary accoutrement for fashionable women who wore furs. Typically, the fur hat might be purchased from the furrier to match the colour and often the pelt of the coat or stole, rather than from a milliner. Hats, like coats and stoles were often dyed to achieve uniformity of colour. Tastes in the colour of furs also changed over time, so hats, coats and stoles could be updated to match prevailing tastes. Until the 1960s in Australia, there were many furriers, who usually brought from Europe experience in identifying fur types. With the decline in the fur industry, these skills are noticeably scarcer in Australia today.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. Most of the hats in the collection were created by milliners for women. There are however 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.Circular, brimless women's fur hat.Nilheadwear, women's hats, fur hats, furriers

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This outfit was donated to the Fashion Collection by Val Goldsworthy.Brown wool coat with large silver buttons and fur trim to neck and sleeves. Matching brown dress.Label: Merco Davronmerco davron, australian fashion - 1960s, melbourne fashion designers

Orange bouclé wool coat woven with velvet stripes; brown fur collar and deep hem.1920s, cloak, cape

Hardcover book, 303 pages. Book has a green cover and a colour image of a man wearing a top hat, carrying a cane and a woman wearing an orange coat with a white fur collar.fictionRomance novel.olive wadsley, romance, fiction

Six cabinet cards produced by Bendigo Photographers. All subjects unnamed. Black and white/sepia. A. 1. Photographer F De Kock & Co Cnr Mitchell and King Streets. Subject is two men, one standing and one seated, dressed formally in jackets, ties and pants. One is holding a hat, while the other's hat is by his elbow. 2. Photographer is Verey & Co Castlemaine and Daylesford. Subject is three men, two seated and one standing, dressed formally in coats and pants. The middle man is holding a cane. B 1. Photographer is Bartlett Bros View Place Sandhurst. Subject is a woman seated in a dining chair with a book on a table. She is dressed in a patterned long sleeved dress adorned with ribbons and lace. 2. Photographer is Bartlett Bros View Place Sandhurst. Subject is a woman posed in profile head and shoulders. C 1. Photographer is Bartlett Bros View Place Sandhurst. Subject is an infant, seated on a fur and dressed in a knitted outfit. 2. Photographer is Bartlett Bros View Place Sandhurst. Subject is a man head and shoulders shot.photograph, portrait