Else Oertel and her daughter Else-Lore were interned in Camp 3A from 1940. Her husband was not interned as he was on a business trip to Germany when war broke out. Friedel Dehnel "Tante Fiffi" made the authentic Bavarian doll and clothes. Friedel, wife of Walter Dehnel, arrived as a young woman from Austria, working in the Victorian snowfields as a chef and was a champion skier. She then became a dressmaker for Melbourne society and insisted that she be interned to be with her husband. She made costumes for the internment camp plays and took over her husband's duties as a cook for Camp A when he was locked up for "insubordination". She was deported with her husband back to Germany after the war and cared for her orphaned nephews and nieces in Garmisch-Partenkirchen.Doll dressed in authentic Bavarian costume. Black wool hat trimmed with gold lace and dried flowers. Gold coloured skirt on dress with sash. Bodice is black with traditional embroidery. White long sleeves with lace trim at cuffs. She is holding a basket with dried flowers."Merry Christmas Else-Lore" on baseelse oertel, else lore hukins, friedel dehnel, dressmaker, chef, camp 3

Joeli Bulu was one of the first missionaries to Fiji. Not a Christian when he grew up but was converted after listening to John Thomas in Tonga. The king of Tonga had just been converted to Christianity and asked for volunteers to go to Fiji as a missionary. His reception in Fiji was not welcoming, but he was such a tenacious chap and because he was likeable he became one of the most influential missionaries in the South Pacific. He was a rascal as a young man in Tonga and the meeting with John Thomas was the thing that changed his life. Very well regarded now in Fiji. His active period was the 1838 to 1870 - John Thomas came to Tonga in 1826. From Wikipedia: Joeli Bulu (Siaoeli Pulu) (around 1810-May 1877) became a Christian in 1833. He was one of a band of Tongan teachers who came to Fiji in 1838, and pioneered the work of the Christian Church in this group. He served the Church in Fiji for almost four decades. He came to Lakeba by canoe, and was appointed to help with the printing of catachisms and passages of Scripture. Lorimer Fison translated Bulu's oral account of hislife. This was edited by George Stringer Rowe and printed in England in 1871 with the title, "Joel Bulu: The Autobiography of a Native Minister in the South Seas". He served first at Lakeba and then at Rewa, and after that the station was closed because of the wars, at Viwa. John Hunt sent him to investigate the possibilities of establishing the work in Vanua Levu, and to that field he was later appointed. He was the first Pacific Islander to be placed alone in charge of a circuit - Ono, in 1848, and also the first to be ordained (1850) as a Native Assistant Missionary. After this he served at Nadi (Vaua Levu), Bua and Cakaudrove where he pioneered the work before any white missionaries were established there. Afterwards he was appointed to Bau. He died in May 1877 and his grave is beside that of John Hunt at Viwa Island.B&W photo, no backing, print from The Argus files, dated 30 March 1933. Tongan beareded old man, wearing a traditional (Fijian vala or lap-lap) and carrying what looks like a fly swat, but is more significant than that. Dressed as a Fijian chief."Joeli Bulu" "1/2 col Argus" and "Return to Rev. A. W. Amos 148 Lonsdale St" all written in pencil on the back.bulu, joeli, tonga, fiji, thomas, john, lakeba, hunt, john

This bowl is part of a series completed in 1994 on the subject of the sin of 'Vanity' / A smug looking woman flirts coquettishly with a manservant who helps her to put on her shoes / The people depicted on the bowl are dressed in 18th century costumes / The court of Marie Antoinette of France is evoked / The blue and white drawing is in the style of 18th century woodblock prints and was drawn freehand / The bowl is signed and dated on the base / The technique is traditional tin glaze (majolica, maiolica or delft) / Coloured oxides were painted onto a clear glaze which had been opacified with tin oxide, and then fired at 900 degrees / The bowl was exhibited at Christine Abrahams Gallery, Melbourne in 1994 / A bowl from the 'Vanity' series is held in the Collection of the Queen Victoria Museum and Art Gallery in Launceston, Tasmania. Copeland's parents are John and Betty Hipwell, one of the founding members of Potters Cottage (an influential ceramic collective that grew out of Nillumbik) / Copeland grew up surrounded by this artform. Reg Preston (another founding member of Potter's Cottage) introduced her to the Majolica technique which has influenced her ceramic work to this day / This bowl is characteristic of Copeland's speciality and mastery of the Majolica technique. This bowl is hand painted with an image of a couple flirting (man-left side and woman-centre) in 18th century French dress / Decorative circle and polka dot pattern along the rim and underside of the bowl / The bowl is predominantly painted in cobalt blue and orange colour using the Majolica (maiolica or delft) technique; a traditional tinglaze method of application. Coloured oxides are painted onto a clear glaze which has been opacified with tin oxide / The bowl is then fired at 900 degrees.Underside has in colbalt blue artist signature and date / 'A. Copeland . 1.9.1994'.copeland, earthenware, majolica, potters cottage, vanity, bowl, eighteen century, french, marie antoinette

The Peterborough Sandcastle competition has run for at least 50 years and is a highlight of the summer holiday season. Residents and visitors children all take part and the prizes are traditionally presented by the a gentleman dressed as the Lady Mayoress, with attendants.Significant because it has been a feature of Peterborough for so long.Two pages from the Warrnambool Standard, Mon 24th Jan 2005 with story and photos regarding the Sandcastle Competition at Peterboroughsandcastle competition, peterborough, men's pool, andy wilson, richard beggs, iconic annual event

Part of the Tsolia traditional Costume worn by soldiers in the 16th to 19th century in the mountains of Greece. It has 400 creases depicting the 400 years Greece was under occupation by the Turks.White linen cloth dress worn by soldiers from the 16th to 19th century AD. It has 400 creases depicting the 400 years Greece was under occupation by the Turks.φουστανέλα, tsolia, costume, foustanela, dress, στολή

The full costume used traditionally by ladies in the 16th to 19th century AD. Now used in Greek dances, parades and theatrical performances as a traditional costume.Historical significance for the purposes it was used by Thessaloniki Association "The White Tower", in functions, dancing and parades.Girl's white cotton dancing costume dress, with embroidery along neck, sleeves and bottom of dress. Part "A" of a four piece costume. Four in Thessaloniki Association's possession.girl, dancing, costume, dress, βλαχοπούλα, φόρεμα, greek

The Slovenians enjoyed participation at the Royal Melbourne Show 1959 where they could showcase the Slovenian traditions, arts and crafts, and at times,culinary goodies as well.Traditional Slovenian crafts, national costume and the tourism jewel Lake BledSlovenian couple dressed in Slovenian national costume of Gorenjska region at the Royal Melbourne Show in 1959. The painting shows the tourist attraction Lake Bled and many traditional items of craft were placed in the exhibition as well. The man in the photo is Leopold Jalk.Couple dressed in Slovenian national costume, painting of Lake Bled and Slovenian traditional craftsslovenian national costume, slovenian crafts, lake bled, royal melbourne show

Beautiful Slovenian tradition of awaiting St Nicholas and his entourage: angels and devilsTraditional dress, decoration and the hatSt Nicholas giving gifts to the children of Slovenian Club Melbourne and their friends in 1959Traditionaly dressed St Nicholas with his Bishop's stickslovenian st nicholas, slovenian tradition, angels, devils, angeli, parkelji

Costume given to Giselda Bannister by her cousin Jacqueline Pugh who had lived in Sabah, East Malaysia. Embroidery, perhaps traditional?Example of traditional Asian embroidery on traditional style blouse (?)Cotton voile blouse with hand embroidery. Cotton cummerbund for use with blouse.Jacqueline Pugh (name tag)fancy dress costume

The postcard has a drawing of a traditional landscape of The Netherlands represented by a lake, house with mills, a boat and a child dressed in a colourful, traditional costume. The handwriten text is a letter home and describes the writer Peter's visit with his cousin. Other items addressed to Mrs Elsum are in the archive (see 00180 a postcard from 1915). The connection to Legacy is not known.This postcard has a historical significance for the family involved and remind them the time when Peter was at Holland. Postcard with a drawing of the Netherlands.Handwritten text in blue pen: "10-10-80, Hello There, greetings from Holland. Spending a couple of days with my cousin & his wife at Leiden, which is very old city with narrow cobble stone streets. Last night Paul & I did a 'pub crawl' on bikes which was good fun. Everyone rides bikes here, they even have part of the road reserved for them! All are well at Takerton, [?], send their best wishes & thanks for your gifts. Mum is writing to you. Thanks for keeping my girl company. See you soon. Love. Peter. Addressed to: Mr & Mrs John Elsum, 52 Davey Street, Mordialloc Vic 3195, Australia." Printed on postcard: gebr.spanjersberg / Rotterdam - antwerpen / Cobas y Cia. Barna. Printed in Spain / [Symbol] 7013 [Air mail stamp] LUCHPOST PAR AVION / P 4579 / PTT / [Postage Stamp] JULIANA NEDERLAND REGINA 55csouvenir, postcard

Kew Festivals were held locally from 1974, initially every two years and later annually. For a number of years, Festival parades were held. Kew Historical Society members traditionally participated in historic costume.Group of nine Kew Historical Society members and friends, dressed in period costume in readiness for participation in a Kew Festival parade. Participants include L-R: Scott Littlechild (bike rider), Ken Silcock (swagman); ...; Kim Sullivan (top hat); Les Littlechild (policeman with truncheon); Graeme McCubrie (judge); ...; ...; Graeme Lindsey (policeman).kew festival -- parades, kew historical society - kew festivals

The Southern Cross Masonic Lodge invited the Creswick Light Horse to be part of their traditional Vacant chair ceremony to form the burial party for the unknown soldier. The Creswick Light Horse were splendidly dressed in traditional WW1 Uniforms complete with ostrich feathers in their slouch hats, and were all spit and polish.

Mrs Constance Clucas, a talented musician in the Holy Trinity choir, started 'The Surrey Hills Operatic Society' in 1931. She trained members of the Society to concert standard. Mrs Clucas produced operettas for some ten years. Titles included 'The Arcadian', 'Princess Ju Ju', 'The Quaker Girl', and 'Miss Hook of Holland'. Local musicians formed the orchestra which was extended for the concert presentation by a few guest artists among whom were locals Marion de Saxe, a flautist, and Fred McBeath. Rehearsals were held in the Surrey Hall and a small Canterbury Road Lodge Hall with final staging in the Surrey Hall and Camberwell Town Hall. Scores and costumes were hired from J. C. Williamson.The photo is reflective of the cultural life of Surrey Hills in the 1930s.A sepia coloured photograph of a lady standing in a garden dressed in a peasant looking outfit and holding a (?) feather duster. She is wearing a hat in traditional Dutch-style.(mrs) constance clucas, holy trinity choir, churches, surrey hills, (ms) marion de saxe, (mr) fred mcbeath, the surrey hall, canterbury road lodge hall, (mrs) ethel cerini, camberwell town hall, surrey hills operatic society, 1930-1939

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

Canwen Zhao was awarded the $10,000 We The Makers Acquisitive Prize for '35 Life' in 2023. Artist Statement: "35life" is a sustainable fashion project that transforms second-hand clothing materials into urban street outdoor-style products. Highlighting prominent Chinese classic red and green colours not only conveys eastern aesthetics but also adds a sense of unity to the clothing collection. The high-saturation and high-brightness full-colour palette keeps the clothing consistently "fresh," allowing any trendy colours to seamlessly integrate into the project's designs, thus extending the lifespan of the garments. Additionally, all clothing items can quickly transform into a stylish bag for convenient daily carrying and home storage. These bags are made from leftover fabric generated during the production process and serve as original packaging for sale. This approach not only reduces excessive packaging but also enhances the chances of resale in the second-hand market. The project draws inspiration from the traditional Chinese cultural concept of "huo feng ding," meaning "exchange the old for the new." it's also influenced by the designer's personal experience with health issues, making the designs suitable for individuals who can't be exposed to sunlight for extended periods, adapting to the changing urban lifestyle. 35life aims to provide visually pleasing and comfortable dressing experiences for urban dwellers who are busy with work and experience high levels of stress. Unlike traditional design patterns, this project adopts a unique design approach. It selects 3-5 pieces of raw materials based on their colours, and then disassembles them through structural lines. While retaining most of their functionality, these materials are rearranged and assembled on a flat surface before being shaped on a dress form. Subsequently, various ways of creating storage bags are derived from the initial clothing prototypes. After refining the designs, the final products are developed, and similar materials are used to create samples. Therefore, under this design methodology, even for the same garment, it is impossible to produce two identical pieces of clothing. Each garment is truly one-of-a-kind, which enhances its rarity and contributes to the longevity of the fashion pieces. The project includes various types of clothing, each with unique storage methods. This yellow look, named "elegant beach sunscreen monarch," draws its fashion inspiration from traditional Han Chinese attire and its storage concept from the Chinese cultural concept of "jiu jiu gui yi." the design employs flat pattern cutting, utilizing materials from the second-hand market such as beach towels, children's waterproof clothing, and women's dresses. Similar colours and patterns are reassembled through cutting and combining. For the sleeves, quick-drying, sun-protective sport fabric forms the base, overlaid with discarded silk fabric dyed with turmeric and plant dyes. This not only ensures functionality but also adds a sense of elegance. The length can be adjusted using drawstrings. Artist Bio: Zhao Canwen is a multidisciplinary fashion designer with a strong passion for integrating art, history, culture, and sustainable design. With over 15 years of experience in painting, she draws inspiration from ancient Chinese philosophy and aesthetics, which gives her a unique sense of beauty. After 8 years of fashion and art training, she possesses a keen insight into current trends and tends to combine art with commercial needs. Zhao's design style is diverse, characterized by a multidimensional approach, a focus on colour application, and storytelling through details.Outfit consisting of six pieces: - Orange plastic eye wear with green paint - Pair of red and green metal clip on earrings - Red beaded phone case with attached beads on string - Pair of red and green painted running shoes - Yellow and green hooded garment with red piping and zips - Brown bag with green beaded handlessustainable, fashion, we the makers, art, culture, design, chinese philosophy, prize

This tag came with the donation of two kilts. The donor's mother, Joy Newall owned these kilts. She lived on a wheat/sheep farm in the Wimmera where her husband also bred merino sheep. Joy was well known in the district for the way she dressed when out in public.Four page fold out paper tag with black and white graphics and text. Graphic on the front and back shows a full length portrait of a person wearing traditional Scottish clothing resting with their hand holding an upright rifle. A piece of string is attached through a hole in the top left corner. Printed: Authentic Clan Tartans / by Fletcher Jonesclothing, fashion, tartan, kilt, scottish, wool

Black and white image of a man dressed in a white coat with a traditional butcher's apron seated on a horse drawn buggy. Beside him is a young boy on a horse, also wearing a traditional butcher's apron.commerce, horses, employment, moorabbin