Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. This notebook contains information on how to calculate and enlarge a small sample pattern into a larger textile. It is a hand-written notebook that was passed from a master to an apprentice. This notebook is written in German and belonged to George Snchabel and was given to Nino Corda, who eventually donated it to the National Wool Museum. Nino only spoke basic German so many of the passages of writing were lost to him, regardless the illustrations and little bits of German he did know made this a useful resource which was often looked upon for inspiration and guidance.The notebook has a black cover on both the front and back with no writing. The spine is in bad condition and is being held together by three strips of tape. Internally, the pages have faded to a pale peach colour with a background blue square pattern. The notebook is completed with black ink used for writing and illustration. Occasional red ink is used for highlighting and illustration.textile calculations, textile design

Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. This notebook contains information on how to calculate and enlarge a small sample pattern into a larger textile. The equations would provide answers to the required length of thread (often measured in weight as opposed to distance) of a selected textile. The sample and appropriate thread would be needed for mass production at a commercial mill.Blue textured vinyl forms the covers of this notebook. On the front of the inscription is visible in gold text. Internally, small font black writing on yellowing pages forms most of this notebook. Pp.128 published pages with calendar and spare pages for notes forming the second half of this notebook. Front Cover. Words, printed. WITH THE COMPLIMENTS OF / NOEL P. HUNT & CO. PTY. LTD.textile design, textile calculations

Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. Once a pattern has been selected for mass production, a master card is produced. A mastercard shows exactly how to replicate the designs and colours depicted on the sample attached. “Ends” is the technical word to describe a vertical band and “picks” describes a horizontal band.Brown card with fabric sample stapled to the top right. Writing is present on the left and bottom of the card detailing the information applicable to the design of attached fabric. 14 individual Masetercards in collectiontextile calculations, textile design

Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. These three bolts of fabric come from the same run of fabric used to tailor Suit Jacket 8045. All fabrics were designed by Nino Corda while he was working at the Foster Valley Mill. The bolts of fabric have an attached swing tag. This swing tag details information such as composition of the fabric, total amount of fabric and the design number.Three bolts of fabric with repeating pattern in 100mm grid. All three bolts have frayed edges, indicative of their need to be sent for finishing. The dominant colour in all three fabrics is grey. 8044.1 has red and green lines running vertically and horizontally and an attached swing tag. 8044.2 has red and orange lines running vertically and horizontally and an attached swing tag. Fabric bolt has yellow label attached to one edge of fabric, depicting the fabric’s number. 8044.3 has orange and blue lines running vertically and horizontally. No swing tag is attached.8044.1. Swing tag. Typed wording. Front. foster / valley / Pty / Ltd. / (Incorporated in Victoria) 8044.1. Swing tag. Typed and handwritten wording. Reverse. JONO TAILORING / CALL NO……………. / DESIGN 6302-49-5 / PIECE NO 9528 / METERS 3.5 STRINGS…………… / NET METERS…………… / COMPOSITION / 70% WOOL 30% POLYESTER 8044.2. Swing tag. Typed wording. Front. foster / valley / Pty / Ltd. / (Incorporated in Victoria) 8044.2. Swing tag. Typed and handwritten wording. Reverse. left over (?unknown handwriting?) / CALL NO…………… / DESIGN 6302-49-2 / PIECE NO…………… / METERS 6.0 STRINGS…………… / NET METERS…………… / COMPOSITION / 70% WOOL 30% POLYESTER.textile design

Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. This Suit Jacket was tailored from fabric designed by Nino while he was working at the Foster Valley Mill. Nino developed a Mastercard such as w8043, which was sent to a mill in order to produce bolts of the desired fabrics w8044. These fabrics were then given to tailors where the final product was produced, such as this Suit Jacket.Single breasted suit jack with two buttons and notched lapel. Jacket is predominantly grey with black buttons and a silver silk interior lining. Four darker grey vertical and horizontal lines make up the design of the fabric on the exterior of the suit jacket. suit jacket, weaved, tailored

Sixteen page black and white knitting pattern book featuring men’s jumpers and vests. Book contains black and white photographs and printed text. Front cover shows a man wearing a knitted jumper and shorts holding a tennis racquet. front: [printed] Sun-glo / Knitting Book / DESIGN No. / 3845 / PAGE 5 / Series 121 / 7 ½ d [handwritten] H Lambas?fashion, women, magazine, knitting, crochet, home life, patterns

This pattern book was produced by the Villawood Textile Company, Sydney and contains a knitting pattern for a jumper and cap.Four page booklet with black and white printed text and graphics. The front cover features a colour image of a man and a woman both wearing knitted jumpers in yellow and black with matching knitted hats. The man is also wearing ski googles and the woman is holding ski poles.Front: [printed] L 361 / Villawool / KNITTED / in 12 and 8 PLY / SIZES 90 to 110 cm / 36 to 44 in.knitting handicrafts - history, villawood textile company, knitting, handicrafts - history, skiing, clothing, design, winter, fashion

The Albertville 1992 Winter Olympics were the last Games to be staged in the same year as the Summer Games. It was the third time France had hosted the Winter Olympics. Australia sent 23 athletes to the 1992 Winter Olympic Games.Burgundy and cream women's woollen jumper printed with eucalyptus leaves and gumnuts.On hem of jumper - 'Eucalyptus' - Hand printed by 'Elly Originals'1992 albertville winter olympics, france, design, australian, the woolmark company, athletes, uniform, jumper, textile, fashion, eucalyptus, gumnuts

Green tie with gold stripes. Australian Olympic emblem pattern on front and back with tag on back. On emblem - Austrlia On tag - "Austico" Wash Wear Made in Australiadesign, australian, athletes, uniform, textile, fashion, tie, olympics

Winter Olympics, Innsbruck, Austria. This uniform was donated to the Falls Creek Historical Society by Dr. Howard W. Farrow who was appointed as a Medical Officer for the Australian Olympic Games Team of 1976. Dr. Farrow's father, Dr. Claude Farrow was a founding member of the Edelweiss Ski Club of Australia which was formed in 1947. He was also the Founding President of the Federation of Victorian Ski Clubs (F.O.V.S.C) which produced the Ski-Horizon journal. Dr. Howard Farrow reported that "the Europeans laughed at us and called us the prisoners". Australia sent a team of eight athletes to Innsbruck, five men and three women. The team consisted of alpine skiers Kim Clifford, David Griff, Robert McIntyre, Joanne Henke and Sally Rodd; figure skaters Billy Schober and Sharon Burley and speed skater Colin Coates, who was competing in his third Winter Olympics. This uniform was designed by famous fashion designer Pru Acton OAM, in response to a request by athletes for a more colourful uniform than the standard green blazer previously worn by the Australian team at the Opening and Closing Ceremonies of the Games.This uniform is significant because it was a modern development of Australian Winter Olympic team uniforms created by a famous Australian fashion designer.The Australian Ski Suit for the 1976 Winter Olympic Games. It has patches of big bold black and white stripes, set horizontally and vertically, with panels of yellow. The Australian emblem of Olympic circles and a kangaroo are placed on the back and front of the jacket and on the arm and leg. A bib-and-brace overall in matching stripes was worn under the jacket.1976 winter olympics, australian winter olympics uniforms, pru acton, dr. howard farrow

The Borough of Eaglehawk was a local government area which covered the northwestern suburbs of the regional city of Bendigo and covered an area of 14.54 square kilometres (5.6 sq mi). Eaglehawk was first incorporated as a borough on 29 July 1862. It had nine councillors, who represented the entire borough. Councillors met at the Town Hall (incorporating the Star Cinema) at the intersection of Sailors Gully Road and Loddon Valley Highway, Eaglehawk. The Town hall has always been the centre of the Borough's activities and was built in 1901 on the site of an earlier town hall which had stood on the location since 1865. The Victorian Heritage Database notes: "The present building replaced this earlier building and was opened on 14 August 1901. The architects were the Melbourne firm of Wilkinson and Permewan. As a much larger and more sumptuous building of brick and stone featuring a central clock tower, the new hall reflected prevailing architectural fashion and was a remarkable investment for a town consisting predominantly of poor mining families. The condition of the town hall is substantially as built. The design is almost identical to the Castlemaine Town Hall." On 7 April 1994, the Borough of Eaglehawk was abolished, and along with the City of Bendigo, the Rural City of Marong and the Shires of Huntly and Strathfieldsaye, was merged into the newly created City of Greater Bendigo.Brass bell with eaglehawk topper / handle on timber stand. The lower front section of the topper has the Borough of Eaglehawk seal attached. No hallmarks or makers stamps visible.borough of eaglehawk, star cinema

The seven weights (0008.4 and 0136.3) are circular in shape with a hole in the centre and a groove cut across the radius. They were specifically designed to fit into a weight tube, which allowed movement of the weights that were used for driving the clockwork mechanism for turning the lighthouse lens. They are most likely original to the Chance Brothers system installed in 1913, which was originally equipped with a set of ten, each weighing around thirty kilograms.The weights were moved vertically in similar fashion to the way weights move on a grandfather clock. As the weight fell, the optic clock was driven and the lens was turned. To keep the clock turning, the weight needed to be wound back up to the top of its travel. Lighthouse keepers had to constantly wind the clock to keep the light active, and at least two keepers needed to observe a strict roster of hours. When electric motors were invented, weights became obsolete and the motors were able to turn the optic for as long as there was power to drive them. Wilsons Promontory’s Chance Bros. kerosene operated light, which was turned by a clockwork mechanism, was replaced by small electric motor in 1975, reducing the number of keepers and eliminating the need for weights. Cape Schanck has a set of fourteen weights remaining in situ in the lighthouse weight tube as well as another four detached weights, two of which may be associated with the 1859 mechanism. A small number of detached cast iron weights and two associated rods remain at the Point Hicks Lightstation and one weight is displayed in the lantern room at Cape Otway.The Wilson Promontory weights have first level contributory significance for the insights they provide into the technology and operations of a late nineteenth/early twentieth century lighthouse which has since been superseded. They are well provenanced and are significant for their historical value as part of the lightstation’s Chance Brothers optical system installed in 1913.Four circular disc shaped lead weights, all with a narrow section cut out to the middle of shape. (as in slice of cake)

This apron was designed for the Ballarat Apron Festival by local designer Clare Schreenan of Clasch Designs Ballarat. The tartan fabric was designed by Art Gallery of Ballarat for the 2014 exhibition “For Auld Lang Syne: Images of Scottish Australia, from the First Fleet to Federation”, and is officially registered with the Scottish Register of Tartans. The colours are highly significant: grey being chosen for the basalt plains on which Ballarat is built upon; Blue and white representing the Eureka Flag; and yellow for the gold that has made Ballarat so famous. Born in Ballarat, Schreenan attended Loreto College before studying fashion at Melbourne College of Textiles. She has worked extensively in Sydney, travelling to Paris, London and Los Angeles for work projects. She returned to Ballarat in 2006, launching Clash Design. Featuring the official, highly symbolic Ballarat tartan, and made by highly renowned local designer Clare Schreenan, this contemporary apron is of local significance to the Ballarat community. Grey, blue, white and yellow wool tartan fabric apron with asymmetrical design. Velco closures on back with zipper detailing. ballarat, tartan, apron

Sarah Coventry Pty. Ltd. was a North American jewellery company that was established in 1949 by the Stuart family as part of Emmons Jewelry, Inc. It began operations in England and Australia in 1968, and in Australia it moved from Carlton in Melbourne to Wodonga in 1969. The premises were originally on High St. in Wodonga, but a new warehouse was built in Melbourne Rd. later in 1969. It was a direct selling jewellery business using a party-plan model similar to Tupperware and Avon. The sales reps or 'Hostesses' were provided with jewellery samples in demonstration kits, which they displayed at jewellery parties in their homes. The designs for jewellery such as brooches, necklaces, earrings, chokers and bracelets were purchased from freelance designers and jewellery manufacturers rather than in-house designers. In 1979 Sarah Coventry Pty. Ltd. in Wodonga was bought by three Australian businessmen, including Wodonga local Jim Sawyer, and continued to sell jewellery under the name "Sargem Pty. Ltd”, for several more years in the 1980s. As part of the Sarah Coventry collection, the "Astrology Zodiac Cancer the Crab" necklace has local significance with the decentralised commercial development of regional centres such as Wodonga in NE Victoria, as well as national and international significance from the perspective of social and economic developments for women after World War II. The direct selling party-plan business model Sarah Coventry was based on is also considered the first of its kind for jewellery.Aztec/Mayan style pendant design, featuring alternating crabs and masks on a long, looped silver toned chain. On makers mark tag: "MADE IN/CANADA". On reverse of tag: "SC".sarah coventry, jewellery, wodonga, costume jewellery, vintage fashion jewellery, necklace, necklaces, zodiac

As part of the Sarah Coventry collection, the scarf ring has local significance with the decentralised commercial development of regional centres such as Wodonga in NE Victoria, as well as national and international significance from the perspective of social and economic developments for women after World War II. The direct selling party-plan business model Sarah Coventry was based on is also considered the first of its kind for jewellery.A silver toned Floral Design Scarf Clip from the Sarah Coventry Jewellery Range c. 1970s-1980s. Designed to hold scarves in place.No makers markssarah coventry, jewellery, wodonga, costume jewellery, vintage fashion jewellery, scarf, scarf clip, scarves

Sarah Coventry Pty. Ltd. was a North American jewellery company that was established in 1949 by the Stuart family as part of Emmons Jewelry, Inc. It began operations in England and Australia in 1968, and in Australia it moved from Carlton in Melbourne to Wodonga in 1969. The premises were originally on High St. in Wodonga, but a new warehouse was built in Melbourne Rd. later in 1969. It was a direct selling jewellery business using a party-plan model similar to Tupperware and Avon. The sales reps or 'Hostesses' were provided with jewellery samples in demonstration kits, which they displayed at jewellery parties in their homes. The designs for jewellery such as brooches, necklaces, earrings, chokers and bracelets were purchased from freelance designers and jewellery manufacturers rather than in-house designers. In 1979 Sarah Coventry Pty. Ltd. in Wodonga was bought by three Australian businessmen, including Wodonga local Jim Sawyer, and continued to sell jewellery under the name "Sargem Pty. Ltd”, for several more years in the 1980s. As part of the Sarah Coventry collection, the pendant has local significance with the decentralised commercial development of regional centres such as Wodonga in NE Victoria, as well as national and international significance from the perspective of social and economic developments for women after World War II. The direct selling party-plan business model Sarah Coventry was based on is also considered the first of its kind for jewellery. A silver toned Sarah Coventry commemorative pendant, with a central design of the Australian continent sarah coventry, jewellery, wodonga, costume jewellery, vintage fashion jewellery, pendant, necklace, necklaces

This belt buckle accessory is part of collection donated by Mrs. Jean RaperThis item is from Raper Collection donated to the Wodonga Historical Society by Mrs. Jean Raper. A rectangular gold metallic belt buckle with an embossed leaf design. It also features entwined loops.fashion accessory, metallic jewellery

This brooch was typical of those produced at the beginning of the 20th century. It belonged to a member of the family of Mrs Jean Raper who donated a collection of assorted jewellery to the Wodonga & District Historical Society Collection.This item is from the Raper Collection donated to the Wodonga Historical Society by Mrs. Jean Raper.A round silver brooch with natural coloured mother of pearl centre. The surrounding silver edging of 0.4 width is in a leaf design. The mother of pearl centre is 3 centimetres in diameter.fashion accessory, women's jewellery, vintage fashion jewellery

This brooch was typical of those produced at the beginning of the 20th century. It belonged to Mrs Alice Flora May Yardy, mother of Mrs. Jean Raper. Mrs Yardy died on 2 Dec 1974 in Albury, New South Wales aged 84 years old.This item is from the Raper Collection donated to the Wodonga Historical Society by Mrs. Jean Raper.A large oval brooch featuring a central image of a Grecian woman. This centrepiece is surrounded by a design of flowers and swirls with a silver edge. The brooch has a gold look metal bar across the back.fashion accessory, vintage fashion jewellery, women's jewellery

A cabochon is a gemstone that has been cut, shaped and polished. The resulting gem has a convex (rounded) obverse with a flat reverse. This method is usually applied to opaque gems such as this pair of agates. Cabochons are most commonly used in the design of pendants or rings. These cabochons are part of the jewellery collection of Mrs. Jean Raper.This item is from the Raper Collection donated to the Wodonga Historical Society by Mrs. Jean Raper.2 cabochons or polished stones. One is in shades of brown and the other a lighter beige in colour.jewellery, cabochon, fashion accessory

Example of Australian military battledress Jacket - Battledress of olive drab fabric. Jacket is short, and designed to be buttoned to the outside of high-waisted wool serge trousers. An olive green band with two button holes is attached to the inner lower band. The jacket has a fabric belt across the front, with a buckle. Two rectangular pockets extend beneath the lapels. Inside of jacket has a sewn on, rectangular identification label, and size label. Jacket has four buttons down side front, and one near lapel. Each cuff has a button.Identification label on inside of jacket (black ink): REGIMENTAL No NAME Size label (red ink): M. TX SIZE 17 Faint mark on inner neck lining in red marker, possibly Kbattledress, jacket, military, uniform, outfit, fashion, world, war, australian.

The cast iron gates (manufactured in Glasgow) introduced at the North West entrance in 1907. The gates were purchased from ‘Fairlie” corner of Acland and Anderson Streets, South Yarra at the cost of 72 pounds and cost 60 pounds to install. They had originally cost the owners of ‘Fairlie’ 1200 pounds. Lee Heap Furniture Warehouse of Williamstown used the postcards to advertise. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. The image in this postcard shows the gates intact and as installed in 1907. The current layout of this area still reflects the change of design, which followed the 1907 removal of the first gardener's residence and the subsequent re-organisation of this quarter of the gardens. This postcard is evidence of the placement of one of the cannons relocated from Fort Gellibrand in 1906. They were removed from the Gardens in the 1960s. These same cannons remain a feature on the Williamstown waterfront in 2013. Black and white image of main entrance gates which are open. Through the gates can be seen a man in waistcoat standing in front of a cannon. The gates are cast iron, double carriage gates with single pedestrian gates on either side and supported by four cast iron posts with ornamental finials. Front: ‘The Entrance Gates, Williamstown Gardens. Vic.’ ‘0457/2’ ‘THE CROWN STUDIOS, SYDNEY’. Reverse: Centre top ‘POST CARD’ with a logo in the middle of the words. Left top corner a drawing of an artist’s board and brushes with a camera in the centre. Left side ‘MESSAGE ONLY.’ Right side ‘ADDRESS ONLY.’ Top right corner inside a dotted rectangle ‘STAMP HERE’. Bottom on card ‘BY THE CROWN STUDIOS, SYNDEY.’ Under the vertical line down the middle line ‘Neither the Address not the Message must cross this line’. In ink ‘With Compliments / from’. An oval stamp with scalloped rim ‘LEE HEAP FURNITURE MANUFACTURER’ inside inner oval ‘FURNITURE WAREHOUSE, / WILLIAMSTOWN’.postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, entrance gates, entrance-gates, cast iron, finials, cannon, crown studios, lee heap furniture warehouse

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Hand-woven woollen jacket with white bands interspersed with diamond patterned bands in shades of green and pink. The kneck and a band down the front uses the dark pink wool. There is a matching belt.grace james, women's clothing, australian fashion 1969-1988, dressmakers - surrey hills (vic), woven jumpers

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Striped hand-knotted woollen cardigan in bands of different widths and colours. The front and waistband of the cardigan are knitted in black wool.grace james, women's clothing, australian fashion 1969-1988, dressmakers - surrey hills (vic), knitted cardigans

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Diagonally striped pink jumper with bands of varying widths in deep pink, acqua, black wool.grace james, women's clothing, australian fashion 1969-1988, dressmakers - surrey hills (vic), knitted jumpers, woollen clothing

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Diagonally striped jumper in bands of varying width in purple, acqua, black wool.grace james, women's clothing, australian fashion 1969-1988, dressmakers - surrey hills (vic), knitted jumpers

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Sleeveless round knecked jumper with bands of metallic thread, cream and beige.grace james, women's clothing, australian fashion 1969-1988, dressmakers - surrey hills (vic), knitted jumpers

The Englishwoman's Domestic Magazine was issued monthly in the following years: 1852–1874; 1877; 1880–1890. Initially, it contained only nondescript black and white images. Aware of the growing interest in fashion, style and manners from the new middle classes, Samuel Beeton began to import tinted fashion plates directly from Jules David in Paris from 1860. Primary source for fashion design in the 1860sFramed fashion plate -'The Fashions … for the Englishwoman's Domestic Magazine'. Framed print of two women in 1860 costume. Bordered in pale green coloured card. Wire attached to metal loops at back. Masking tape at back.fashion illustration, englishwoman's domestic magazine

Four page knitting pattern booklet with colour cover showing a toddler in green jumper and pants holding a doll and standing next to a pram.front: [printed] Cleckheaton / RIVERINA 5 PLY / CLECKHEATON 5 PLY / Design 0070 / Sizes: 46 -- 66 CMknitting, pattern, fashion, knitwear, cleckheaton, children

This dress was featured in the book "Love Vintage", published 2009 by Carter's and has appeared in vintage fashion parades at the "Love Vintage" fair and the 2016 Glen Eira Storytelling Festival. This dress is an example of the "atomic" style printed design that was popular in the '50s and also shows adaptive use by its wearer, to facilitate breast-feeding.Sleeveless day dress with flared, mid-calf length skirt and big style front. Extra deep pockets and black piping trim to ornament. Bib style front features two large buttons and has been adapted for breast-feeding: the front is secured with press studs and the centre front seam underneath has been opened up, secured with a hook and eye. Side metal zipper. Printed cotton in multi-coloured "atomic" style design. Labelled Julius Pollack Original