Red woollen-felt cape with red, green, yellow and white tartan interior lining. Pointed collar with tartan lining and reinforced shoulder epaulette-shaped patches with red topstitching. Cape fastened by hook and eye at collar.

Coat hangers were used to hang up trousers or skirts by the waist. This coat hanger was designed prior to clips with springs being used.Wooden coat hanger with wire fitted hook used to hang trousers (or skirts) by moving a steel plate along the wire (to tighten the grip). There are 2 rectangular pieces of wood with small padding attached on the inside outer edges. Each piece of wood has wire coming out of the centre. The wire is vertical before rounding to form a hook and is continuous. The wire has a small steel plate with 2 holes along the vertical section.coat hanger. clothes. skirts. trousers.

Symbolism: Fish - abundance. Scrolls- happiness and prosperity. Fan - longevity. Chrysanthemum - longevity. Because these skirts were worn under knee length jackets , the embroidery only came up to where it would meet the bottom of the jacket. 'Chinese Dress from the Qing Dynasty to the Present' 2008 Valery Garrett. Symbolism - from C.A.S.Williams ' Chinese Symbolism and Art Motifs' 2006 and 'Hidden Meanings in Chinese Art'2006 Terese Tse Bartholomew.Cyclamen coloured, self patterned silk damask skirt with godets bordered in mid blue and lined with aqua silk. It has a wide cotton waist band with a loop at each end. The band was made in cotton (or hemp) to stop the skirt from slipping down. It was fastened by means of a tie or button. The skirt has a wide front panel embroidered with slowers in shades of blue and white, the central flower, a peony, is in a vase or urn. There are varius symbols inthe embroidery surrounding the central flower. Machine embroidered braid forms a border around this central area and beyond this is another hand embroidered border on white with blue and flesh coloured pink flowers. The godets have small embroidered motifs of fish, scrolls, fans and chrysanthemums. Embroidered in Pekin knot stitch outlined in metal thread. Pound sign 5-15-0 written in pencil on waistband.embroidery, garment, silk embroidery, china, 19th century

- Example of C 1960's fashion - Example of domestically produced clothingC 1960's - Butterick Sewing Pattern No. 4965 size 4 - 4 versions skirt pattern: - Front pleated - A-line darted skirt - Flared skirt without side seams - Gathered skirt Various, some instructions, fabric requirements on reversedressmaking, children's clothing, 1960's

Cloth made by Redpath's millPURE WOOL SKIRTINGS/ BY ALEXANDER LAU QUALITY/ 100% PURE WOOL/ WIDTH CMStextile design fashion textile industry - history, alexander lau pty ltd w.r. redpath and sons, lau, mr alexander - alexander lau pty ltd, textile design, fashion, textile industry - history

A bedroom set was being made by Copeland & Garrett as a wedding gift for Queen Victoria in 1840. The jug was damaged and so a new set was made. The mold and the rest of the set were destroyed so there could be no duplicates.Very large bedroom basin decorated with Royal Stuart tartan. Has a white base.Underneath - Royal Stuart - Copeland & Garrettbasin copeland-garrett

handmade by internees in war in camp 3handmade wooden recorder (mouthpiece is detachable) with purple tartan bag, string pall top.recorder, camp 3, wood, tatura, musical, instruments, wind, handcrafts, woodcarving

Victorian Dress - Mont de Lancey: The dress was part of a year 12 project at Little Yarra Steiner School. The aim of the project was to create a Victorian dress as accurately as possible, as well in materials as in shape. Shantung silk cream coloured Victorian jacket and skirt. Pleated skirt with cerise crochet lace on skirt, and around the sleeves and neck of the jacket. With a petticoat and corset, and covered buttons. Hook and eye clasps on skirt and jacket.dresses

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

Navy skirthostess, stewardess, flight attendant

Skirt polyuniform, 2010, army

In 1984 the Scottish the Scottish Australian Heritage Council held a national competition to design an Australian tartan. The winner, Melbourne architect John Reid, designed a tartan using the colours of the Australian landscape: ochre, terracotta, black, white and cobalt blue. These were superimposed on the pattern of the Macquarie tartan sett, appropriately, as Lachlan Macquarie was the first Scottish and civil governer of the of Australia, from 1810 to 1821. In 1996 a vest was designed and made using the Australian tartan, as a uniform for the National Wool Museum's honorary staff. Name tags are inserted into the upper left button hole.National Wool Museum vest worn by honorary staff.SMALLtextile design, national wool museum, tartan

Margaret Bennett was a student at Ballarat Teachers' College in 1949. She attended the Ballarat School of Mines as a full-time day student for three years, gaining her Diploma of Art in 1972. She was Drum Major of the Ballarat Ladies' Pipe Band from c1954-1955. She was also the set and costume designer for Junior Light Opera Company. A City of Ballaarat Pipe Band Life Member Medal, pinned to a piece of Mackenzie Tartan with bow. City of Ballaarat Pipe Band, Life Member on the front Inscribed on the back is Drum Major Margaret Bennettmargaret bennett, ballarat ladies' pipe band, alumni, highland pipe band, margaret reynolds, ballaarat city, city of ballaarat pipe band, life member, tartan

Colour phtotgraph. Wedderburn Oldtimers Band on stage. Tartan waistcoats. Peter Ellis Far left.entertainment, music, bush band

Colour phtotgraph. Wedderburn Oldtimers Band on stage. Tartan waistcoats. Peter Ellis Far left.entertainment, music, bush band

Colour phtotgraph. Wedderburn Oldtimers Band on stage. Tartan waistcoats. Peter Ellis Far left.entertainment, music, bush band

Slide. Bendigo Easter Parade. A highland pipe band with Blue/Red Tartan nears the showgrounds.slide, bendigo, bendigo easter parade., bendigo easter parade.

British SAS Regimental Tartan in a wooden frame, it contains the SAS corp badge and para symbol

Note: Virginia Mort feels that costume is from Rajasthan or Gujarat. Definitely from West India.Skirt of bright red satin with motifs of flowers and birds, and several borders at the base of skirt.embroidery, garments, tambour work, 1840-60, burma, skirt, blouse (part of wedding costume)

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.Late Victorian long black cotton skirt with a short pleated frill at the hemline. The skirt is lined with a thick brown cotton fabric. It is joined with steel hooks and eyes. The skirt is slightly longer at the back. The skirt was owned by one of the donor's maternal ancestors.australian fashion, women's clothing, skirts, outerwear, micky ashton

white naval skirt

Produced at the Invicta factory where Dudley Carland (Donna Brookes' father) was a storemanTan and yellow tartan baby's blanket. Pure new wool with ribbon edging. With an Invicta Mills label.invicta mills, tottenham, manufacturing, manchester

This quilt was created by Ms Shirley Critchley, c.1960. it was made in a wagga style from unpicked knitted jumpers that Shirley would repurpose. Some of these jumpers were from her daughters out growing their garments, while others were from jumpers Shirley would find at opportunity stores. One of Shirley’s daughters, Jane McGrath, followed in her mother’s footsteps and begun quilting with Shirley’s guidance. One of Jane’s first quilts, the “Tartan Fabric Sample Quilt” is located within the National Wool Museum’s collection (REG 8282). Multicoloured wagga style quilt. The quilt’s top layer is made from unpicked knitted woollen jumpers. These jumpers are in a variety of colours including yellow, blue, green, and red. Some blocks are a single colour, while others have been knitted with a different secondary colour such as grey or white to give noise. The quilt has an unknown insulating fabric. It shares its backing fabric with the material used to bind the edges together. This material is a woollen blanket in a tartan pattern of a blue background with green and red lines. The quilt is sized to suit a single bed. quilts, wagga, upcycle, shirley critchley/jane mcgrath collection, woollen jumpers

As the founder of SHIYO, I am driven by a vision to reshape fashion into an art form that celebrates cultural depth, sustainability, and fearless individuality. SHIYO is more than a brand — it’s a commitment to defy conventions and embrace innovation. Each piece we create is infused with influences from Persian and Japanese artistry, brought to life with avant-garde materials that push the boundaries of traditional craftsmanship. This top is crafted entirely from three M.J. Bale shirts, using eucalyptus leaves and tea bags for the dyeing process. No cutting or sewing machines were used — only hand stitching with the traditional Sashiko technique. One shirt was transformed into a smocked sleeve, while the other two form the main body, adorned with vintage beads. Completely zero-waste, this piece offers two distinct styling options. The leather layering piece is made from deadstock leather and fully hand-stitched, while the skirt is also created from deadstock fabric. I believe that fashion should empower, inspire, and transcend, inviting wearers to express who they are without limits. Through SHIYO, I hope to craft a movement that not only speaks to personal style but also embodies a conscious, sustainable future. Winner of the 2025 We The Makers Sustainable Fashion Prize for Designer of the Year.Three piece outfit consisting of a grey top made with three shirts and adorned with beads, a black skirt and a black belt.fashion, design, sustainability, we the makers, acquisitive award, prize, shiva yousefpourshahrivar, shiyo

Scottish figurehead with red tartan kilt, green jacket & yellow vest. Scroll missing on left hand side.Gaelic scroll "A chighearng Bheannaichte" "This ship has the blessing of God"