The Kew Recreation Hall (1880-1960 was a major venue for civic events, exhibitions, theatre, concerts and in this case a commercial fashion parade.Arthur Henry Dear was an employee of the City of Kew, acting as Hall Keeper of the Kew Recreation Hall in Wellington Street, and later the new Kew City Hall in Cotham Road. The Arthur Dear Collection contains memorabilia - tickets, programmes, invitations - as well as his identification badge. Items in the collection dates from the 1940s to the 1970s. The Kew Recreation Hall (Wellington Street) and later the Kew City Hall (Cotham Road) were major locations in suburban Melbourne in the postwar period for civic and private events including theatre productions and exhibitions. The Arthur Dear Collection (in conjunction with the scrapbooks compiled by Marion Tilley) provide a comprehensive snapshot of performing arts in Kew during the 1940s, 1950s and 1960s. The collection includes valuable data about performances, performers, directors etc., during this period. Programme for an exclusive Autumn showing by Casualaire, 1353 Burke Road, East Kew, compered by Gwynne Harrisonfashion - kew, casualaire, gwynne harrison, valerie jacobson, lyle sampson, joan heathfield, mary rose campbell, marie johnson, arthur dear collection, kew recreation hall -- wellington street -- kew (vic.)

Mrs Dickins' Horible Children: Anecdotes in the Life of a Growing Family / by Joy Stewart. Whitfield, 2004. Qld. : Marie-Claire Nemel, 2004. 91 p. : col. ill., ports. ; 29 cm. non-fictionjoy stewart, dickins family -- kew (vic.)

Netta Fuller and her husband Alec were long-term residents of Kew. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations.Two piece black silk evening dress, comprising sleeveless bodice and full-length skirt with inset panels on both pieces of guipure lace on tulle.australian fashion - 1950s, evening dresses, evening wear, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Long black silk sleeveless bodice with a wide band of lace on the edging and at sleeves. Silk bow at rear. It has been provisionally dated to the 1880s-90s.women's clothing, bodices, fashion -- melbourne -- 1880s, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Late Victorian highly remodelled black silk bodice with pleated silk to neck. The bodice has distinctive sleeves in two sections, the lower part constructed of black lace. The bodice has an original arm pad with makers name in it.fashion -- melbourne -- 1880s, bodices, women's clothing, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black-coloured fitted jacket made of silk and lace with added satin ribbons.women's clothing, fashion - melbournesne - 1880s, bodices, jackets, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black silk velvet, long-sleeved, waisted padded winter bodice with black lace and beading at cuffs and at basque. women's clothing, bodices, fashion - melbourne - 1880s, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black silk and lace bodice.victorian fashion, netta fuller, bodices

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Long-waisted black fitted silk and lace bodice with black wooden buttons. The lace at the edge of the bodice may have been added at a later period.day dresses, women's clothing, mourning wear, fashion -- 1880s, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black-coloured silk bodice with leg-of-mutton sleeves. Date: ca. 1890s.australian fashion -- 1890s, bodices, dresses, netta fuller

Margaret Johnson was born and raised in the country. She came to Melbourne to attend secondary school at age eleven. She stayed with the family of her uncle, Dr Carrington, in their home / surgery still located at 174 Union Road, the Surrey Hills Medical Centre. Later, whilst waiting to commence her kindergarten training course, she met Jessie Black and they became firm friends and it was through Jessie that Margaret met Jessie’s brother and her future husband, Thorby Black. The Black family had been residents of Mont Albert for many years and Thorby was in the air force at the time. Margaret and Thorby were married at St Stephens Presbyterian Church in Surrey Hills on 1 May 1948. Her wedding dress was bought at Canns on the corner of Elizabeth Street & Flinders Lane. It was one in an exhibition held as part of a Surrey Hills Festival in the early 2000's. Like others in the exhibition, it no longer had its train and the sleeves have been shortened. Margaret recalled that after her wedding she wore it as an evening dress. Her bridesmaids’ dresses were a little unusual for the time, as they too were white and their flowers were subdued pink and blue. According to Margaret, the popular fashion was for brightly coloured dresses and bright flowers for the bridesmaids. The positioning of the garlands of flowers in their hair was also unusual. They were placed at the back so that the congregation could see them during the ceremony. Housing was in very short supply in the years following the war, so after they were married, Margaret and Thorby moved into a small flat created at Dr Carrington’s surgery. They later moved to a house built in 1926 in Black Street, Mont Albert, which continued to be Margaret’s home until her death. weddings, mrs margaret black, miss margaret johnson, mr thorby black, st stephens presbyterian church, bridal wear

This dressing gown belonged to Clara Johnstone Miller (nee Bell, 1866-1910). Clara was the only daughter of Mr James Bell, a councillor of the Shire of Leigh (today a part of Golden Plains Shire) and owner of Woolbrook Homestead in Teesdale, near Geelong. In 1888, Clara married prominent businessman, racehorse owner, racing identity and pastoralist Septimus Miller (1854-1925). Septimus was the sixth of seven children born to Henry 'Money' Miller and Eliza Miller (nee Mattinson). 'Money' Miller was a well known financier and politician and reputedly one of Australia's wealthiest people in his time. In 1889, Clara and Septimus moved into the house 'Cantala' in Dandenong Road, Caulfield, where they hosted lavish receptions for Melbourne's elite. Clara was known as a stylish hostess who wore elegant imported fashions. This dressing gown is believed to have been manufactured by Japanese silk merchant Shiino Shōbei. Following the opening of the port of Yokohama to foreign trade in 1859, Shōbei began producing western-style silk garments, initially selling them to foreigners living in Japan and later exporting them around the world, even exhibiting at the Melbourne International Exhibition of 1880. His popular exports included quilted 'at-home' gowns or dressing gowns similar to this one. They had one child, Gwendoline Stewart Miller, who died in 1902 at the age of thirteen of diabetes - a largely untreatable condition at the time (insulin would not be discovered until 1921). Clara died in 1910, aged only 44. Septimus subsequently married Helen (nee Henderson), with whom he had a son, Ronald (1915-1990). The Millers were buried in the Brighton General Cemetery in a large Gothic-style vault. Upon Clara's death, Septimus sent much of her clothing and Gwendoline's to her mother Mary Bell. Some of these items were passed down to two of Clara's nieces, Miss Mary Bell and Mrs Lois Lillies, who donated them to BHS around 1973.A hand stitched purple pink silk quilted dressing gown with pale pink embroidery from circa 1894. The dressing gown is embroidered from the collar and shoulders though the centre front body to just above the hemline, on the cuffs and remaining pocket in a pale pink Perle thread embroidery featuring leaves and flowers. The entire gown is hand quilted with vertical parallel lines. The gown's neckline features a flat collar and the sleeve head fits on the neat shoulder line. The sleeve head is gathered and full tapering to a loose flat cuff at the wrist. The front of the garment is currently secured by fourteen decorative frogs of two different styles, none of which appear to be original. There is also evidence of a fifteenth toggle that has been removed from the base. The gown's original left hand pocket has been removed and attached to an area around the right breast presumably to patch a hole or obscure some damage. It is unknown when these modifications have been made. The back of the gown features a gathered pink and black concertina pleated silk insert panel from the neck through to the base of the garment. The garment is lined with a very fine pale pink silk over the woollen batting.clara miller, woolbrook, septimus miller, cantala, gwendoline miller, caulfield, brighton general cemetery, shiino shobei, s. shobey

This dress and bag belonged to Mrs Edith "Dot" Paroissien (nee Jackson, born 1916), who lived in Brighton with her husband David William Paroissien. The dress was purchased from Croyde, a Melbourne designer who had a small boutique shop in Collins Street near the Block Arcade, and the bag was bought for her in London by David. Dot recalled wearing the dress in the 1950s, in particular to a ball at the Royal Exhibition Buildings for Wesley College. She wore it with suede shoes with a medium heel with straps across the instep and long white kid gloves, and accessorised with a baguette choker and drop earrings.Black silk satin sleeveless full-length evening dress. The attached bodice floats over the top of the under-dress. Asymmetrical opening on bodice which features five large flat self-covered buttons. The black suede bag has chrome fittings and buttery cream coloured satin interior. .1 dress - Label, woven black on white acetate centre back: CROYDE / MELBOURNE .2 - bag - Label, printed, black on cream acetate, interior pocket: Susan / HANDBAGS / LONDON; Label, printed, copper on black metal, interior pocket: MADE IN ITALY / FOR SUSANevening dress, croyde, melbourne fashion, melbourne designers, handbag, royal exhibition building, 1950s, edith violetta paroissien, edith violetta jackson

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.Custom made wooden hinged box with a hook latch. Brass yarn spinner, attached to a mahogany wood plinth base, which spins fibre into cord/yarn/thread. It has dials to set the rate that it spins. Metal plaque with black inlaid enamel lettering. Small cork inlay. Brass rod with hinge and wingnut, and ball at end. Ball at end has an adjustment mechanism. Rod also has an adjustable circular collar. Pair of curved tweezers. Circular magnifying glass on long thin handle. Glass has two concave lenses. Weaving sample in shades of blue, green and brown. Twill weave. Alternate pattern samples separated by red thread.Brass plaque on base of spinner: 42 MARKET St / John Nesbitt / REGd TRADE MARK / LIMd / MANCHESTER Underside of wooden plinth: 4976apparatus, textile, testing, spinning, nino corda, magnifyer, tools, brass, mahogany, tweezers, yarn, spinner, design, john nesbitt, manchester, england, 19th century, engineering, manufacturing

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. Textile designers used glasses such as these to see how many threads are within a textile sample. It was important to count correctly, otherwise the enlarged final pattern would be out of alignment. These glasses were popular in the 1950s but were replaced by viewing lens, such as item 8040 (in the National Wool Museum's Collection) in the 1960s because of their compact nature.Thin metal wire makes up the frame of the glasses. The metal is a standard metallic silver. The piece to sit on-top of the ear is excessively curved to hook around the ear. This is done to ensure the glasses do not fall off the face while looking down to view thread counts in a textile sample. The glasses are lacking lenses in their usual place. This has been replaced by another thin wire frame which protrudes an extra inch in front of the frame, almost like an additional layer of the glasses. Where this layer / frame ends, two lenses can be found which are square and much smaller than typical glasses lenses. This has been done to allow for powerful magnifying glass which would be ill-suited if it sat too close to the face / eyes. The glasses are also accompanied by their original box. The box is blue and has a large rectangle running through its centre. This rectangle works as a cushion for the glasses and is required as a result of their unusual shape.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. Textile designers used viewing lenses such as this to see how many threads are within a textile sample. It was important to count correctly, otherwise the enlarged final pattern would be out of alignment. Before compact lenses such as this, specialised glasses were used such as 8039.The viewing lens has a 3 fold design in order to fold up to be compact and easily transportable in a pocket while also working to provide its own stand when unfolded. The lens is black and contains one circular piece of magnifying glass on the top panel.Top panel. Words, scratched. NINOtextile 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. 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

W8693.1 Exhibition booklet with printed text and graphics in black, white and cream. The front cover features printed text and a graphic of a man, woman and child. W8693.2 A4 Stapled pages containing black and white text listing the items and artists on display. front: [printed] HANDKNITTERS GUILD INC. PRESENTS / BEDJACKETS / BOOTEES / & BALACLAVAS / EXHIBITION / RE-INTERPRETING THE HANDKNITTING OF THE / 1930s / 1940sfashion, women, knitting, crochet, home life, patterns

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

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action. In Ellis’ photograph Malcom Fraser, VFL Grand Final 1979 we see a young supporter shake hands with Liberal Prime Minister, Malcom Fraser. In the grand Australian tradition, politicians and PMs are active in the football sphere. This work was shown in the 2017 Counihan Gallery exhibition Leather Poisoning, along with many other works by Ellis capturing the nations love of the game. Donated by the Rennie Ellis Photographic Archive

Australian t-shirt from the Sydney 2000 Olympic Games unisex casual uniform (option 1). Designed by Country Road.White T-Shirt with Australian emblem and Sydney 2000 Olympic logo on left sleeve. AUSTRALIA SYDNEY 2000fashion, woolmark company country road, sport, the woolmark company 2000 australian olympic display - exhibition (21/12/2001 - 24/05/2002), sydney 2000 olympic games

Australian shirt from the Sydney 2000 Olympic Games unisex casual uniform (option 2). Designed by Country Road.Blue and white tatterstall shirt with 2000 Australian Olympic emblem on right breast pocket. AUSTRALIA SYDNEY 2000fashion, woolmark company country road, sport, the woolmark company 2000 australian olympic display - exhibition (21/12/2001 - 24/05/2002), sydney 2000 olympic games

Australian jacket from the Sydney 2000 Olympic Games unisex casual uniform (option 1). Designed by Country Road.Cream collared jacket with zip. Australian Sydney Olympics emblem embroidered on right breast. SYDNEY 2000fashion, woolmark company country road, sport, the woolmark company 2000 australian olympic display - exhibition (21/12/2001 - 24/05/2002), sydney 2000 olympic games

Australian women's shirt from the closing ceremony of the Sydney 2000 Olympic Games. Designed by Mambo Graphics.Short sleeved and collared with six clear plastic buttons down the right side of the shirt. Shirt features the Mambo "Suburbia" design. The collar and sleeves are blue with yellow and red clouds the rest of the shirt is made up of a suburban street scene - houses, trees, telegraph poles, parked cars and dogs and chickens running along the street. The Mambo logo appears in the centre back of the shirt above the clouds in the design. Double stitched seams. Mambofashion, woolmark company mambo graphics, sport, the woolmark company 2000 australian olympic display - exhibition (21/12/2001 - 24/05/2002), sydney 2000 olympic games

Australian mens shirt from the formal uniform for the Sydney 2000 Olympic Games. Manufactured by Ganton Shirts.Green button down shirt with Olympic rings and SYDNEY 2000 on breast pocketSYDNEY 2000fashion, woolmark company ganton shirts, sport, the woolmark company 2000 australian olympic display - exhibition (21/12/2001 - 24/05/2002), sydney 2000 olympic games