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Mission to Seafarers Victoria
Album - Photographic album, Ports of call with the M/S Mongabarra from December 1st 1949 to July 23rd 1950, 1949
The album tells the story of ports visited by Allan Charles Quinn during his service on board the M/S "Mongabarra". He signed on in San Francisco on December 1, 1949. Note this trip overlapped with the Album (00278) which documents the next trip Quinn made to Africa out of Gothenburg. The album preserves a 1950s perspective of a Merchant Seaman and his experience of the respective Ports at that time. The Collection is especially useful when viewed along with contemporary Quinn family correspondence.Album with metal Metal binder rings at spine and beige fabric cover with gouache printed colour design featuring scandinavian buildings. The album contains 25 pages of b/w mounted photographs. Some are missing. The cover is illustrated with colour screenprinted pictures of a white tower on the left and a brown Barn-like building on the right. There are stylised canoe boats containing rowers in the foreground.. On the inside front cover is a handwritten itinerary of the places visited.On front cover possible designer printed signature in black: "Grane"; On inside front cover on adhered sheet of paper in aqua ink lists intinerary/ index of 20 Ports visited: Title (see above) / "Signed on in San Francisco December 1st 1949 / " then a header line for 4 columns: " PORT COUNTRY ARRIVED DEPARTED / 1. San Francisco U.S.A 10-10-49 4-12-49 / ... / 10. ADELAIDE ... 11-4-50 19-4-50 / .../ 20. HALDEN NORWAY 23-7 - 50 25-7-50" ; Most of the photographs in the Album also annotated and dated ; inside back cover has an embossed letter R.album, photograph, ms mongbarra, san francisco, dunkirk, voyages, allan quinn, barbara quinn, seafaring life, ww2, seafarer, melbourne, sydney, brisbane, san pedro, newcastle, adelaide, port pirie, port lincoln, cape town, las palmas, australia, south africa, canary islands, usa, united states, france, antwerp, belgium, hull, england, hamburg, germany, copenhagen, denmark, gothenburg, norway, sweden, halden, malmö -
Bendigo Military Museum
Accessory - WALLET - SATCHEL, C.1930’s - 45
.1) Leather Writing Satchel, dark brown with leather thong sewn around edges. On the front is embossed a crown, wings & scroll denoting RAAF. Inside are 5 compartments for writing material made from soft leather. .2) Wallet, black leather, folds in 3 with a metal, silver clip to close the wallet. .3) Set of wings, fabric, blue & white, crown over wings with letters RAAF. Item was inside .2).containers, trades-leatherworking, domestic items-writing equipment, uniforms - badges - air force -
Sir Reginald Ansett Transport Museum
Hat, circa 1960's to 1980's
Donated to Sir Reginald Ansett Transport Museum. Formerly worn by Ansett Airlines pilot.Complements the collection of air flight crew attire.Pilot's peaked cap. White vinyl crown. Black cotton exterior band supported by rigid internal rafia band. No interior lining. Has perforated leather sweat band. Rigid peak/visor made of green vinyl, covered by navy blue cotton fabric. Insignia features a golden bird in flight, with a depiction of Australia, in red, as background, beneath a golden royal crown, and surrounded by a golden wreath of feathers. Navy blue mounting.No inscriptions. No markings. -
Sir Reginald Ansett Transport Museum
Hat, circa 1960's to 1980's
Donated to Sir Reginald Ansett Transport Museum. Formerly worn by Ansett Airlines pilot. Frank McClelland.Complements the collection of air flight crew attire.Pilot's peaked cap. White vinyl crown. Black cotton exterior band supported by rigid internal rafia band. Acrylic interior lining. Has perforated leather sweat band. Rigid visor made of green vinyl, covered by navy blue cotton fabric. Insignia features a golden bird in flight, with a depiction of Australia, in red, as background, beneath a golden royal crown, and surrounded by a golden wreath of feathers. Navy blue mounting.No inscriptions. No markings. -
Sir Reginald Ansett Transport Museum
Headwear - Hat, circa 1960's
Donated to Ansett Museum. Formerly worn by Ansett Airlines pilot.Complements the collection of air flight crew attire.Pilot's peaked cap. Brown cotton flat-topped crown. Brown cotton exterior band supported by rigid internal leather band. Interior lining of green acrylic fabric. Leather sweat band. Rigid leather visor covered by brown plastic on top and green plastic on bottom. Brown plastic strap above visor is secured by brown button on left side. Button missing from right side. Missing insignia.No label for manufacturer, designer, or supplier. -
Flagstaff Hill Maritime Museum and Village
Financial record - Rent Register, Warrnambool Harbour Board, Warrnambool Harbour Board Rent Register, 1930-1936
Warrnambool Harbour Board The Warrnambool Harbour Board was constituted by Oder of Council in 1928 under the Harbour Board’s Act of 1927. The Board was made up had 7 members 1 from the Government in Council, 3 from the City Council and 3 from the Shire of Victoria. After the functions of the lighthouse keepers ceased, the Lady Bay Assistant Lighthouse Keeper's Quarters, on the western side of the building, wererented out to the public as living quarters.The book is significant for its connection with the Heritage Listed Lady Bay Lighthouse Complex. It is also connected to the community of Warrnambool, and to the Warrnambool Harbour Board.Hard covered ledger book with bound pages and hand written entries. Grey cloth covered back and front covers with spine and corners reinforced with light brown fabric. Book was labelled and printed for use as the Warrnambool Harbour Board Rent Register . Hard covered bound ledger book with hand written entries dated October 1930 to 1936 Rent paid on the Western side of the building previously used as the Assistant Lighthouse Keepers Cottage.flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, warrnambool harbour board rent register, lady bay lighthouse complex, lady bay lighthouse keeper's quarters, lighthouse keeper's quarters, assistant lighthouse keeper's quarters, assistant lighthouse keeper, rent paid, record book, rent book, rent register, warrnambool harbour board -
Bendigo Historical Society Inc.
Clothing - ANDREW - MONSANT COLLECTION: BLACK JACQUARD SKIRT, 1940-50's
Black silk lined with black polished cotton- seven gored skirt. A woven floral design through the fabric. Hemline is finished with a two cm braid hand stitched on the inside of the skirt, and finished with a one cm fringe edging the hemline. Plackett at centre back waistline fastens with seven metal hooks, and hand stitched loops. Cotton tape two cm wide waistband. Small soft gathers at centre front waistline.costume, female, black jaquard skirt -
Australian Gliding Museum
Machine - Glider – Sailplane, 1972
The Hall Cherokee II glider is an American design for amateur construction from plans. The designer was Stan Hall (1915-2009), a professional engineer, who gained extensive experience in the United States aviation industry during World War 2 including the programs for military gliders. He continued to work as an engineer for aircraft manufacturers and as a consultant to the industry after the war. He was active in gliding and, in particular, the home built sailplane movement. The Cherokee II was one of about 10 glider designs that he produced: it came out in 1956. It is understood that over 100 Cherokee gliders have been built. In Australia the number is possibly 10 or 11. The Hall Cherokee VH-GVO was built by R.D Meares of Caringbah, New South Wales. The glider was registered as VH-GVO on 11 October 1973 and given serial number “GFA-HB-82” by the Gliding Federation of Australia. The Logbook for VH-GVO appears to be a complete record of the flying history; in aggregate 210 hours 40 minutes in the air from 331 flights. The first test hop occurred on 29 July 1972 at Camden, New South Wales. VH-GVO was last flown on 22 July 1986. Many of the flights recorded are of one or two hours duration. The glider was last inspected and certified as airworthy and in a reasonable condition at the Hunter Valley Gliding Club in July 1986. Since that time, until transferred to the Australian Gliding Museum, the glider was in storage. Structural restoration work has been completed on the fuselage and one wing. However, inspection of the other wing revealed extensive damage to the ribs and spars and consequently a decision was taken to make it a static exhibit. The exhibit is an example of home built construction of a type that has proved popular amongst amateur glider builders.The Hall Cherokee (formerly registered as VH-GVO) is a single seat wooden home built glider. The glider is constructed from wood, plywood, fabric and metal fittings, all commercial grade except for main wing fittings, pulleys, cables and bolts. The fuselage is simple with four main longerons and bulkheads with diagonal bracing. The wing has two identical solid spars which form a geodetic structure, hence the leading edge is non-structural. Registration VH-GVO – serial number GFA-HB-82 australian gliding, glider, sailplane, hall, cherokee, meares, hunter valley gliding club -
Bendigo Historical Society Inc.
Textile - FAVALORO COLLECTION: BOLSTER PILLOW CASE WITH CROCHET AND PINTUCK TRIM, Early 1900's
Textiles. Fine linen fabric, white in colour. The top of the cover is finished with an 8 cm deep band of cotton crochet, featuring a diamond shaped pattern - each diamond 5.5 cms deep. A band of 4 pin-tucks, in a 6.5 cm band of linen, and then another band of 4 pin-tucks and a 5 cm deep band of crochet with a slightly narrower band of diamond shapes, and five rows of pin-tucks complete the handwork.textiles, domestic, bolster pillow case with crochet -
Bendigo Historical Society Inc.
Textile - VELVET TEA COSY
Textiles, black velvet tea cosy.Embroidered in velour thread. Floral design. One side has three stems of pink dahlia like flowers and leaves. The other side has three stems of yellow flowers with leaves. The tea cosy is edged with 7 cm red and yellow striped cord. The tea cosy is lined with red cotton fabric with a pink and green floral printed pattern. Both sides are padded. Hand made.textiles, domestic, velvet tea cosy -
Bendigo Historical Society Inc.
Textile - PINK COTTON LINGERIE BAG
Textiles, pink cotton lingerie or stocking bag with fold over envelope style flap at back over opening. Front has overlay of cream coloured tapestry fabric with pulled thread work embroidered with pink cross stitch and line patterns. Three decorative 2 cm pink satin ribbon bows in three corners. Fourth ribbon detached (stored in bag). 4 cm gathered cream lace edging on four sides.textiles, domestic, pink cotton lingerie bag -
Bendigo Historical Society Inc.
Clothing - ELAINE BISHOP COLLECTION:HALF SLIP FULL LENGTH PETTICOAT, 1890-1910
Clothing. White cotton half slip floor length petticoat. Drawstring waist six darts across centre front waist. Back opening (21cm). two layers from 58 cm below waist. Outer layer of horizontal strips of broiderie lace and two rows of three pintucks. Scalloped edge at bottom of petticoat. Second layer of white cotton fabric. French seams. Machine stitched. Old box 230.Stamp inside waist band, ''P Lyon''costume, female, half slip floor length petticoat -
Bendigo Historical Society Inc.
Textile - PILLOW SHAM
Textiles. Cream coloured cotton pillow sham. Centre panel (60cm X 32cm) made up of six pieces of scalloped edged embroidered fabric. Scalloped edges stitched together to form one horizontal and two vertical lines of open circular shapes (2cm). Centre panel edged with threading ribbon. (No ribbon). Pillow sham has border of lace (10cm) with floral pattern.Old box 75, Yellow label 183.textiles, domestic, cream coloured cotton pillow sham -
Bendigo Historical Society Inc.
Clothing - INFANTS NIGHTDRESS, 1880-1900
Clothing. Infant's ivory coloured nightdress. Front yoke with 1 cm X 14 cm centre lace insert. Lace trim around neckline. Centre back opening(24cm) with tape ties at neck and waist. Lace trimmed 58cm fabric ties attached at waist at centre front. Eyelet lace trim around waist. Ribbon missing. Skirt gathered at waist. Long sleeves with lace trim at wrist. French seams.costume, children's, infants ivory coloured nightdress -
Deaf Children Australia
Book, Register of Pupils
As children were admitted to Victorian Deaf and Dumb Institution, The Victorian School for Deaf Children and Deaf Children Australia, their details were recorded and they were given a registration number. Information included Medical Information.The Registers document where children came from, their family details and medical information, all relating to the time they were admitted and reflect the society of the time.Light green fabric with red tape over spine bound book containing specially printed pages with handwritten entries and an alphabetical index notebook attached to back cover. Contains register of pupils of Victorian School for Deaf Children, from 1970 to 1973, admitted to Princess Elizabeth Kindergarten for the Deaf (Elgar Rd, Burwood). Each entry is a full open two pages. The alphabetical index notes their Admission (?) number from 1993 to 2181Spine: "REGISTER OF PUPILS" in gold lettering "1993-2181/YEARS 1970 - 1973" handwritten in inkdeaf children australia, deaf education, register of pupils -
Geoffrey Kaye Museum of Anaesthetic History
Inhaler, Clover, Mayer & Meltzer, 1877
Dr. Joseph Clover (1825-1882), an English physician, first described his Portable Regulating Ether Inhaler on Jan. 20, 1877. Clover was an especially sought after anesthesiologist and early pioneer in the specialty. This was the best-known of many inhalers that Clover designed. The dome-shaped reservoir was turned to points on a control dial to gradually increase or decrease the percentage of the air that passed over the ether. Several inventors based new inhalers on this, while the original continued to be manufactured as late as the beginning of WWII. (Source: Wood Library Museum)Black round topped box with brass hooks at front and brass hinges at rear. There is a black fabric handle on the top. Inside the box is black padding with the manufacturer's logo printed in gold leaf. There is a square section in the base of the box for holding the square clear glass bottle for ether. There is also a dome-shaped metal inhaler with a "whistle tip" type connection to the mask. The mask is made of tan leather. There is also a metal ether measure for pouring the ether.Printed in gold leaf inside lid of box: MAYER & MELTZER [?] PORTLAND ST. / MAKERS •Engraved on side of inhaler: Mayer & Meltzer / London •Stamped on connector of inhaler: MAYER & MELTZER RN NO 212327 •Engraved on rear of inhaler: Clover's Inhaler •Printed in white on blue sticker: O.2.5A •Measurements have been stamped on the bottom of the inhaler. •Printed in black ink on mask: MADE IN ENGLAND •Stamped on metal connector inside mask: 6 •Printed in black ink on white manufacturer's label on glass bottle: ETHER PURUS '720 / H. Francis & Co., Melbourne.clover, joseph, mollison, crawford henry, george bankin, mccaul, kevin, royal women's hospital, coroner, freemason, surgeon, gynaecologist, obstetrician, mayer & meltzer, francis & co, melbourne, ether purus -
Uniting Church Archives - Synod of Victoria
Banner
The letters of the completed banner were made by different churches within in the presbytery and spelled a sentence, presumably "BUILD YOUR CHURCH LORD!" Orbost was one of the churches that had the finished banner on display. One of 24 small banners with tabs at the top of each for hanging on a rod. 19 have large blue letters appliqued on them. Twenty two of the banners are roughly square and two are smaller and oblong. Three have no letters and are used as spacers in the four word sentence that the letters make. The banners are decorated with rural and coastal images. BN068.2 "U" fabric paint words: "LOCH POOWONG east poowong nyora strezlecki kernang athlone" "U"uniting church adult fellowship -
National Trust of Australia (Victoria)
Program, 1900
Programme of entertainment held on the Rippon Lea property on Thursday 15th March 1900, to raise money for the "Empire Patriotic Fund". Presented by Mrs Cardwell.Programme of entertainment held on the Rippon Lea property, to raise money for the Empire Patriotic Fund. Cover of programme is made of satin weave fabric, coloured blue, with illustrations of widlife, mounted uniformed men and the Australia and British flag. Photograph of Rippon Lea is also featured. Back of cover features a bird sitting on the end of a cannon, holding a sign in it's beak, with the words "An Absent-Minded Beggar" written on it. Various text written below this image. -
Kew Historical Society Inc
Clothing - Two Piece Iridescent Silk Day Dress, 1860s
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.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.Two piece olive green and gold shot silk dress comprised of a skirt and top. The very full skirt has a scalloped edge front panel with bands of grey/green silk ribbon. The scalloped panels seem to be backed with later lining fabric (sic). The bodice has decorative buttons at the front from the high round neck to the waist. The bodice, like the skirt has a scalloped panel at the front, which is edged with ribbon. netta fuller, australian fashion - 1860s, women's clothing - 1860s, dresses - 1860s -
Kew Historical Society Inc
Clothing - White Cotton Day Dress, 1870s
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.The donor, a resident of Kew, provided a handwritten provenance with the donation. "This is an heirloom dress, worn in Tasmania by a Fletcher relative c. 1860s, 1870s. It was for years, with another in the Queen Victoria Museum and Art Gallery, then borrowed for concerts. In (the) 1990s it was enlarged at the back for a Centenary reenactment. I thought you might like it for your collection."19th century white cotton day dress, photographed as accessioned, which is printed with a design in black. The front has a 3/4 length buttoned opening. The dress has wide ruffles in the same fabric at the base of the skirt. The later 1990s inserts which can be seen in the first and third images have been removed in preparation for the dress to be restored. The buttons are a later addition. Historically appropriate replacement buttons were later added.women's clothing, day dresses, australian fashion - 1870s, coralie coulston -
Brighton Historical Society
Clothing - Dress, Day dress, 1890s
This dress belonged to Mrs Lillias Parker (nee Johnston, 1820-1904). Born in England, Lillias was married in London in 1844 to Samson Parker (c. 1820-1886). The couple lived in Bendigo, Victoria for much of their lives, with Samson first arriving around 1853 and establishing a business with Samuel Macord as tent makers and fruiterers. He later had a successful business as a hat and cap manufacturer and a sewing machine agent. Lillias' obituary suggests that she was one of the first women settlers to live in Bendigo and noted her reputation for philanthropy and her interest in the welfare of the blind and vision impaired, having herself experienced loss of sight many years before.Two piece day dress of mulberry figured silk. The dress comprises a separate bodice (.1) and skirt (.2). The bodice fastens centre front with fabric covered shank buttons and has twelve bones encased along the interior seams and darts. Two piece fitted sleeve and high stand collar. Bodice is backed with a caramel coloured printed cotton. The skirt has a slight train and is backed with a caramel coloured twill-woven cotton. lillias parker, 1890s, bendigo, goldfields -
Mont De Lancey
Book, W.V. Aughterson, M.A., Ph.D. et al, A Handbook of English; For Junior and Intermediate Pupils in Victorian Secondary Schools, Unknown
This handbook of English is composed of: 1. Composition 2. The Approach to Poetry 3. Grammaran orange fabric covered hardcover book with the title - A Handbook of English for Junior and Intermediate Pupils in Victorian Secondary Schools, in black lettering at the top with horizontal black bands around the title. The Whitcombe and Tombs publisher symbol is at the bottom in black. Some damage to the covers and Lance Sebire is written in pencil at the top. There is an Analysis Table of Sentences on p.211. The back cover shows titles of two more books by the publisher Whitcombe and Tombs. 227p.non-fictionThis handbook of English is composed of: 1. Composition 2. The Approach to Poetry 3. Grammarhandbooks, textbooks, schools -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Jewellery, 3 men's lapel pins, c1900
A tie pin is a neckwear controlling device, originally worn by wealthy English gentlemen to secure the folds of their cravats. They were first popularized at the beginning of the 19th century. Cravats were made of silk, satin, lace and lightly starched cambric, lawn and muslin, and stickpins were necessary accoutrements to keep these expensive fabrics in place and safe. Stickpins commonly used pearls, and other precious gemstones set in gold or other precious metals and were designed specifically for their owners. By the 1860s, wearing cravats had been embraced by the English upper middle classes with a consequently lower quality of materials and designs used in both the neckwear and in the stickpins used to keep it in place. By the 1870s Americans had embraced stickpins and designs were mass-produced. 3 men's metal lapel pins with coloured glass inserts 1 yellow 2 red jewellery, tie-pins, male neckwear, moorabbin, brighton, early settlers, pioneers, cheltenham -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Jewellery, tie stud and chain and a small, velvet covered box, c1900
A tie pin is a neckwear-controlling device, originally worn by wealthy English gentlemen to secure the folds of their cravats. They were first popularized at the beginning of the 19th century. Cravats were made of silk, satin, lace and lightly starched cambric, lawn and muslin, and stickpins were necessary accoutrements to keep these expensive fabrics in place and safe. Stickpins commonly used pearls and other precious gemstones set in gold or other precious metals and were designed specifically for their owners. By the 1860s, wearing cravats had been embraced by the English upper middle classes with a consequently lower quality of materials and designs used in both the neckwear and in the stickpins used to keep it in place. By the 1870s Americans had embraced stickpins and designs were mass-producedThe family of Lorna Risstrom were early settlers in Moorabbin ShireA tie-stud and chain in a small, blue velvet covered, silk lined, hinged jewellery box with . The tie-stud has a red stone set in gold metalmoorabbin, bentleigh, cheltenham, early settlers, pioneers, market gardneners, jewellery, risstrom lorna, tie-pins, tie- studs, cravats, silk, lace, -
Robin Boyd Foundation
Functional object - Appliance, "Semak" Vitamiser
The Boyds brought this vitamiser from their Camberwell home. Mandie Boyd, Robin and Patricia's eldest daughter, has very vivid memories of this gadget. "It made everything from milkshakes for us to mayonnaise, stuffing for chicken, soups, but especially I remember Robin in the kitchen using it to make daiquiris, endless ice, rum and lemon juice crushed and blended in the good old Vitamiser. He was wearing an amazing pale grey suit. American fabric beautifully cut, must have been synthetic, and had flecks of a darker grey through it, sounds hideous and was “of the time”. His American cotton business shirts were also beautifully tailored, with loads of room to move your arms unlike the daggy Aussie shirts." "Semak" Vitamiser, with a white plastic base, with 'on/off' switch at front of base. 4 black holders. Glass jug with black plastic lid. Black power cord. 3 black rubber stoppers at base.SN 7-81. 50 CYCLE 240v 120Wcookware, walsh st appliances, robin boyd -
Kew Historical Society Inc
Clothing, Floral Crepe Georgette Summer Dress, 1930s
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. The V&A's history of fashion describes 1930s dresses as characterised by '... a slinky femininity... Parisian couturiers introduced the bias-cut into their designs, which caused the fabric to skim over the body's curves. Long, simple and clinging evening gowns, made of satin were popular. Often the dresses had low scooping backs'. This dress was made for an aunt of the donor, who was the daughter and sister of well-known male Melbourne architects in the Smart family. Long floral green crepe georgette dress.women's clothing, dresses, australian fashion - 1930s -
Kew Historical Society Inc
Clothing, Floral Crepe Georgette Summer Dress, 1930s
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.The V&A's history of fashion describes 1930s dresses as characterised by '... a slinky femininity... Parisian couturiers introduced the bias-cut into their designs, which caused the fabric to skim over the body's curves. Long, simple and clinging evening gowns, made of satin were popular. Often the dresses had low scooping backs'. This dress was made for an aunt of the donor, who was the daughter and sister of well-known male Melbourne architects in the Smart family.Long cream and orange floral crepe georgette evening dresswomen's clothing, australian fashion - 1930s, fashion and textiles collection, rosemary smart -
Kew Historical Society Inc
Clothing - White Embossed Cotton Evening Dress, Ricki Reed, 1960s
Dorethy Rabinov’s Melbourne-based brand Ricki Reed "became an international success story. Her brand catered to “the petite and young, people who like smart simple dress” and popular with the women lib groups due to her comfortable smart pantsuits. The Ricki Reed’s brand often favored synthetic fabrics designed to keep up with the life of an active, busy woman. Through out the decades, Miss Rabinov dabbled in prairie gowns, tailored pant suits, bold colours and floral prints. Spanning over three decades Miss Rabinov kept Ricki Reed at the front of fashion, keeping ahead of trends and on the bodies of fashionistas." (Source: 'House of Darlington' website). This dress was owned, worn and donated by Dione McIntyre.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. Sleeveless embossed white cotton high waisted cocktail dress designed by Ricki Reed of Melbourne.Nilricki reed, women's clothing, evening wear, australian fashion - 1960s, mcintyre collection -
Bendigo Historical Society Inc.
Clothing - AILEEN AND JOHN ELLISON COLLECTION: GREY LONG SLEEVED DRESS BY WALTON GOWNS
Light and dark grey fabric with small geometric patterns. Empire line dress with long sleeves. The bodice has two panels with diagonal pleating to shape the bust line. There are two pleated pieces at the shoulders with three pleats (12cm) into which raglan sleeves are attached. The front RHS panel crosses over the left to form a V neck line. The back has a high round neck line and plain back with two darts from the waist. The long sleeves taper to the waist with a top seam. Two small pleats gather the fabric at the top of the wrist/sleeve. The skirt is made up of nine pieces -a front slightly flared panel with 2 gored panels on either side. The back is made up of four gored panels. From the level of the waist, the skirt is lined with stiffened paper like lining. From the waist to the under bodice seam it is not lined. Centre back opening has 29cm zipper at centre back beginning 25cm below the neckline.Tag stitched inside back neckline Styled by Walton Gowns Melbourne All Rayoncostume, female daywear, dress -
Bendigo Historical Society Inc.
Clothing - WOMAN'S CREAM COLOURED LONG SLEEVED SILK BODICE
Clothing.Woman's cream coloured long sleeved silk bodice. High round neckline with 4 cm stand up collar. Semi-circular yoke front and back (13cm radius). Collar and yoke have embroidered net over silk fabric. Kimono cut long sleeves have cuffs of embroidered net over silk from shoulder to wrist along top of sleeve (33cm X 4 cm). Sleeves and front of bodice have all over vertical pin tucks. The front of the bodice has cotton tape ties stitched across from centre front to side seams at waist level gathering the fabric to form a peplum effect at the front. The tails of the cotton tapes tie across the back from the side seams. Full length front opening fastened with nine press-studs between collar and waist and a metal hook and eye at the waist. The back of the bodice has vertical pin tucks across the shoulders and below the yoke extending 9 cm below the yoke.costume, female, woman's cream coloured silk bodice