Mid-thigh length jacket of royal blue silk fabric with a metallic thread forming a tinsel like pattern. Fully lined with blue satin. Front opening has a 5 cm border of blue satin. No fastenings. Three quarter length sleeves have 5cm borders of blue satin at the wrist. See 11400.507 .costume, female evening, blue silk jacket

Joseph Butterworth COOMBS (1842-1901), was an accountant who founded a successful mercantile trading company. At the time of his marriage to Caroline Mary MICHEL in 1869, Coombs had already purchased ten acres of Studley Park. The acreage included land on the west of Fenwick Street that extended along lower Stawell Street to the corner of Yarra Street, all of it connected directly to the Yarra environs. A right of way to Studley Park Road was on the title, though Coombs went on to purchase more land, some of which faced Studley Park Road. In addition to owning the Studley Park acreage, Coombs later acquired 1,201 acres of land abutting the Acheron River. While retaining the Kew property he became a Taggerty Councillor and was Shire President for a time. J.B. Coombs died at Acheron Station in 1901 (aged 59 years). A few months after, tenders were called to repair the Kew dwelling, the Fenwick Street property now appearing in records with the name ‘Hope Mansell’. Caroline Coombs remained at Hope Mansell until she died in 1924, survived by three sons and five daughters. Not long after her death, advertisements appeared for the sale of the Studley Park land. The sale seems to have been a mechanism for distribution of the Estate, as the following year the original ten acre holding was transferred to members of the family. The eldest daughter Mabel married William Younger who, with his brother Alexander, developed Younger and Mackie Courts, both south of Studley Park Road. [Research: Kerry Fairbank]In 1961, the granddaughter of Joseph and Caroline Coombs, Mabel Isola (Younger) Grattan, donated ten 19th century dresses and parasols to the Kew Historical Society. The costumes, now known as the 'Coombs Collection', are the earliest recorded items of clothing to enter the Society's collection. Each of the items in the Coombs Collection, of which this item forms a part, is historically, aesthetically and socially significant. As a collection, the costumes includes outstanding examples of morning wear, day dresses, wedding dresses, and clothing accessories, providing evidence of outstanding dressmaker skills in Victoria during the mid to late Victorian period. Blue silk, floor length day dress comprised of a tightly fitted, long, waisted jacket joined by hooks and eyes at centre front. The bodice features large ornamental buttons from neck to waist, covered in a figured silk fabric of the same colour as the dress. The gown has extensive pin tucking on the sleeves, on the flounce of the skirt, and on the long train. The line of the outfit is emphasised by the flattened front, which is typical of the period. Its cut and lack of adornment emphasises the tailored effect.australian fashion, fashion & design, costumes, dresses, women's clothing, fashion - 1860s, fashion - 1870s

Joseph Butterworth COOMBS (1842-1901), was an accountant who founded a successful mercantile trading company. At the time of his marriage to Caroline Mary MICHEL in 1869, Coombs had already purchased ten acres of Studley Park. The acreage included land on the west of Fenwick Street that extended along lower Stawell Street to the corner of Yarra Street, all of it connected directly to the Yarra environs. A right of way to Studley Park Road was on the title, though Coombs went on to purchase more land, some of which faced Studley Park Road. In addition to owning the Studley Park acreage, Coombs later acquired 1,201 acres of land abutting the Acheron River. While retaining the Kew property he became a Taggerty Councillor and was Shire President for a time. J.B. Coombs died at Acheron Station in 1901 (aged 59 years). A few months after, tenders were called to repair the Kew dwelling, the Fenwick Street property now appearing in records with the name ‘Hope Mansell’. Caroline Coombs remained at Hope Mansell until she died in 1924, survived by three sons and five daughters. Not long after her death, advertisements appeared for the sale of the Studley Park land. The sale seems to have been a mechanism for distribution of the Estate, as the following year the original ten acre holding was transferred to members of the family. The eldest daughter Mabel married William Younger who, with his brother Alexander, developed Younger and Mackie Courts, both south of Studley Park Road. [Research: Kerry Fairbank]In 1961, the granddaughter of Joseph and Caroline Coombs, Mabel Isola (Younger) Grattan, donated ten 19th century dresses and parasols to the Kew Historical Society. The costumes, now known as the 'Coombs Collection', are the earliest recorded items of clothing to enter the Society's collection. Each of the items in the Coombs Collection, of which this item forms a part, is historically, aesthetically and socially significant. As a collection, the costumes includes outstanding examples of morning wear, day dresses, wedding dresses, and clothing accessories, providing evidence of outstanding dressmaker skills in Victoria during the mid to late Victorian period. Two-piece royal blue heavy silk dress comprised of a tightly waisted top that extends below the waist at the front and the back, and a floor-length skirt. The full skirt and the sculpted fabric that is part of the top are designed to cover a bustle. The elaborately styled bodice is joined with fabric-covered buttons at centre front. The bodice is distinctively styled with the use silk velvet banding and tassles that extend the woven silk webbing. The outfit is in excellent condition apart from some wear on the velvet and the buttons.women's clothing, australian fashion, dresses, costumes, fashion & design, outerware

Edwin Parr Hood cam to heathcote in 1891. at the age of twenty he had already leaned the tailors trade.He set up his business in High Street opposide the Mt. Ida Hotel. he advertised his stocks of mens clothing in the McIvor Times.2 suits made by E. P. Hood donated to the Museum by a local family whose father had purchased the suits in Heathcote. Worn on several occasions in and around the district of Heathcote.3piece man's suit, navy blue with pale blue and grey pin stripe,wool woosted material fully lined with silk tafeta. has label on back of inside jacket collar E P Hood /Heathcotenavy blue pinstripe mans suit

Smoking Caps are caps worn by men while smoking to stop the hair from smelling of smoke. They also kept the head warm. They were popular in the period 1840-1880, usually worn by gentlemen in the privacy of their home. This beautiful velvet smoking cap was worn by James Stirling who was the first settler to occupy land in the Marlo township. James stirling arrived in Victoria from Scotland in 1842.He took over Corringle Station (Ewing's Marsh). His son James stirling later established theMarlo Hotel. (Read more in Mary Gilbert’s book)Smoking accessories like this cap were popular through the mid-to-late nineteenth century to prevent the smoker's hair from absorbing the smell of tobacco smoke and were often worn with smoking jackets. The design, with its elaborate embroidery shows an aspect of Victorian material culture and reflects the nineteenth-century love of 'Oriental' style. . A domed shaped smoking cap of blue velvet .It is lined with silk. The tops and sides are embroidered with tan coloured leaves. head-coverings stirling-james smoking-cap

Item in a collection relating to Wes Bertuch, refer Cat No 1664.2 Jacket - bespoke handmade, in black cotton fabric exterior and white silk fabric lining. With collar, long sleeves, cuffs with black plastic buttons, inset pockets and elasticised area on waist band. Front zipper closure. Handstitched decoration on front, top of sleeves and back of jacket. Front - left side, yellow cotton? Vietnamese writing, Right side - yellow, orange, white and brown cotton - face of a tiger. Top of sleeves - left and right - orange and white cotton - dragons. Back of jacket - blue, orange, green and yellow map of Vietnam, Laos and Cambodia.On Jacket back - handstitched in yellow cotton "WHEN I DIE I'LL GO TO HEAVEN/ BECAUSE/ I'VE SPENT MY TIME IN HELL/ VIET & NAM/ 68 69". On and beside map - hand stitched in white cotton "LOVIS/ HANOI/ THAILAND HUE/ DA-NANG/ QLV-NI-ION/ BANGKOK NHA- TRANG/CAM-RANH/PHAN THIET/ BIEN HOA/ . On map - yellow cotton "CAMBODIA/SAIGON"souvenir, vietnam, clothing

Clothing. Pink silk woman's bed jacket with set in short sleeves. Sleeves are trimmed with inverted V shape coffee coloured lace edging and a bow of 1cm double sided ribbon of pink and light green. Front opening with V neckline. Neckline edges of front opening and hemline trimmed with inverted V shape coffee coloured lace (7cm deep). Front fastened below neck line with double bow of double sided 1 cm ribbon in pink and light green. Embroidered patterns of blue flowers with pink trailing vines and leaves at the top front LHS below the shoulder and lower front RHS above the hem. Small triangular lace pocket on lower front RHS trimmed with bow of double sided 1cm ribbon.Tag on lower inside seam, ''Made by Grace Bros Ltd. Broadway, Sydney''.costume, female, woman's bed jacket

This item was likely purchased by National Serviceman Pte D W Drennan of the Royal Australian Infantry Corps who served in Vietnam in 1971.A camouflage bomber jacket made from parachute material with hand embroidered emblems and maps on the front and back. The jacket has a pull ring metal zipper, blue silk lining and two pockets in the front. SAIGON/VIETNAMvietnam, camouflage, bomber jacket, drennan, d w drennan, 3796582

This is one of a series of eighteen plaques which commemorated some of the winner of the Grand Annual Steeplechase which is held each year in Warrnambool. The first Grand Annual was held in 1872 as the Warrnambool Handicap Steeplechase. Barongarook was the winner in 1964. This series of plaques were painted by local artist Leslie Lamey and depict the colours of the winning jockey.They originally were in the Members' enclosure at the Warrnambool Race course.These plaques have local sporting ,historical and social significance..1 White painted metal plaque with painting of jockey silks , White jacket front with red Maltese cross and blue sleeves and cap. dabs of black paint .2 Silver metal plaque with engraved black text. .1 " Barongarook" in red texta on back of plaque. .2 Mr R C Williams Barongarook Winner of the Grand Annual Steeplechase 1964," engraved in black text.barongarook, warrnambool, grand annual steeplechase

R.A.M.C. = Royal Army Medical Corps - British. Uniform issued to Captain McKenzie. refer Cat No. 7875.5 and 7876.2.1. Jacket - black and crimson colour wool velvet type fabric. Crimson colour fabric on collar and sleeve cuffs with gold braid edging. Mandarin collar with two gold and silver metal collar badges - crown, snake on pole, laurel wreath and ribbon scroll with lettering - "ROYAL ARMY MEDICAL CORPS" - British - Tailor made uniform. Shoulder epaulettes - gold colour twisted braid with two gold, blue and green metal rank pips = Lieutenant. on right epaulette. Gold colour metal buttons with shank, raised emblem and lettering - (same as collar badges). Lining - combination top gold colour, lower black colour silk fabric. Sleeve - white colour cotton fabric. At waist red leather lining strip. Brass colour metal belt hooks. Manufacturers label on white cotton fabric, inside on collar. 2. Trousers - stirrup pant style, black colour wool fabric, six button fly. Crimson colour, wool fabric. Three 1.5 cm strip down each side. Black colour bakelite buttons. White colour cotton fabric lining to waistband. At ankles - black leather straps with metal buckle. Manufacturers label on white cotton fabric label with black ink print and handwritten details - back, inside below waistband lining.1. & 2. Black ink print "HOLT & SON/ Military Tailors/ 20 Sackville Street, PICCADILLY, W". Handwritten black ink pen "T.F.C. McKENZIE/RAMC"uniform, ramc, british, ww1, service dress, mckenzie

The kurti, a shorter version of the traditional kurta, has evolved over centuries from ancient Indian, Central Asian, and Mughal influences, originally designed for practical comfort. Historically, it served as a versatile tunic, often worn as a blouse or jacket by women. Ancient Origins: The kurti is believed to have roots in the ancient Indian subcontinent, descending from the tunics of the Shunga period (2nd century B.C.). Mughal Influence: The Mughal empire introduced variations, including the salwar kameez and Anarkali, which influenced the looser, comfortable style of the modern kurti.Kurta style top/blouse (from the Indian sub-continent) in shot purple/blue silk. Ari (Tambour) embroidery embellished with beads, rayon and metallic threads.

This jacket is by the prolific spinner and weaver Jean Inglis. It has been woven with a warp of commercially brought wool & a weft of hand spun Corriedale. It is completed in a Swedish lace style of weaving. The highlight of the jacket is the blue section of fabric on the top left shoulder of the wearer, which works down to the bottom right hip. This pattern looks like long thin individual separate sections of fabric stitched to the jacket; however, only one section of fabric has been added. A dying technique has been utilised to give the appearance of multiple sections. This Japanese dyeing technique is called Shibori, “to wring, squeeze or press". It is a manual tie-dyeing technique, which produces several different patterns on fabric. The specific pattern on this fabric is known as Kumo Shibori. It utilises bound resistance. This technique involves folding sections of the cloth very finely and evenly. Then the cloth is bound in very close sections. The result is a very specific spider-like design. This design requires very precise technique. Specific to this jacket, the fabric for the dyed section was made with the same fabric as the rest of the jacket. A section of the excess fabric was concertina wrapped around a 100mm pipe and tied up before dying. This gives the consistent straight blue lines, with no bleed from the dye. The sections were then sewed into the jacket with the occasional sequin added for additional decoration and glamour. The jacket won 1st prize at the 1988 Geelong Show. Jean was assisted by the dress maker Ruth Randell with some of the design and sewing. Jean always found sewing “a bit of a bore”. The jacket also has an attached swing tag. It was added to provide information to the judges at the Melbourne Show on how the jacket was created. It comes complete with Jean’s self-proclaimed terrible handwriting. It was donated to the National Wool Museum in 2021.Cream singled breasted jacket with no overlap. The jacket has no column of buttons for fastening, or lapels. It is designed to be plain, to not draw attention. The jacket is highlighted by the Shibori dyed waves on the top left shoulder of the wearer, which works down to the bottom right hip. This blue dyed section of fabric is dotted with the occasional blue sequin. Internally, the jacket features a white silk lining for comfort. The jacket ends in a straight cut hem, including at the cuffs. The jacket has an attached swing tag. The swing tag is cream with a printed thin black boarder. Within the boarder, handwriting in black ink is found. It has a hole punch in the top left corner of the swing tag for attaching to the jacket.hand spun, hand weaving, textile design, textile production, shibori, kumo shibori

Evening jacket made of gold metallic fabric. Deep cross-over front with curved peplum and flared cuffs. Peplum and cuffs feature 7 rows of pale blue stiching. Lined with pale blue silk.jacket, art deco, metallic fabric, evening wear, 1920s, 1930s

This jacket was bought in England for Elsie Law (nee Russell) by her husband James Lindsay Gordon "Lin" Law in 1930. Elsie used it as a bridge jacket. Lin was born in Ballarat 1881, the eighth child of Scottish migrants James Nicol Law and Margaret Law (nee Bartholomew). BHS holds an evening dress belonging to Margaret Law in its collection (see T0006.1). After leaving school at the age of 11, Lin began working as a salesman. In 1906, he and business partner James Kerr Pearson (also a Brighton local, who lived at 12 Moule Avenue) established the shirt manufacturing company Pelaco. In 1922 the company established its factory at 23 Goodwood Street on the top of Richmond Hill; the 4.3 metre high neon 'Pelaco' sign, erected in 1939, is today heritage listed. The company was known for its innovative approach to efficiency and labour relations, discontinuing Saturday morning work in 1908 and appointing an industrial relations officer in 1928. Lin married Elsie Russell on 12 January 1915 at St Mary's Catholic Cathedral in Sydney and they lived most of their life in Brighton. In 1920 they moved into 'Blairgowrie', 306 St Kilda Street, The eldest their four children, Pauline Margaret Law (born 15 December 1915) ultimately purchased the house with her husband Hugh McLean in 1956 and lived there until 1965 when the house was demolished.Cream silk jacket block-printed with art deco style pattern in red, blue, black and mustard colours. Lined with soft apricot-coloured satin. Wide stand collar. Front fastens low on hip with four silk covered buttons. Label, woven brown on cream silk, centre back: Eileen / Mulholland / Ltd. / 43, Wigmore St., / LONDON. W1.elsie russell, james lindsay gordon law, brighton, pelaco, bridge jacket, 1930s fashion, eileen mulholland, art deco

In Chinese embroidery, the crane (He, 鹤) is a powerful symbol of longevity, wisdom, immortality, and good fortune, often depicted with other auspicious motifs like peaches, pine, or bamboo to enhance these meanings, and historically used on civil officials' rank badges (buzi) to denote high rank and virtue, reflecting aspirations for a long, prosperous, and wise life, linked to Daoist immortals and heavenly ascent. Black satin with rich silk embroidery around the hem, which means it may have been made for a lady of high rank. Circular motifs of cranes and storks. Probably made for a pregnancy. Bright blue lining.embroidery, silk embroidery, garments, china, oriental

Three pieces of an embroidered Chinese jacket. Black silk fabric very thickly covered with rows of couched threads, both gold and silk. Design contains traditional Chinese symbols - wave, swastika etc. Lined with blue silk. embroidery, china, silk embroidery, oriental, garments

In Chinese embroidery, the combination of bats, peacocks, and peony roses creates a rich tapestry of highly auspicious symbols, primarily associated with wishes for happiness, wealth, beauty, and high rank. When these motifs appear together, as they often do in intricate antique textiles or Mandarin squares, they collectively represent a desire for a life filled with wealth, prestige, and abundant happiness. Magenta brocade with embroidered motifs of bats, peacocks and peony roses in coloured silks using satin stitch. Jacket is edged with a band of black silk embroidered with blue peony roses.embroidery, silk embroidery, oriental, garments, 1900-20, china

Belonged to donor's aunt1960s navy blue fine silk shantung fabric dress with lace bodice and elbow length sleeves. Metal zip, hook& eye down back. A-line skirt with two front seams and pockets. Dress is below the knee length. Lined from above bust line in bodice with fine blue crepe fabric. Matching jacket of fine silk shantung with lace trim on collar& cuffs of full-length sleeves. Self-covered shantung 4 buttons and stitched buttonholes. La Petite label in jacket and underarm on dress.La Petite Model Frocks, 165 Collins St Melbourne.la petite

Silk matinee jacket embroidered down edge of front and sleeve edge in pink and blue flowers. Scalloped edging in blanket stitching. Ribbon tiescostume, infants'

Worn by Mrs. Thomas Quayle in 1890Silk tartan (green, blue, red and black) skirt and jacket, with black fringe yoke. Satin peplum and fully lined, with black buttons down the front. Oval silver metal brooch with filigree work, worn at the neckline. evening dresses

01: Bottle green wool jacket with gold buttons (one missing on left sleeve). Embroidered left front pocket in yellow, white, red, green, blue, black. Australian coat of arms - above in yellow "8th Maccabiah Games & Maccabi logo in Hebrew", below AUSTRALIA on red banner & underneath in yellow "Israel 1969 Manager". Lined in polyester & manufacturer's label " David Lack Pty Ltd Melbourne". 02: Bottle green pure wool tie w gold kangaroo embroidered on front. Label: Austico pure wool. 03: Bottle green silk tie w Australian coat of arms embroiderd on front, Label: Austico special imported silk fabricmaccabiah games 8

01: Bottle green wool jacket with gold buttons (one missing on left sleeve). Embroidered left front pocket in yellow, white, red, green, blue, black. Australian coat of arms - above in yellow "8th Maccabiah Games & Maccabi logo in Hebrew", below AUSTRALIA on red banner & underneath in yellow "Israel 1969 Manager". Lined in polyester & manufacturer's label " David Lack Pty Ltd Melbourne". 02: Bottle green pure wool tie w gold kangaroo embroidered on front. Label: Austico pure wool. 03: Bottle green silk tie w Australian coat of arms embroiderd on front, Label: Austico special imported silk fabricmaccabiah games 8

01: Bottle green wool jacket with gold buttons (one missing on left sleeve). Embroidered left front pocket in yellow, white, red, green, blue, black. Australian coat of arms - above in yellow "8th Maccabiah Games & Maccabi logo in Hebrew", below AUSTRALIA on red banner & underneath in yellow "Israel 1969 Manager". Lined in polyester & manufacturer's label " David Lack Pty Ltd Melbourne". 02: Bottle green pure wool tie w gold kangaroo embroidered on front. Label: Austico pure wool. 03: Bottle green silk tie w Australian coat of arms embroiderd on front, Label: Austico special imported silk fabricmaccabiah games 8

Operating heavily in the late mid-century, Smaragd of Melbourne was a premium boutique Australian label that catered to high-end social calendars, formal galas, and evening wear markets. During this era, Melbourne was firmly established as Australia’s fashion manufacturing capital. Labels like Smaragd competed directly with high-end European and American imports by offering local consumers equivalent luxury, using specialized, imported embellishments and meticulous, small-batch boutique construction. This ensemble is typical of mid-to-late 20th-century Australian fashion design, showcasing the exceptional structural tailoring and high-glamour aesthetic of the period. The inclusion of the matching cropped jacket reflects the transitional styling of late-1960s to 1970s evening wear, designed for formal modesty that could be removed for evening events. The use of heavy bullion embroidery or relief passamanerie highlights the reliance of local couture houses on advanced, labor-intensive hand-finishing techniques. This level of craftsmanship stands in stark contrast to the mass-manufacturing shift that would dominate the global fashion industry in the decades to follow. As an "Exclusive of Melbourne" garment, the piece holds strong regional significance to the history of the Australian textile trade. The preserved, illustrated "mod-style" label serves as an excellent artifact of graphic design history, capturing the youthful, playful marketing shift that defined the post-war youth culture boom in Australia.Two-piece evening ensemble comprising a strapless column gown and a coordinating cropped evening jacket. The floor-length gown features a highly structured, fitted bodice with internal boning and a classic sweetheart neckline. The skirt is tailored into a sleek, narrow column silhouette. The accompanying long-sleeved satin jacket is cropped to fit precisely over the gown’s waistline, featuring a rounded neckline, a concealed front closure, and tailored sleeves. Crafted from a heavy, high-sheen black evening fabric (consistent with silk or premium synthetic satin/mikado blend of the era). he neckline of the jacket (and the underlying gown) features a heavy, raised, three-dimensional metallic embellishment. The textured gold work is indicative of heavy bullion embroidery—a technique utilizing twisted, coiled metallic wire threads couched into dense, sculptural relief patterns to catch light. The garment contains a woven fabric manufacturer's label reading "Smaragd Exclusive of Melbourne / Size 12". The label is distinguished by a blue, stylized graphic illustration of a wide-eyed, curly-haired "mod doll," characteristic of commercial art from the late 1960s to mid-1970s.Label: SMARAGD EXCLUSIVE OF MELBOURNE. SIZE 12fashion - australia - melbourne, smaragd of melbourne, women's clothing, evening dresses, fashion design, clothing -- 1970s

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