This set of decorative buttons is a replica of buttons that would decorate formal wear in the Victorian era.This set of buttons is representative of buttons work on garments int he Victorian era.Set of six round, clear, diamond-like buttons with gold coloured base and shanks. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, buttons, set of buttons, diamond look buttons, clothing buttons, accessories, fashion

8 diamond shaped steel cut buttons mounted on purple velvet.buttons, late 19th century, diamente, mother of pearl, metal/cut steel

The design of the uniform with its silver, diamond shaped buttons with the Scottish thistle symbol on them, indicate that the uniform was made for a Scottish Pipe Band member. There may be a connection with the local Warrnambool and District Pipes and Drums Inc, which began as the Warrnambool Pip Band in 1906, formed with the purpose of popularising Scottish music. Those with uniforms wore the Gordon tartan. In 1946 the uniforms were changed, with the Cameron or Errcht tartan chosen for the uniform. The Band now wears the Anderson tartan. The maker, David Lack Pty Ltd, advertised as a uniform specialist. In 1941 the business was located at 35-37 Little Latrobe Street, Melbourne. In the same year the firm won a contract with the Commonwealth Government Department of Supply, providing blue trousers for the Department of Air. In 1946 a branch of the firm operated in Myrtleford, Victoria. The Elizabeth Street, Melbourne, branch provided new uniforms in 1948 for the Leeton District Band. In the 1950s and 1960s David Lack manufactured blazers for the Olympic Teams as well as for bowls teams and schools. The Broken Hills Cameron Pipe Band' was gifted with uniforms that were also made by David Lack. It was a "... a Cameron of Lochlel red kilt and plaid, with black doublets and cross belts, and silver trimmings.” [Barrier Miner, Broken Hiss, 15-03-1954].The pipe band uniform jacket's design is associated with traditional Scottish pipe bands that originated in the United Kingdom and continue to this day in Australia and even locally in Warrnambool since 1908. The maker, David Lack Pty Ltd, is renowned as the maker of good quality uniforms who has supplied many government contracts for clothing and uniforms since the early 1940s. Uniform tunic; red jacket; Scottish Pipe Band Doublet with silver braid and silver diamond-shaped button closure and decoration. The buttons have the Scottish thistle symbol on them. There are seven buttons on the tunic front, three on each skirt flap, three on each contrasting black cuff and one on each black epaulette. The tunic has a two-inch stand-up collar. The whole item is fully lined with black nylon/silk blend fabric, the shoulders are padded, and there are pockets under the front skirts. There is an inscription on the maker's sewn-in label. Made by David Lack Pty Ltd, a uniform specialist in Melbourne.Label "David Lack Pty Ltd, uniform specialist Melbourne. "flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, uniform, tunic, dublet, jacket, scottish pipe band, pipe band, david lack pty ltd, david lack melbourne, uniform specialists, david lack, diamond buttons, silver buttons, scottish thistle buttons, scottish piper's buttons, thistle, scottland symbol, pipe band uniform, bag pipes

Made by Internee Karl Kirsch at Camp 3 for his wife Babette.1943-1946Six diamond-shaped buttons made from tortoiseshell from New Guinea|diamond-shapedkirsch, karl, babette, accessories, tortoiseshell, buttons, camp 3, tatura, internees, costume

Sally Hearn (1932–2018) was a dedicated button collector and a prominent member of the Victoria Button Collectors Club. Her button collection was featured as a primary display in the 'The Melbourne Story' exhibition at the Melbourne Museum, which opened in mid-2008.The Hearn Collection of locally made and international buttons is historically and aesthetically significant as it illustrates the textile and manufacturing history of button making.This item consists of a boy's black Scottish traditional jacket featuring long sleeves, decorative cuffs, a fitted bodice and two pleated front panels. The jacket is embellished with silver-plated, diamond-shaped buttons featuring decorative central motifs, arranged along the front, cuffs, and lower parts of the jacket. Official Catalogue Entry: "There was a house fire in Preston. In order to purchase the tin of buttons I had to also clear the contents of two garden sheds. Luckily we had a station wagon which we loaded up with 2 lawn mowers, tools galore and old paint from one shed, and mountains of fabric and clothes and hats and threads and trims from another – In that one I had noticed a garment with Piper’s buttons on it. One box was full of photos and letters etc., sent from Egypt and Palestine during the war. The house had caught fire with Beryl ? in bed ( - she did survive). Her son in the Navy in Sydney was given leave of absence to come to Melbourne to deal with the situation. From all the paperwork I deduced that Beryl had had an older brother Archibald McFarlane and that he had been an “exhibition dancer” as a nine year old. I discovered the programme for the New Year Celebration of the Prahran and District Scottish Society Jan 4th 1926 with A. McFarlane dancing the “Scottish Reel”. This is the jacket he wore. It has been carefully made by recycling a man’s dinner suit – no doubt done by his mother."sally hearn, button collections

Uniform jacket, Black doublet style with silver braid around stand-up colar, fastened with 7 silver, diamond shaped, scotish thistle buttons (1 missing). Black braid around cuffs, and pocket and tail flaps. Black cord epaulettes on shoulders. 3 strieps of silver braid on sleeve cuffs, front pocket flaps (2), tail flaps (2). Silver daimond shaped, scotish thistle button on epaulettes, pocket flats, cuffs, between tail flaps (both missing). Black lining in body, white striped lining in sleeves, Padded shoulders, Label "David Lack Pty Ltd, uniform specialist Melbourne." Label "David Lack Pty Ltd, uniform specialist Melbourne." flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, uniform, uniform maker, melbourne uniform, david lack pty ltd, scottish thistle button

Uniform jacket, Black doublet style with gold braid around stand-up colar, fastened with 7 silver, diamond shaped, scotch thistle buttons. Black braid around cuffs, and pocket and tail flaps. Black cord epaulettes on shoulders, left has a cord lanyard loop. 3 strips of gold braid on sleeve cuffs, front pocket flaps (2), tail flaps (2). Gold, daimond shaped, scotch thistle button on epaulettes, pocket flats, cuffs, one between tail flaps (another is missing). Black lining in body, white striped lining in sleeves, Padded shoulders, Label "David Lack Pty Ltd, uniform specialist Melbourne."Label "David Lack Pty Ltd, uniform specialist Melbourne."flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, uniform, historical uniform, melbourne clothing, schttish thistle button

Black and white photo of unknown woman with slick hair and curl on her forehead stands with a closed smile in front of a tree. She is wearng diamond shaped dangly earrings and a knitted jumper with geometric patterns with a black collar and three buttons in the centre. Roll of negatives of the Eltham Art and Craft Market dated June 1988. The market was regularly held in the carpark in front of the Safeway supermarket.Roll of 35mm black and white negative film, 24 shots; 7 stripsKodak TX 5063eltham, arts and craft, markets

Black and white photo of unknown woman with slick hair and curl on her forehead stands with a closed smile in front of a tree. She is wearng diamond shaped dangly earrings and a knitted jumper with geometric patterns with a black collar and three buttons in the centre. Roll of negatives of the Eltham Art and Craft Market dated June 1988. The market was regularly held in the carpark in front of the Safeway supermarketRoll of 35mm black and white negative film, 24 shots; 7 stripsKodak TX 5063eltham, arts and craft, markets

Pale blue and white diamond patterned sleeveless tabard vest. Diamonds 14cms x 6.5cms. Vest is in two panels, joined at the shoulders, with a 9.5 x 2cm tab attached to the vest, front and back at the hipline with two small pearl buttons. Boat shaped neckline. Formerly owned by Margaret (Nell) Timbs nee Heider who worked at Hanro in the Finishing Department about 1935. Donated by her daughter Yvonne Knipe who worked at Hanro in the Office from 1961, then at John Brown until 1968.Hanro Swiss Inspired Dupont ORLON SW Stamped on the back RHS hemline MEDIUMScostume, female, knitted vest

Clothing. Infant's white linen dress with yoke front and back. Round neckline with hem. Skirt tightly gathered onto yoke front and back. Horizontal strip of lace (2.5cm) with open diamond pattern is 7cm above hemline. Hem is edged with 5cm zig zag lace. Dress is sleeveless with arm holes edged with 5cm zig zag lace. Full length back opening fastened with twoX one cm pearl like buttons at upper and lower edges of yoke.costume, children's, infants white linen dress

Clothing. Navy blue textured fabric possibly crimplene. Long tapered sleeves fastened with three covered buttons and loops at the wrist. High back neckline shaped to a V shape at the front. Centre front opening fastens with sixteen covered buttons and loops. Front yoke has a rouleau trim of fleur-de-lyse, and circular coils from 1 cm to 1.5 cm diameter. Side front panels are shirred at the yoke seam, and gathered at the shaped waistline panel. Waistline has a diamond shaped panel- 2.5 cm wide at the side seams, and eleven cms wide at the centre. Where the buttons extend over the midriff panel, the panel is shaped in a 7 cm V shape. Midriff panel extends into a belt at the side seams, fastening at the centre with a press-stud, and decorated with a flower of seven rouleau coils-1 cm in diameter. Hand stitched hem.costume, female, long sleeved navy dress

No specific information is available on these buttons. As they have an emblem of the Scotch thistle they may come from Scotland. They would be used on a jacket, mostly for males, with the larger buttons used on the front of the jacket and the smaller ones on the sleeves. These buttons have no known provenance and are suitable for display only. These are fifteen metal buttons. They are diamond-shaped with five larger ones and ten smaller ones. They all have an etching of a Scotch thistle on them and a ring at the back for attachment to clothing. Etching of Scotch thistleetching of scotch thistle, buttons with scotch thistle emblem, buttons, warrnambool

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Long sleeved cream baby romper suit with patterned stitch on bottom half and diamond emblem on chest. Closes with two pearlescent plastic buttons at centre back and with three pearlescent plastic buttons at crotch.Kathryn Reg’d / 100% orlon / 20 [handwritten]children's clothing, children's knitwear, clothing, knitwear, romper, jumpsuit, baby clothing, baby clothes, manufacturing, fashion textile production, machine knitting

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.White short-sleeved jumper with all-over pattern of aqua blue diamonds. Blue floated threads slightly show through white on main body, leading to an overall pale blue effect on body, with white collar and cuffs. Closes with three pearlescent plastic buttons at back neck. .2 is a retail tag marked with the style code, and includes generic information on care for garments of different material composition..1) [label stitched into back neck of garment] KATHRYN REGD CREATED BY ROBERT BLAKE .2) [retail tag, intended to be folded in three, printed on both sides] [OBVERSE] KATHRYN Children’s Knitwear STYLE: [blue pen] S/35B SIZE: PRICE: / KATHRYN Garments are… • PRE-SHRUNK • STANDARD MEASUREMENTS • FIT EXACTLY • LAUNDER PERFECTLY / NOW .. KATHRYN GOES TO . . SCHOOL Ask your retailer for SCHOOL PULLOVERS by KATHRYN [REVERSE] WASHING INSTRUCTIONS WOOL Wash frequently to AVOID HEAVY SOILING Wash garment BY HAND, in lukewarm Velvet Soap suds. ON NO ACCOUNT RUB SOAP ON GARMENT. Squeeze suds gently through garment but DO NOT RUB. Rubbing will cause garment to thicken. RINSE AT LEAST TWICE IN CLEAN WATER TO REMOVE ALL SOAP. TO dry, roll garment in a towel to remove excess moisture, turn garment inside out and pull it lengthwise, DRY IN SHADE… AVOID SUNLIGHT. When dry, place brown paper or pressing cloth over garment and press with iron at correct heat. ORLON Wash as wool Lay flat to dry but DO NOT IRON. To keep brushed suits like new, brush frequently with nylon brush supplied. COTTON Wash by hand for preference in Velvet Soap suds. Rinse thoroughly in cold water and remove all excess water before drying on line. Please do not use any harsh detergent or bleach. Designed and manufactured by ROBERT BLAKE Pty. Ltd., MELB. (handwritten in pencil) S35 (untintelligible)/5 / NOW KATHRYN GOES TO SCHOOL Ask your retailer for SCHOOL PULLOVERS by KATHRYNknitwear, children's knitwear, clothing, children's clothing, jumper, manufacturing, fashion textile production, machine knitting, colourwork

The Fashion & Design collection of Kew Historical Society includes examples of textiles dating from the 18th, 19th and 20th centuries. Some of the textiles, were used as items of clothing, others as items of household decoration, or simply as travel souvenirs. These textiles were created both domestically and internationally. Predictably with the growth of an ethnically and culturally more diverse community in Kew after the Second World War, textiles, clothing and objects in the collection inevitably reflected this diversity. Cream crocheted bodice with pearl buttons. A net band has been attached at the waistline to facilitate the garment being tucked in. There are some machine made elements hand tacked on but the garment is mainly hand made. Most of the garment is diamond mesh with picot. The yoke is crotchet mesh with applied daisy motifs. Large daffodils and daisy motifs are applied to the main body of the garmentlace, women's clothing

Worn for wedding of donor's mother on 26 September 1936. Eric Edward Pearce to Jean Isabelle Mansell at Presbyterian Church, Shepparton, Vic.1936 Cream satin dress with a V neck with pintucking featuring a diamond shape in centre front, also pintucked. Full length full sleeves with cuffs with two buttons and loops. Belt from diamond shaping to centre back panel. Panel opens out to train.|Marriage of Eric Edward Pearce to Jean Isabell Mansell. 26 September 1936 NO3222 Certificate|Wedding photo NP2391|Cake Photo NP2392costume, female ceremonial

From the Mitcham RSL.1 Khaki jacket with Royal Army Service Corps buttons. Braid green around right sleeve under epaulet (lanyard). Ribbon on left breast pocket and oak leaf badge. Left lapel badge with Royal Army Service Corps star badge. # badges diamond sharpen each epaulet. 2. Khaki trousers with buttons fastening flyuniforms, army

Worn by Lt. Sharpley. From Mitcham RSL. .1 Red woollen cropped jacket with green wool lapels and black cuffs and epaulets. Australian Intelligence Corps badges on lapels. Epaulet badges, crown and diamond shape and metallic button. Formal Mess Dress. .2 Waistcoat of green woollen velvet like material with black satin back and oyster satin lining. 4 metal buttons and 2 slit pocketsCGCF Victoriauniforms, army

Dress worn by Mary (Molly) Sprunt on marriage to John (Jack) Leith on 12 March 1938 at St Andrews Presbyterian Church, Rushworth. Veil was handmade by mother Madge Brydon in 1912 for her wedding. Dress and veil donated by Molly's daughter. Dress also worn by sister - Lyndsay (Lyn) Sprunt for her marriage to George Hendrie on 10 November 1945 at St John's Church Elsternwick. Gown made by Molly and Lyn's aunt Edith Brydon. Veil (NA3495) worn was made by mother Madge Brydon. Donated by Molly's daughter.Cream damask 1938 satin dress. Long sleeves, cross over neckline to a diamond front panel. Skirt cut on the cross, with front pleat. Back skirt has long train. Self-covered buttons at centre back.|See also NA3495 - Veil. Also worn for 1945 wedding with veil. NA3496 - Shawl.costume, female ceremonial

Cream Fuji silk camisole with diamond lace insets at front. Eyelet lace at neck and hem. 3 small pearl buttons at front.costume, female underwear

Presumably World War II based on comparison with silimar items. Initials inside cap may be associated with item to jacket, initialled with Lt. H. Dixon, VI. 7290.This item has historical signifigance as a an example of Australian military uniform dating presemably to World War II. Military peak cap, dark green. Brown leather chinstrap, attached by buttons on either side of visor with lettering 'AUSTRALIAN MILITARY FORCES' and Australian army insignia. Top of cap has double row of top stitching in dark yellow thread. Metal rimmed air holes (two) on each side under top of cap. Inner band made of brown leather embossed or printed with maker inscription. Rear of inner band has a row of rectangles punched through leather .50 mm in length, 22 in total, threaded through with gold coloured ribbon, tied together at centre back. Inner cap lining made of pale gold fabric, with diamond shaped liner/swear shield attached and topstitched in gold thread. Bronze coloured badge above visor with lettering Australian Commonwealth Military Forces.'THE MYER STORE FOR MEN MILITARY TAILORS MELBOURNE & ADELAIDE' on inner band in gold. Hand written initials H, and what appears to be D N (area has tears and insect damage) visible on lining behind visor. Initials in black marker. military, war, fashion, uniform, head, style, fabric, textile, cap, hat, visor, peak, outfit, myer, tailor, australian, forces, headwear, commonwealth.

Sally Hearn (1932–2018) was a dedicated button collector and a prominent member of the Victoria Button Collectors Club. Her button collection was featured as a primary display in the 'The Melbourne Story' exhibition at the Melbourne Museum, which opened in mid-2008.The Hearn Collection of locally made and international buttons is historically and aesthetically significant as it illustrates the textile and manufacturing history of button making.The item comprises a collection of assorted buttons, buckles, and dress fasteners mounted on three rectangular cards in red, green and orange. The collection includes circular, square, rectangular, triangular and diamond shaped components in black, green, cream, and pink. Several pieces feature geometric designs, contrasting coloured insets and decorative surface patterns. The buckles vary in form and size and include rectangular, circular, and triangular examples with metal fastening components. The items are constructured from Bakelite and steel and are variously stamped, glued and carved. Official Catalogue Entry: "Mona’s Swedish father came to Australia to introduce Electrolux. She was born in 1937 and the whole family emigrated, to save father commuting each year! Mother died. In 1946 George Jodell, her father, married Rosalind Hartung. She was an opera singer with the Gilbert and Sullivan Co. At age 31 she developed asthma so she could no longer sing. Her young brother worked in Flinders Lane and encouraged her. She had always made and designed her own gowns. She took a course in commercial cutting and became employed as a dress designer for Partington Modes, Flinders Lane."sally hearn, button collections