Showing 636 items matching "fabric design"
-
National Wool MuseumDocument - Woven Textile Design Course for Melbourne College of Textiles, Ray Smith, 1996
... ...Fabric Design...After ten years at Albion Woollen Mills, Ray went on to hold fabric design positions at Prestige Fabrics and Yarra Falls, working up to management roles in both the Weaving and Fabric Design Divisions, and then as Product Development Manager at Yarra Falls until 2000. ...After ten years at Albion Woollen Mills, Ray went on to hold fabric design positions at Prestige Fabrics and Yarra Falls, working up to management roles in both the Weaving and Fabric Design Divisions, and then as Product Development Manager at Yarra Falls until 2000. ...Part of a collection of books, fabric samples and documents from the working life of Ray Smith. Ray began his career at the age of 15, working at the Albion Woollen Mills in Geelong in 1953. Over the next five decades, Ray furthered his education in textile design, weaving design, knitting and later computer aided design, including qualifications from Gordon Textile College, City and Guilds of London Institute, The Textile Institute, Melbourne Institute of Textiles and Royal Melbourne Institute of Technology (RMIT). After ten years at Albion Woollen Mills, Ray went on to hold fabric design positions at Prestige Fabrics and Yarra Falls, working up to management roles in both the Weaving and Fabric Design Divisions, and then as Product Development Manager at Yarra Falls until 2000. Ray shares some career highlights below: In 1977 and 1978 I won the Wool Corporation’s Celsius 30 Awards as Yarra Falls Designer. (See photos attached.) These awards came with study trips to the major Textile Centres and Trade Fairs around the world. This was proven to be beneficial and Yarra Falls sent me overseas every year for the next 22 years. On stopovers in Hong Kong we appointed an agent and took part in Textile Trade Fairs at Interstoff Asia and exhibited designs in 1991, 92, 93, 94. I created a pattern book for a chain of shops called “Kwun KeeTailors” for their customers to select our fabrics to be made up into suits for the tourists. I also had several trips to New York to try to export to America with some success. I was commissioned by the Melbourne College of Textiles to write a Woven Textile Design Course to be taught under the outreach program. This was eventually translated into Spanish to be used by developing textile industries in South America.Black two armed binder folder with over one hundred pages of typed paper in plastic sleeves. Documents contain details of sixty eight topics for Woven Textile Design Course. The folder has a label attached across the top edge, and a business card attached with tape to the front.Front [printed label]: WOVEN TEXTILE DESIGN COURSE WRITTEN FOR THE MELBOURNE COLLEGE OF TEXTILES BY RAY SMITHray smith, yarra falls, mills, textile design, fabric design, product development, wool corporation, textile design course, coursework, melbourne college of textiles, study, students -
National Wool MuseumBooklet - Celsius 30, Spring Summer Fabric Samples, Australian Wool Corporation, 1974
... ...Fabric Design...After ten years at Albion Woollen Mills, Ray went on to hold fabric design positions at Prestige Fabrics and Yarra Falls, working up to management roles in both the Weaving and Fabric Design Divisions, and then as Product Development Manager at Yarra Falls until 2000. ...After ten years at Albion Woollen Mills, Ray went on to hold fabric design positions at Prestige Fabrics and Yarra Falls, working up to management roles in both the Weaving and Fabric Design Divisions, and then as Product Development Manager at Yarra Falls until 2000. ...Part of a collection of books, fabric samples and documents from the working life of Ray Smith. Ray began his career at the age of 15, working at the Albion Woollen Mills in Geelong in 1953. Over the next five decades, Ray furthered his education in textile design, weaving design, knitting and later computer aided design, including qualifications from Gordon Textile College, City and Guilds of London Institute, The Textile Institute, Melbourne Institute of Textiles and Royal Melbourne Institute of Technology (RMIT). After ten years at Albion Woollen Mills, Ray went on to hold fabric design positions at Prestige Fabrics and Yarra Falls, working up to management roles in both the Weaving and Fabric Design Divisions, and then as Product Development Manager at Yarra Falls until 2000. Ray shares some career highlights below: In 1977 and 1978 I won the Wool Corporation’s Celsius 30 Awards as Yarra Falls Designer. (See photos attached.) These awards came with study trips to the major Textile Centres and Trade Fairs around the world. This was proven to be beneficial and Yarra Falls sent me overseas every year for the next 22 years. On stopovers in Hong Kong we appointed an agent and took part in Textile Trade Fairs at Interstoff Asia and exhibited designs in 1991, 92, 93, 94. I created a pattern book for a chain of shops called “Kwun KeeTailors” for their customers to select our fabrics to be made up into suits for the tourists. I also had several trips to New York to try to export to America with some success. I was commissioned by the Melbourne College of Textiles to write a Woven Textile Design Course to be taught under the outreach program. This was eventually translated into Spanish to be used by developing textile industries in South America.Card folder featuring pale blue and white clouds and sky motifs, with a thermometer on the cover. Folder holds eleven circular black cards, eight have wool fabric samples attached.Front [printed]: Celsius 30 / SPRING SUMMER / 74 / SPRING SUMMER / A Woolblendmark fabric developed especially for summer.ray smith, yarra falls, mills, textile design, fabric design, product development, wool corporation, fabric samples, 1970s fashion -
National Wool MuseumMap - The Tartan Map, John Bartholomew & Son Ltd, 1970s
... ...Fabric Design...After ten years at Albion Woollen Mills, Ray went on to hold fabric design positions at Prestige Fabrics and Yarra Falls, working up to management roles in both the Weaving and Fabric Design Divisions, and then as Product Development Manager at Yarra Falls until 2000. ...After ten years at Albion Woollen Mills, Ray went on to hold fabric design positions at Prestige Fabrics and Yarra Falls, working up to management roles in both the Weaving and Fabric Design Divisions, and then as Product Development Manager at Yarra Falls until 2000. ...Part of a collection of books, fabric samples and documents from the working life of Ray Smith. Ray began his career at the age of 15, working at the Albion Woollen Mills in Geelong in 1953. Over the next five decades, Ray furthered his education in textile design, weaving design, knitting and later computer aided design, including qualifications from Gordon Textile College, City and Guilds of London Institute, The Textile Institute, Melbourne Institute of Textiles and Royal Melbourne Institute of Technology (RMIT). After ten years at Albion Woollen Mills, Ray went on to hold fabric design positions at Prestige Fabrics and Yarra Falls, working up to management roles in both the Weaving and Fabric Design Divisions, and then as Product Development Manager at Yarra Falls until 2000. Ray shares some career highlights below: In 1977 and 1978 I won the Wool Corporation’s Celsius 30 Awards as Yarra Falls Designer. (See photos attached.) These awards came with study trips to the major Textile Centres and Trade Fairs around the world. This was proven to be beneficial and Yarra Falls sent me overseas every year for the next 22 years. On stopovers in Hong Kong we appointed an agent and took part in Textile Trade Fairs at Interstoff Asia and exhibited designs in 1991, 92, 93, 94. I created a pattern book for a chain of shops called “Kwun KeeTailors” for their customers to select our fabrics to be made up into suits for the tourists. I also had several trips to New York to try to export to America with some success. I was commissioned by the Melbourne College of Textiles to write a Woven Textile Design Course to be taught under the outreach program. This was eventually translated into Spanish to be used by developing textile industries in South America.Folded map attached inside a card folder, featuring a map of Scotland with tartan design and red and black text on the cover.Front [printed]: BARTHOLOMEW / the tartan map / with list of septs of the clansray smith, yarra falls, mills, textile design, fabric design, product development, wool corporation, map, tartan, scotland -
National Wool MuseumBook - Early Geelong, Do You Remember?, Solomons Pty Ltd, 1940s
... ...Fabric Design...After ten years at Albion Woollen Mills, Ray went on to hold fabric design positions at Prestige Fabrics and Yarra Falls, working up to management roles in both the Weaving and Fabric Design Divisions, and then as Product Development Manager at Yarra Falls until 2000. ...After ten years at Albion Woollen Mills, Ray went on to hold fabric design positions at Prestige Fabrics and Yarra Falls, working up to management roles in both the Weaving and Fabric Design Divisions, and then as Product Development Manager at Yarra Falls until 2000. ...Part of a collection of books, fabric samples and documents from the working life of Ray Smith. Ray began his career at the age of 15, working at the Albion Woollen Mills in Geelong in 1953. Over the next five decades, Ray furthered his education in textile design, weaving design, knitting and later computer aided design, including qualifications from Gordon Textile College, City and Guilds of London Institute, The Textile Institute, Melbourne Institute of Textiles and Royal Melbourne Institute of Technology (RMIT). After ten years at Albion Woollen Mills, Ray went on to hold fabric design positions at Prestige Fabrics and Yarra Falls, working up to management roles in both the Weaving and Fabric Design Divisions, and then as Product Development Manager at Yarra Falls until 2000. Ray shares some career highlights below: In 1977 and 1978 I won the Wool Corporation’s Celsius 30 Awards as Yarra Falls Designer. (See photos attached.) These awards came with study trips to the major Textile Centres and Trade Fairs around the world. This was proven to be beneficial and Yarra Falls sent me overseas every year for the next 22 years. On stopovers in Hong Kong we appointed an agent and took part in Textile Trade Fairs at Interstoff Asia and exhibited designs in 1991, 92, 93, 94. I created a pattern book for a chain of shops called “Kwun KeeTailors” for their customers to select our fabrics to be made up into suits for the tourists. I also had several trips to New York to try to export to America with some success. I was commissioned by the Melbourne College of Textiles to write a Woven Textile Design Course to be taught under the outreach program. This was eventually translated into Spanish to be used by developing textile industries in South America.Fifty two page hard cover book featuring yellow and brown images and text on the front and back cover showing scenes from Geelong. The book features sepia toned printed photographs and brown text.Front [printed]: EARLY GEELONG / DO YOU REMEMBER?ray smith, yarra falls, mills, textile design, fabric design, geelong, geelong advertiser -
National Wool MuseumTextile - Fabric Samples, Yarra Falls Ltd, 1970s
... ...Fabric Design...After ten years at Albion Woollen Mills, Ray went on to hold fabric design positions at Prestige Fabrics and Yarra Falls, working up to management roles in both the Weaving and Fabric Design Divisions, and then as Product Development Manager at Yarra Falls until 2000. ...After ten years at Albion Woollen Mills, Ray went on to hold fabric design positions at Prestige Fabrics and Yarra Falls, working up to management roles in both the Weaving and Fabric Design Divisions, and then as Product Development Manager at Yarra Falls until 2000. ...Part of a collection of books, fabric samples and documents from the working life of Ray Smith. Ray began his career at the age of 15, working at the Albion Woollen Mills in Geelong in 1953. Over the next five decades, Ray furthered his education in textile design, weaving design, knitting and later computer aided design, including qualifications from Gordon Textile College, City and Guilds of London Institute, The Textile Institute, Melbourne Institute of Textiles and Royal Melbourne Institute of Technology (RMIT). After ten years at Albion Woollen Mills, Ray went on to hold fabric design positions at Prestige Fabrics and Yarra Falls, working up to management roles in both the Weaving and Fabric Design Divisions, and then as Product Development Manager at Yarra Falls until 2000. Ray shares some career highlights below: In 1977 and 1978 I won the Wool Corporation’s Celsius 30 Awards as Yarra Falls Designer. (See photos attached.) These awards came with study trips to the major Textile Centres and Trade Fairs around the world. This was proven to be beneficial and Yarra Falls sent me overseas every year for the next 22 years. On stopovers in Hong Kong we appointed an agent and took part in Textile Trade Fairs at Interstoff Asia and exhibited designs in 1991, 92, 93, 94. I created a pattern book for a chain of shops called “Kwun KeeTailors” for their customers to select our fabrics to be made up into suits for the tourists. I also had several trips to New York to try to export to America with some success. I was commissioned by the Melbourne College of Textiles to write a Woven Textile Design Course to be taught under the outreach program. This was eventually translated into Spanish to be used by developing textile industries in South America.A collection of fabric samples from Yarra Falls, including twenty three sets of woollen fabric samples on black backing card, three sets of woollen fabric samples on white backing card and one Yarra Falls fabric label.PURE NEW WOOL / Yarra Falls / MELBOURNE AUSTRALIAray smith, yarra falls, mills, textile design, fabric design, geelong, geelong advertiser, fabric samples -
Federation University Historical CollectionBook - Book - Scrapbook, Ballarat School of MInes: Scrapbook of Newspaper Cuttings, Book 17, February 1983 to June 1983
... greg mannix fashion and fabric design...The papers concerned are The Courier, Ballarat, The Australian, The Age over the period of 12 February 1983 to 4 June 1983. courses available teaching positions advertised helping unemployed cope with life jill ewence coordinator of ballarat program women's access program at smb judy mills convenor new clothing firm aims for high quality ballarat teacher's antarctic adventure catering and hospitality course at smb tafe manager peter cutter official opening of smb hairdressing training school at smb 10/03/1983 revising educational aims smb catering course gillian malone pam hekkema fiona cox rod brangrove janine cody joanne filippe bernadette groat sherri lang oddie brings state's first country exchange to ballarat introduction of phone smb starts course for machinists rick van berkel wins tippett award motorcycle riders' training complex - site selected greg mannix fashion and fabric design visit by indonesian education advisors geoff mainwaring artist - work belongs to the nation vocational skills centre opened at smb - 29 April 1983 graduates face great challenges money for smb sports building philiptjerkstra competing in internationalskill olympics in austria mining education returns home bcae gains honor position helping young unemployed john francis top apprentice motor mechanic new breed of secretary industrial training centre Book with white cover, front, spiral bound. ...Collection of newspaper articles related to Ballarat School Of Mines.They cover activities and advertisements for staff. The papers concerned are The Courier, Ballarat, The Australian, The Age over the period of 12 February 1983 to 4 June 1983.Book with white cover, front, spiral bound. courses available, teaching positions advertised, helping unemployed cope with life, jill ewence coordinator of ballarat program, women's access program at smb, judy mills convenor, new clothing firm aims for high quality, ballarat teacher's antarctic adventure, catering and hospitality course at smb, tafe manager peter cutter, official opening of smb hairdressing training school at smb, 10/03/1983, revising educational aims, smb catering course, gillian malone, pam hekkema, fiona cox, rod brangrove, janine cody, joanne filippe, bernadette groat, sherri lang, oddie brings state's first country exchange to ballarat, introduction of phone, smb starts course for machinists, rick van berkel wins tippett award, motorcycle riders' training complex - site selected, greg mannix fashion and fabric design, visit by indonesian education advisors, geoff mainwaring artist - work belongs to the nation, vocational skills centre opened at smb - 29 april 1983, graduates face great challenges, money for smb sports building, philiptjerkstra competing in internationalskill olympics in austria, mining education returns home, bcae gains honor position, helping young unemployed, john francis top apprentice motor mechanic, new breed of secretary, industrial training centre -
Federation University Historical CollectionBook - Book - Scrapbook, Ballarat College of Advanced Education: Scrapbook of newspaper cutting, Book 12; November 1982 to May 1983
... ...fashion and fabric design...The cuttings cover the period from 30 November 1982 to 19 May 1983. . employment advertisements application for enrolment outline of courses new technology special concerts in founders hall spiros rantos exhibition by students new computer course electrical engineeringto the fore beaufort house to remain open bogus surveys warning young potters show wares adolescent drinking sheryl upton research ballarat leads in industrial safety marooned in antarctica dick richards student accommodation second priority victor edward greenhalgh ballarat sculptor myths about pocket money rosemary selkirk women turn to tertiary study health safety factors in new technology screen based equipment breaking the sound barrier euan pescott achievements despite deafness mars factory to use wind power foundry way ceramics display data bank in ballarat trading hours truths exposed fashion and fabric design greg mannix formerly of ballarat science courses could be tougher farmer-turned-teacher barrymacklin teachers urged to encourage students drawn into war geoff mainwarring when people need help anz bank gives new computer deans meet in ballarat mining education returns 'home' bcae centre of mining engineering high technology not a solution printmaker buys rare old press Book with beige cover, front. ...Newspaper cuttings relating to Ballarat College of Advanced Education. These are from various newspapers and include The Age, Ballarat Courier, The Australian, The Herald. The cuttings cover the period from 30 November 1982 to 19 May 1983. . Book with beige cover, front. Spiral bound.employment advertisements, application for enrolment, outline of courses, new technology, special concerts in founders hall, spiros rantos, exhibition by students, new computer course, electrical engineeringto the fore, beaufort house to remain open, bogus surveys warning, young potters show wares, adolescent drinking, sheryl upton research, ballarat leads in industrial safety, marooned in antarctica, dick richards, student accommodation second priority, victor edward greenhalgh ballarat sculptor, myths about pocket money, rosemary selkirk, women turn to tertiary study, health safety factors in new technology, screen based equipment, breaking the sound barrier, euan pescott achievements despite deafness, mars factory to use wind power, foundry way ceramics display, data bank in ballarat, trading hours truths exposed, fashion and fabric design, greg mannix formerly of ballarat, science courses could be tougher, farmer-turned-teacher, barrymacklin, teachers urged to encourage students, drawn into war, geoff mainwarring, when people need help, anz bank gives new computer, deans meet in ballarat, mining education returns 'home', bcae centre of mining engineering, high technology not a solution, printmaker buys rare old press, -
Kew Historical Society IncDecorative object - Paradise Bird Design Linen Curtains, GP&J Baker, 1920s
... ...fabric design...The fabric in the curtains was manufactured by the English firm of GP&J Baker. The textile design is variably named as ‘Paradise Bird’ or more recently, ‘Hydrangea Bird’. ...The curtains are an early example of the Paradise Bird design, and were block printed. curtains fabric design historic buildings A pair of curtains originally situated in one of the front reception rooms of 'Tourmont' in Balwyn Road, Balwyn (now Fintona Girls’ School). ...William Turner, a Scottish born free-lance designer, who was contracted to GP&J Baker, painted the image on which the design was based in 1918. Turner had trained as a furniture designer before leaving for London in the 1890s, where he rose to prominence as an Arts & Crafts designer. The bird that gives this design its name is adapted from Robert Havell’s ‘A Collection of Birds of Paradise’, published in 1835, and was a favourite of Victorian chintz designers.“Paradise Bird” has been in continuous production since its creation. The hand-block print, of which these curtains are an early example, was supplemented by a version engraved on copper rollers in 1962, and was updated onto screens in 1982. The curtains have significance to the collection because of their intrinsic value and for the link to one of the historic mansions in the City of Boroondara. The curtains by G.P & J Baker of London use one of the exemplary designs in this manufacturer’s output. The first use of the design was in 1918, following the Great War, and the design is said to reflect the hope for peace which was a feature of the postwar years. The curtains are an early example of the Paradise Bird design, and were block printed. A pair of curtains originally situated in one of the front reception rooms of 'Tourmont' in Balwyn Road, Balwyn (now Fintona Girls’ School). The fabric in the curtains was manufactured by the English firm of GP&J Baker. The textile design is variably named as ‘Paradise Bird’ or more recently, ‘Hydrangea Bird’. Turner’s bird perches in a blossoming branch directly above a woodpecker, which is an attribute of Mars, god of war. Thus the design reads as a symbolic statement where War is reversed and Paradise returns (a hopeful message at the end of WWI). “Paradise Bird” has been in continuous production since its creation. . curtains, fabric design, historic buildings -
National Wool MuseumDocument - The Fading Dream of Australian Home Ownership, Design and Fabric Sample, Judy Turner, 1989
... The Fading Dream of Australian Home Ownership, Design and Fabric Sample...fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design...Document The Fading Dream of Australian Home Ownership, Design and Fabric Sample Judy Turner ...‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Folio page depicting three items attached to a black card background. One item is a red, blue, black and white textile sample, another is a hand drawn sketch of a house, the third shows hand written text on lined paper in black ink.Front: [handwritten] Final / design / for housequilt, wagga, home, house, housing affordability, design -
Embroiderers Guild, VictoriaTextile - Panel, Lady Amies, 1965-66
... Pre-painted canvas fabric. Design of three doves and abstract pattern couched over with cream, black, brown and grey wool....Embroiderers Guild, Victoria 170 Wattletree Road Malvern melbourne Lady Amies (embroiderer), designer, Isle Rsempke Embroidery Panel 1960-80 Denmark Surface stitchery Pre-painted canvas fabric. Design of three doves and abstract pattern couched over with cream, black, brown and grey wool. ...Lady Amies (embroiderer), designer, Isle RsempkePre-painted canvas fabric. Design of three doves and abstract pattern couched over with cream, black, brown and grey wool.embroidery, panel, 1960-80, denmark, surface stitchery -
Stawell Historical Society IncClothing - Woollen Dressing Gown c1950's
... Mans Tartan Woollen dressing gown. Fabric designed and woven at Stawell Woollen Mills Colour Blue Violet. ...Stawell Historical Society Inc 46 Longfield St Stawell grampians North Western Woollen Mills became Norwellan Textiles then AUNDE Manufacture Norwellan label on inside Mans Tartan Woollen dressing gown. Fabric designed and woven at Stawell Woollen Mills Colour Blue Violet. ...North Western Woollen Mills became Norwellan Textiles then AUNDEMans Tartan Woollen dressing gown. Fabric designed and woven at Stawell Woollen Mills Colour Blue Violet. Brand New - Norwellan Norwellan label on insidemanufacture -
Kew Historical Society IncClothing - Yellow Silk Evening Coat, 1960s
... Long sleeved full length yellow raw silk evening coat fastened with a belt of the same colour and fabric. Designed by Jinoel of Melbourne...The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. women's clothing jinoel of melbourne (vic) coat dresses jill & noel kemmelfield mcintyre collection australian fashion - 1960s Label: Jinoel of Melbourne Long sleeved full length yellow raw silk evening coat fastened with a belt of the same colour and fabric. Designed by Jinoel of Melbourne Clothing Yellow Silk Evening Coat Jinoel of Melbourne Jingle ...Jinoel of Melbourne was a highly successful Australian fashion house launched by Jill and Noel Kemmelfield in 1957. Eleven years later the designers won the [Melbourne] Gown of the Year award. Jill and Noel Kemmelfield were later to launch Marty and Martine, their mid-market labels. They closed their business in the 1980s. The evening coat 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. Long sleeved full length yellow raw silk evening coat fastened with a belt of the same colour and fabric. Designed by Jinoel of MelbourneLabel: Jinoel of Melbournewomen's clothing, jinoel of melbourne (vic), coat dresses, jill & noel kemmelfield, mcintyre collection, australian fashion - 1960s -
Kew Historical Society IncClothing - Protective Wear, Apron, 1950s
... Multicoloured cotton apron using a fabric design employing floral emblems and figurative detail. ...Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest. aprons protective clothing handmade clothing costume accessories lisa sylvan Multicoloured cotton apron using a fabric design employing floral emblems and figurative detail. ...One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Multicoloured cotton apron using a fabric design employing floral emblems and figurative detail. The apron is hemmed with a pleated fabric of a different colouraprons, protective clothing, handmade clothing, costume accessories, lisa sylvan -
Embroiderers Guild, VictoriaTextile - Turkish Towel Fragment, Late 19thC
... Fragment of a Turkish towel hand woven natural coloured cotton fabric. Design, a row of 5 flower pots with stylish flowering plant. ...Purchased Istanbul 50 years ago Embroidery Turkey Istanbul Fragment of a Turkish towel hand woven natural coloured cotton fabric. Design, a row of 5 flower pots with stylish flowering plant. ...Purchased Istanbul 50 years agoFragment of a Turkish towel hand woven natural coloured cotton fabric. Design, a row of 5 flower pots with stylish flowering plant. Pink/red, orange, green border, and gold metal plate.embroidery, turkey, istanbul -
Kew Historical Society IncClothing - Floral Polyester Blouse, 1970s
... Multicoloured long sleeve fitted floral polyester shirt. The fabric design includes pink roses and chrysanthemums contrasted with yellow leaves and small yellow flowers. ...The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. women's clothing blouses mcintyre collection australian fashion - 1970s Multicoloured long sleeve fitted floral polyester shirt. The fabric design includes pink roses and chrysanthemums contrasted with yellow leaves and small yellow flowers. ...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. This blouse is one of a number of items donated to the Fashion Collection 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. Multicoloured long sleeve fitted floral polyester shirt. The fabric design includes pink roses and chrysanthemums contrasted with yellow leaves and small yellow flowers. The cuffed sleeves are extended to allow them to be bunched when worn.women's clothing, blouses, mcintyre collection, australian fashion - 1970s -
Embroiderers Guild, VictoriaFootwear - Slippers, 20th century
... 2 pieces of fine red wool fabric. Designed to be made into slippers, fine wool pieces in grey and cream are appliqued. ...Embroidery Surface stitchery Applique Slippers 20th century Scandinavia 2 pieces of fine red wool fabric. Designed to be made into slippers, fine wool pieces in grey and cream are appliqued. ...Parents of donor lived in Scandinavia for a time. Piwece is believed to be from Sweden or Finland.2 pieces of fine red wool fabric. Designed to be made into slippers, fine wool pieces in grey and cream are appliqued. Two fine braids have been couched, surface embroidery in satin stitch, chain, detached chain, and knots in gold and green thread probably silk complete the design.embroidery, surface stitchery, applique, slippers, 20th century, scandinavia -
Ballarat Apron FestivalApron, The Ballarat Apron, 2014
... This apron was designed for the Ballarat Apron Festival by local designer Clare Schreenan of Clasch Designs Ballarat. The tartan fabric...Grey, blue, white and yellow wool tartan fabric apron with asymmetrical design. Velco closures on back with zipper detailing. ...Ballarat Apron Festival PO Box 1019 Bakery Hill goldfields This apron was designed for the Ballarat Apron Festival by local designer Clare Schreenan of Clasch Designs Ballarat. The tartan fabric ...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 -
Embroiderers Guild, VictoriaTextile - Panel
... Greek cross stitch design on heavy cotton even weave fabric. Geometric design in red, pink, orange, green and black. ...Embroidery Cross stitch Panel Greece Greek cross stitch design on heavy cotton even weave fabric. Geometric design in red, pink, orange, green and black. ...Greek cross stitch design on heavy cotton even weave fabric. Geometric design in red, pink, orange, green and black. embroidery, cross stitch, panel, greece -
Brighton Historical SocietyHeadwear - Bonnet, Late 19th Century
... A hand sewn ivory cotton, embroidery anglaise child’s bonnet from the late 1800s. The bonnet fabric design combines features a combination of narrow pin tucking and embroidered flowers on a vine. ...In later years St Ninians was subsequently subdivided and later demolished. george ward cole st ninians late 1800s bonnet margaret morrison ward cole agnes bruce ward cole thomas anne ward cole brighton A hand sewn ivory cotton, embroidery anglaise child’s bonnet from the late 1800s. The bonnet fabric design combines features a combination of narrow pin tucking and embroidered flowers on a vine. ...A cotton bonnet belonging to the family of George Ward Cole’s in the late 1800s. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished. A hand sewn ivory cotton, embroidery anglaise child’s bonnet from the late 1800s. The bonnet fabric design combines features a combination of narrow pin tucking and embroidered flowers on a vine. The bonnet edge is finished with a double-layered delicate gathered lace ruffle around all the edges. The bonnet secures under the chin with a delicate tie made of a similar but plain fabric.george ward cole, st ninians, late 1800s, bonnet, margaret morrison ward cole, agnes bruce ward cole, thomas anne ward cole, brighton -
Kew Historical Society IncClothing - Protective Wear, Pinafore, 1950s
... Brigtly coloured pinfaore using a representative 1950s fabric with a design of kitchen items in different colours...Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest. protective clothing handmade clothing costume accessories lisa sylvan pinafores fashion design women's clothing -- 1950s fashion 1950s Brigtly coloured pinfaore using a representative 1950s fabric with a design of kitchen items in different colours Pinafore Clothing Protective Wear ...One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Brigtly coloured pinfaore using a representative 1950s fabric with a design of kitchen items in different coloursprotective clothing, handmade clothing, costume accessories, lisa sylvan, pinafores, fashion design, women's clothing -- 1950s, fashion 1950s -
RMIT Design ArchivesTextile - Textile Design Sample
... From 1952 until 1953 Ostoja-Kotkowski had a brief, but productive, period working as a designer in the Prestige Fabric Design Studio in Melbourne. Ann Carew, 2017...From 1952 until 1953 Ostoja-Kotkowski had a brief, but productive, period working as a designer in the Prestige Fabric Design Studio in Melbourne. Ann Carew, 2017 The textile design has aesthetic significance as an example of the early Australian work of noted emigre artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski, and it has historical significance for its association with the Prestige's Textile Design Studio, and the studio's art director, Gerhard Herbst. emigre polish design textile design rmit design archives Small sample of pale green rayon fabric with a bold, repeating geometric pattern printed in black and white. ...The Polish born artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski (1922-1944), who arrived in Melbourne in 1949 on the 'Fairsea', a ship carrying displaced persons from Europe and the Baltic States. He sought employment in architectural and design practices, and also enrolled in classes at the National Gallery School. From 1952 until 1953 Ostoja-Kotkowski had a brief, but productive, period working as a designer in the Prestige Fabric Design Studio in Melbourne. Ann Carew, 2017The textile design has aesthetic significance as an example of the early Australian work of noted emigre artist, designer and filmmaker, Stanislaus Ostoja-Kotkowski, and it has historical significance for its association with the Prestige's Textile Design Studio, and the studio's art director, Gerhard Herbst. Small sample of pale green rayon fabric with a bold, repeating geometric pattern printed in black and white.emigre, polish, design, textile design, rmit design archives -
Embroiderers Guild, VictoriaTextile - Panel, Cynthia Sparks, 20thC
... Orange background openweave fabric "sunburst' design. Orange looped centre with radiating lines in various stitches in dark blues, yellow, black, gold on nets of pink, yellow, orange and dark blue....Embroiderers Guild, Victoria 170 Wattletree Road Malvern melbourne Acquired after Cynthia's death, via Gabriella Verstraten Embroidery Creative embroidery Panel Orange background openweave fabric "sunburst' design. Orange looped centre with radiating lines in various stitches in dark blues, yellow, black, gold on nets of pink, yellow, orange and dark blue. ...Acquired after Cynthia's death, via Gabriella VerstratenOrange background openweave fabric "sunburst' design. Orange looped centre with radiating lines in various stitches in dark blues, yellow, black, gold on nets of pink, yellow, orange and dark blue.embroidery, creative embroidery, panel -
Kew Historical Society IncClothing - White Embossed Cotton Evening Dress, Ricki Reed, 1960s
... The Ricki Reed’s brand often favored synthetic fabrics designed to keep up with the life of an active, busy woman. ...The Ricki Reed’s brand often favored synthetic fabrics designed to keep up with the life of an active, busy woman. ...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 -
Greensborough Historical SocietyBooklet - Digital Image, N Z Transfer Company, Tip-top Transfers, Book 1: Sprays, 1959_
... In this booklet, iron-on transfers are provided to be applied to garments or other fabric. The design can then be embroidered over the transfer. ...In this booklet, iron-on transfers are provided to be applied to garments or other fabric. The design can then be embroidered over the transfer. ...Front cover and sample page from "Tip-top Transfers, Book 1: Sprays". An example of mid century sewing and homemaker books. In this booklet, iron-on transfers are provided to be applied to garments or other fabric. The design can then be embroidered over the transfer. This edition contains flower designs, or sprays.An example of mid 20th century advertising through 'how-to' books.Digital copy of front cover and sample page of a booklethistoric advertisements, domestic science, tip top transfers, embroidery, sewing -
Embroiderers Guild, VictoriaClothing - Child's Coat and Bonnet, 1900-20
... Smocked full length lined coat, fine cream fabric, floral design on front and bottom edges. Cream silk surface embroidery and filled eyelets. ...Embroidery 1900-20 Australia Smocking Surface stitchery Garments - Childs Smocked full length lined coat, fine cream fabric, floral design on front and bottom edges. Cream silk surface embroidery and filled eyelets. ...Smocked full length lined coat, fine cream fabric, floral design on front and bottom edges. Cream silk surface embroidery and filled eyelets. Smocking on waist and cuff. 60 mm band of smocking at waist, embroidered collar. Bonnet with matching embroidery pattern, lace trim, frills and rosettes.embroidery, 1900-20, australia, smocking, surface stitchery, garments - childs -
Embroiderers Guild, VictoriaTextile - Tea Cosy (part of), Late 19th century
... A shield shape, with brightly coloured cotton surface stitchery entirely covering a printed Persian design fabric....A shield shape, with brightly coloured cotton surface stitchery entirely covering a printed Persian design fabric. Textile Tea Cosy (part of) ...From donor's aunts home 'Canterbury House'.Said to be one of a 3 sectioned tea cosy fashioned in the late 1900's. A shield shape, with brightly coloured cotton surface stitchery entirely covering a printed Persian design fabric.embroidery, tea cosy, india, surface stitchery, late 19th century -
Embroiderers Guild, VictoriaTextile - Indian Sohrai Tea Cosy
... It is of cream cotton fabric with a tamboured design of dragons in brown and black. ...It is of cream cotton fabric with a tamboured design of dragons in brown and black. ...Sohrai embroidery is a traditional art form inspired by the, ritualistic, nature-based wall paintings of Jharkhand, India, created by tribal women, often during harvest seasons. This style features intricate, geometric, and figurative motifs—such as animals, birds, and plants—translated onto fabrics using techniques like Kantha stitch, embroidery, and sometimes mirror work.Tea cosy is probably Indian. It is of cream cotton fabric with a tamboured design of dragons in brown and black. Includes tea cloth and napkins.embroidery, tea cosy, india?, tambour work -
Numurkah & District Historical SocietyLadies gold shoes
... Gold fabric has diamond shaped design ...Gold fabric has diamond shaped design Ladies gold shoes ...Ladies shoes, gold fabric, medium heels, strap around the ankle, toes covered. Gold fabric has diamond shaped design Briolettesshoes, footwear, ladies, gold fabric -
National Wool MuseumClothing - Suit Jacket, c.1970
... This Suit Jacket was tailored from fabric designed by Nino while he was working at the Foster Valley Mill. ...Four darker grey vertical and horizontal lines make up the design of the fabric on the exterior of the suit jacket. ...This Suit Jacket was tailored from fabric designed by Nino while he was working at the Foster Valley Mill. ...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 -
Bendigo Military MuseumUniform - JUMPERS, ARMY, Elegant Knitting Co, 1989
... Jumpers - olive green/Khaki colour, wool/nylon blend fabric. Ribbed design with olive green colour cotton twill fabric, reinforced elbows and shoulders with shoulder epaulettes with Velcro fasteners. 2. ...Jumpers - olive green/Khaki colour, wool/nylon blend fabric. Ribbed design with olive green colour cotton twill fabric, reinforced elbows and shoulders with shoulder epaulettes with Velcro fasteners. 2. ...Uniform issued to "D. HUTCHINSON". Refer also Cat No 10313.3.1. & 2. Jumpers - olive green/Khaki colour, wool/nylon blend fabric. Ribbed design with olive green colour cotton twill fabric, reinforced elbows and shoulders with shoulder epaulettes with Velcro fasteners. 2. Top of sleeves - rank insignia cloth patch, brown and white, two stripes - Corporal. Manufacturers information - white colour cotton label, back of neck ribbing.Manufacturer's details - black ink print.. 1. & 2. ELEGANT KNITTING CO./ PENRITH, NSW, 1989 (1990)/ 8405-66-093-2703/ size; 95-105R ^/ SERVICE NO./ NAME/ 80% WOOL/ 20% NYLON" INCLUDING LAUNDRY INSTRUCTIONS. d. hutchinson, uniform, army, jumpers
