Drawing of a geometrical pattern using hexagon, diamond shapes and triangles in various coloursGec M. 20.1. 1925 - 3L STgeometrical pattern, marcela bole

Yakan textiles, known as tennun, are intricate, handwoven fabrics from the Yakan people of Basilan, Philippines, characterized by vibrant colours and complex geometric patterns. Traditionally woven by women on backstrap looms using abaca, cotton, or silk, these textiles represent cultural identity, resilience, and high-level craftsmanship.Woven cloth with tapestry weaving technique in some areas. Geometric patterns in red, black, yellow, orange, pink, white and green. Mainly cotton, some pink threads in silk.weaving, early 20th century, table cloths

Phillip George was inspired by his trip to the Middle East and the Cronulla riots in 2005 when Lebanese Australians where targeted on a beach in Sydney. The full series consists of 30 surfboards which are all adorned with intricate Islamic vegetal and geometric designs. The range was called Inshallah, or God willing and was made by George in the hope of bridging the cultural divides between Australian Muslims and other Australians.Fibreglass and carbon fire surfboards with digital decals x 3. The Inshallah surfboard series employ designs from famous mosques, showcasing the vegetal and geometric patterns of traditional Islamic design.phillip george, islamic design, australian culture, australian art, surfboard

Michael O’Connell (1898-1976) arrived in Melbourne in 1920 with no professional training apart from that of a soldier on the Western Front. During the 1920s however he discovered a talent for design and, returning from a visit home to England via France and Italy in 1929, focussed on textile design with his wife Ella. This fragment of a wall hanging shows clear indebtedness to the School of Paris, Matisse in particular, and other designs from the early 1930s indicate that O’Connell was familiar with the work of Raoul Dufy who had created some successful and popular fabric designs for Paul Poiret.Textile piece featuring women and geometric patterntextile design, rmit design archives, mid-century modern

Tenerife or Nhanduti Style Lace Doily With Geometric Patterns.manchester, table linen, doily, https://www.lynxlace.com/filetlacistenerife.html

See 359White glazed border tile with blue geometric pattern'676A' '436' '33'ceramics, earthenware

See NA359Green glazed border tile with yellow geometric pattern'563' '5' (on back)ceramics, earthenware

Black net woven with silver metallic ribbon with a geometric pattern.costume, female

Five octagonal shaped side plates with floral and geometric patterns and gilding on rim.Phoenix Ware Made in England T.F & S.L.Ltddomestic equipment, table setting, plate

Purchased for Guild by Miss Teague in Greece 1961.Geometric pattern in bright coloured threads and beads and gold thread on natural background.garments, late 19th century, mid european, beadwork, embroidery

Portrait of Mollie Riches (1896-1979), co-founder of the Rheumatism and Arthritis Association of Victoria (RAAV). This photo appears on page 1 (cover page) of the Vol 14, September 1979 issue of RAAV's quarterly newsletter, News Review, to commemorate the death of Mary "Mollie" Riches' on the 29th of August of that year. It accompanies a brief obituary by Dr Leslie Koadlow (1920-2006), co-founder of the RAAV. A more detailed obituary was published in the following issue of the newsletter. B&W portrait of a woman wearing a dress in a bold geometric-patterned fabric.[On photo, in blue ink] Courtesy of Lincoln Institute 10/5/78 [On a MOVE-branded sticky note, in blue ink] RAAV News Vol. 14 1978 Mollie Richesmollie riches, founders, co-founders, rheumatism and arthritis association of victoria, raav, royal talbot rehabilitation hospital, action house, action centre, news review, lincoln institute, lincoln institute of health sciences, update, 1978

See 359Glazed border tile - cream, green and orange with black edging forming geometric pattern(on back) '9' '676' '36'ceramics, earthenware

This scarf was part of the 1981-1990 look for the flight attendants designed by Adele Weiss and presented in the Panorama (Ansett journal).Square silk scarf with geometric pattern navy, white, red, yellow, light blue colours.Printed on the scarf: Ansett. On label: 100% Silk/a Scarf by Frescascarf, uniform, silk, fresca, ansett

174 p. : frontispiece col. illustration. Light brown cover with geometric pattern in dark blue.fictionfiction, children's fiction, g. a. henty

Purple yearbook with colourful geometric patterns and squiggles in the background reading Wangaratta High School 2016Wangaratta High School 2016

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

An embellishment often used to create statement collar necklaces.Beaded collar attached by clasp, with geometric pattern of bugle and seed beads. Flared front trim of bugle and seed beads.bead work, collar, art deco

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.Forest Green Childrens jumper with geometric ‘alpine’ pattern with long sleeves and ribbed cuffs and round neck collar. Textured geometric pattern is created with purl stitches and extends both on the front and back of the jumper, as well as down the sleeves.[white label at back neck printed with blue ink] KATHRYN REGD SIZE 1 / LENGTH 84cm / WEIGHT 12kg / Made in Australia ACRYLIC/WOOLchildren's knitwear, knitwear, clothing, children's clothing, jumper, manufacturing, fashion textile production, machine knitting

Pattern using hazel bush as the base flower, arranging it in a circlepattern, geometrical, marcela bole

Linen tablecloth created by Charlotte Elizabeth Moullin, grandmother of the donor. Last used by family for the christening donor's son Cameron, 50 years ago (From 2019). The tablecloth was passed down through the family as a family heirloom. The donor has no grandchildren so has donated the tablecloth to the BHS.Large rectangular white white tablecloth bordered in lace with lace inserts and extensive cut work. There is a central rectangular insert with geometric pattern."C E Moullin" embroidered in red cotton on one corner.late victorian needlework, handmade embroidery, tablecloth

Box: Blue and white outside, gold inside. Cards: Back- Blue and white geometrical pattern. Front- Standard, 4 suits. -52 cardsTop of Box- BY APPOINTMENT, DE LA RUE STATIONERS, SUPPLIERS OF PLAYING CARDS TO THE LATE KING GEORGE V1 Bottom of Box- MADE IN ENGLAND

Geometric patterned mosaic Tunbridge ware sewing items were souvenirs of the early 1800's from Brighton and Kent.Representative of the exacting craft of Tunbridge ware,Tunbridge ware mosaic covered needlebook with different designs on the two sides. Inner flannel for needlestunbridge ware, needlebook

Partial deck of 41 playing cards. Back of all card features a blue geometric pattern with racquets & balls motif at centre. Materials: Cardboard, Inktennis

Purchased by Miss Sebaly's grandmother in Paris. Classic bag of the period.Small beaded bag, ivory satin, silver bugle and white and silver seed beads. Squared geometric pattern, silver coloured metal frame. Pearl clasp. embroidery, bead work, tambour work, bags, 1920-40, france

Natural coloured linen embroidered with heavily padded metal thread work. Flower centres are drawn thread. Appliqued onto a brown geometric patterned braid border.embroidery, drawn thread, metal work

Condiments set including stand made of brass (?) with four ball feet, flat base, wire frame and handle to fit four glass containers. 1st glass container: rectangular glass box (no lid) with moulded geometric pattern. 2nd glass container: square base with round neck, same geometric pattern, broken stopper. 3rd glass container: square with metal hinged lid with knob.E.P.N.S., 1' (Electro-Plated Nickel Silver), embossed on frame and metal lid of 3rd itemdomestic items, food and drink consumption, condiments, glass, rack, e.p.n.s., metalwork

Pale yellow-green, uranium glass object was used as a newspaper holder. The rolled newspaper was inserted through the hole in the middle. The glass has been pressed with geometrical patterns.Green-yellow frosted glass with floral design etchings.newspapers, glass, uranium glass, depression glass, vaseline glass