This creative tapestry, woven in 1988, documents a thousand years of Warrnambool history. It hangs in the Great Circle Gallery at Flagstaff Hill and complements the theme of the display. Three local women, with the help of Museum staff, researched and designed the tapestry, which was woven in 1988 from wool and cotton. It is ten meters long and seventy centimetres high. The beautiful creation took seven months to create. The tapestry introduces the seafaring theme of Flagstaff Hill Maritime Museum and Village, and illustrates a timeline of events dating back to the arrival of Europeans in the Warrnambool area. It begins with the settlement of the area by Europeans and travels back in time as you walk further into the gallery, depicting shipwrecks along the coast, whaling in the area, early exploration by Europeans James Grant and Nicholas Baudin, back to the indigenous settlement of the area, represented by middens and indigenous symbols. Interestingly, before being hung in the gallery, the tapestry was originally hung with the intention of being framed from right to left. All materials in the cotton and wool tapestry, including dyed wool, were prepared for a cost of $33,000. The project was supported by local philanthropic groups.The tapestry is a hand worked creation by local women. It shows a visual display of a thousand years of Warrnambool's history, connecting the land and sea to people and events.Tapestry of the early history of the Warrnambool area, rectangular in shape. Materials include cotton and wool, some of the wool being hand-dyed. Handmade in 1988 by local women.A plaque accompanies the Tapestry "Flagstaff Hill Maritime Tapestry / 1989 / Tapestry: Woven Cotton and Wool / Mary O'Brien Gerda Shanley / Judith Stewart Beryl Conlan"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, tapestry, warrnambool history, warrnambool textiles, wall hanging, weave, south west victoria history, south west victoria timeline, indigenous people, early settlement, whaling, james grant, nicholas baudin, cotton, wool, dyed yarn, handmade, hand-dyed yarn

Hand spun, hand dyed, hand woven and hand sewn suit which won best garment in the 1987 Geelong show. Size 12 in a design by Chanel. It was spun with variegated natural greys on a Sheridan horizontal spinning wheel. It was then dyed pink using natural dyes. The jacket had commercially brought warp and hand spun weft in twill on a 24” loom. All spinning, dyeing and weaving was by Jean Inglis of Geelong. The suit was sewn by Caroline Mogic of Geelong, with iron on interfacing, commercially brought trim. It was worn only once in the parade at the Geelong show. The pink suit jacket has four pockets with gold buttons on front, size 12. The jacket has a checker-plate pattern in which the predominate pink is always present and is accompanied in areas which have grey or white showing through the pink. This checker plate pattern continues down the sleeves of the jacket. The edge of the jacket has a lighter pink trim. A pink skirt accompanies the suit jacket. It has horizontal lines with pink as the predominate colour and areas of grey and white showing through in sections. geelong show, hand spun, hand dyed, hand woven, hand sewn, channel

This sample is one of five donated by Mrs Walker who dyed her own yarns to knit into hats which she felted herself (in a washing machine) to sell at craft shops. She ran workshops and also taught home dyeing. She used a Landscape and Earth Palette and also used food colouring, jelly and cake decorating colours.Small hank of home dyed thick woollen yarn. In light shades of pink, mauve, blue and green.handicrafts, robin walker, craft, felting, hand dyed, wool, yarn

This sample is one of five donated by Mrs Walker who dyed her own yarns to knit into hats which she felted herself (in a washing machine) to sell at craft shops. She ran workshops and also taught home dyeing. She used a Landscape and Earth Palette and also used food colouring, jelly and cake decorating colours.Small hank of home dyed woollen yarn. In light shades of pink, mauve, yellow, blue and green.handicrafts, walker, mrs robin, dying, hand dyed, wool, craft, felting

This sample is one of five donated by Mrs Walker who dyed her own yarns to knit into hats which she felted herself (in a washing machine) to sell at craft shops. She ran workshops and also taught home dyeing. She used a Landscape and Earth Palette and also used food colouring, jelly and cake decorating colours.Small hank of home dyed woollen yarn. In dark shades of pink, mauve, blue and green.handicrafts, robin walker, craft, wool, hand dyed, yarn, felting

This sample is one of five donated by Mrs Walker who dyed her own yarns to knit into hats which she felted herself (in a washing machine) to sell at craft shops. She ran workshops and also taught home dyeing. She used a Landscape and Earth Palette and also used food colouring, jelly and cake decorating colours.Small hank of home dyed woollen yarn. In shades of yellow, orange, green and brown.handicrafts, robin walker, hand dyed, wool, yarn, felting, craft, colour

Handmade from Wimmera farming district in Victoria.Long brown fleece coat with collar and two pockets.sheepskin, coat, wool, handmade, hand dyed, wimmera, farming, fashion, makers

Two remnants of needle-turned applique on cotton tulle. Grey hand dyed fabric. Side pieces for corset.

Made by Rhonda Justus for the Guild's 2017 exhibition and purchased for the collection.Creatively manipulated hand dyed fabric, on a fawn background, depicting ocean wave, with embellishment of tiny shells, beads and sequins with some simple stitching.Action and reaction , ebb and flow, trial and error, change - this is the rhythm of living. (B. Barton)applique, fabric manipulation, embroidery, beads, smocking, dyed fabric

Made by Gertrude Chambers aged 10, who was the mother of Mary Hart Davies. Mary was a textile chemist and founder of Kacoonda hand dyed threads.Crazy patchwork teacosy with a great deal of hand embroidery in a variety of threads.embroidery, patchwork, crazy patchwork, tea cosy

Mady by Jean Inglis in 1986 for Geelong Show. Wool was hand spun, hand woven and hand dyed. Outfit was put together by a Geelong based dressmaker and was only worn once during the parade at the Show. Size 12. Earliest Date: 1986Cream coloured wool jacket. One button. Label attached with safety pin. Three buttons on cuff of each sleeve. White lining inside. Part of a Chanel style suit.

Made by Jean Inglis of Geelong for the Royal Melbourne Sheel Show 1988 and the fashion competition 'Fashions of the Eighties' where she won First Prize. Earliest Date: 1988. Wool for shirt was hand woven and hand dyed by maker, using the Shibori dying method.Dark navy blue t-shirt with pale blue horizontal line pattern. Shirt has a white lining inside.

"No Sugar" was the winnning entry in the Expressions 2002; The Wool Quilt Prize. It was on exhibit at the National Wool Museum from 23 September to the 15 December 2002.Large green handstitched quilt with orange cross. (This picture shows the quilt on its side - it is displayed with the cross on the left and the darker area at the lower left.) Statement from Katherine Morrison regarding working technique and Expressions. Statement by Katherine Morrison regarding working methods and Expressions. CV of Katherine Morrison, Winner of Expressions 2002 Entry from 'Expressions 2002: The Wool Quilt Prize 23 September - 15 December 2002 National Wool Museum, Geelong', no.15. Article from New Zealand Quilter issue 28 'Featured Quilter: Katherine Morrison', page 1 (page 4 of issue) Article from New Zealand Quilter issue 28 'Featured Quilter: Katherine Morrison', page 2 (page 5 of issue) Article from New Zealand Quilter issue 28 'Featured Quilter: Katherine Morrison', page 3 (page 6 of issue) Article from New Zealand Quilter issue 37 titled '2 Women's Work', page 27 of issue Article from New Zealand Quilter issue 41 titled 'Rural Composition', page 21 Photo and explaination of Katherine Morrison's quilt 'Something Borrowed', made 1997"No Sugar" by Katherine Morrison 84 Blue Mountains road Silverstream upper Hutt New Zealand ph/fax 04 5288624 "NO SUGAR' 2002 An original quilt by Katherine morrison Hand dyed woollen (old) blankets handquilted QUILT CARE MADE WITH PURE N.Z. WOOL BATTINGquilting, blankets, new zealand

This dress was created by Jean Inglis for a competition of garments hosted by the Geelong Handweavers and Spinners Guild at a ski weekend in 1979. It was entered in the ‘evening wear’ category of hand spun and knitted garments. The Warp was commercially brought 2/24 wool. The Weft was hand spun black Corriedale wool. This wool was brought at a sale in Geelong and was hand dyed and spun by Jean. The patter is a ‘Ripple’ variation of a ‘Crackle’ weave completed on Jean’s own Dobby Loom (pictured). Long black dress stretching from the feet, reaching up to a hood at the neckline and down to the hands in the sleeve. The dress is black with a glossy silver pattern in the form of a band around the hood, hands and feet of the garment. In these bands is a wavy pattern of silver and black lines. There are multiple thick and thin lines of both the silver and black colours mirroring each other as the pattern stretches around the garment. wool, weaving, hand spun, corriedale

Artist Alison Withers work DIY Deluge Design No. 5 was awarded Expressions: The Wool Quilt Acquisitive Award in 2023. Works were received from across Australasia and internationally from some of quilting’s most highly regarded and awarded artists. Finalists work was displayed at Art Quilt Australia 2023 presented by Ozquilt Network and the National Wool Museum from 12 August to 12 November 2023. Artist Statement: It's clear we need to adapt the anatomy of our human spaces to become more resilient to the increasingly unavoidable impacts of climate change. Made by piecing, applique and free machine stitching, using industrial felt, hand dyed merino felt, woollen suiting, cotton fabric, wool theatre curtain backing and cotton and polyester thread.Rectangular portrait orientated art quilt depicting an environmental scene including boats, lights, elevated buildings, plants and birds on a background of shades of cream, blue and grey. A baton is sewn into the back at the bottom.Back: DIY Deluge Design No.5 / Alison Withersquilt, ozquilt network, prize, wool, art, felt, piecing, applique

This quilt or wall hanging is entirely hand-made by noted Orbost district craftsperson, Elsa Williams (nee Elsa Beavis, b 27-5-1924, d 22-6-2007) who lived on a property at Wombat Creek near Orbost in the 1980s. Elsa had her own sheep, spun and dyed the wool, and crafted this quilt. For about 20 years, Elsa was a member of a weaving group started by Gwenda Bland at Lake Tyers. Elsa wove carpets for her own home at Wombat Creek. Gwenda Beavis was given this quilt by Elsa in 2007 and it was often displayed around the district, receiving many comments due to the quality of the workmanship and design. This quilt has been made from hand-spun and hand-dyed wool. The background is Tricot crochet squares, and the coloured decorations of Australian animals and plants have been embroidered onto the tricot squares. This items is significant because it shows excellent creativity and quality of workmanship. It also represents an era in Australia when hand-weaving, spinning, and dying wool became very popular as hand-crafts. A hand-made woollen quilt, cream background, with images of Australian flowers, plants, birds, and animals embroidered onto the cream background. elsa williams, handcrafted quilt, australiana design, spinning and weaving

Jenny Rowe says: This piece was inspired by some hand dyed threads, interesting fabrics and a piece called Soleil Rouge by Celcile Meraglia which I saw on Pinterest. I began by ironing various size circles and ovals on to the silk dupion backing. I then drew the lines that surround them and divided the spaces. These were worked by couching various threads and tapes, loads o chain stitch (my favourite) whipped, laced, over worked with running stitch in a contrasting colour or with buttonhole stitch worked into the side. Stitches used for the circles and filling include - fly , lazy daisy, Chinese and French knots, raised chain bands, up and down buttonhole, spider web, herringbone, feather, Palestrina, Roumanian and seed stitches. I used these as the whim took me and I kept going back and forth adding layers until I just had to say STOP! Finally I added a few cogs in a nod to steam punk, one of my favourite styles. It was a wonderful piece to use many different stitches and all those lovely threads in your stash. I had tremendous fun stitching this. Example of contemporary creative surface stitcherySilk dupion panel designed and embroidered with surface embroidery using many different stitches and threads. Embellished with metal cogs in a nod to steam punk style. floral, freeform, steam punk

Presented to Jean Inglis as a prize for winning the textile competition at the 1988 Royal Melbourne Sheep Show. Her entry was a hand spun, woven and dyed wool suit for the Fashions for the Eighties parade competition. Earliest Date: 1988Dark blue felted wool sash with yellow text attached. Test reads "THE AUSTRALIAN SHEEP BREEDERS ASSOCIATION INC. / 1988 WEEKLY TIMES MELBOURNE SHEEP & WOOLCRAFT SHOW / WOOLCRAFT COMPETITION"

Agricultural worker's hand-loomed linen smock, dyed brown. Fully hand-stictched with smocking details on front and back and sleeves. Opening at front and back neck area fastened with now missing buttons.smock, rural dress, linen, hand stitching, agriculture

Hat was purchased from Myers Geelong by Jean Inglis for use in the Royal Melbourne Sheep Show 1988. Jean made the blue patches which are attached to the hat. They are hand spun, woven and dyed by Jean in Geelong, with the dyeing done in Drysdale. Earliest Date: 1988Cream colouored wool hat with navy blue patterned patches affixed. Two labels on inside "Bermona / Trend / LONDON" and another warning not to wear in the rain.jean inglis, royal melbourne sheep show

The quilt was purchased from the Wool Quilt exhibition held at the National Wool Museum in 1995. It was subsequently exhibited in the Expressions 2000: The Wool Quilt Prize exhibition in the 'Invited exhibitors' section of the show. (Jan Irvine wrote the catalogue essay for this exhibition.) The quilt is part of the "Running Stitch" Collection. This quilt is titled "Sure as Night follows Day" and was made by Jan Irvine from worn and recycled woollen blankets with wool batting. The quilt has been crazy pieced, air brush dyed and hand quilted. The quilt was exhibited in the Running Stitch Contemporary Wool Quilt Exhibition held at the National Wool Museum in 1995 and was purchased for $1800 from this exhibition. The quilt was catalogue entry no. 18. It was later exhibited in "Expressions 2000: the wool quilt prize" from 16 Sept. to 3 Dec. 2000 (extended until 2/2/2001, catalogue entry no. 26).Catalogue entry from "Expressions 2000" Catalogue, held 16th September to 3 December 2000. Introduction to exhibition "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery. Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 6 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 7 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 8 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 9 Essay by Glenda King from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 10 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 1 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 2 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 3 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 4 Biographical notes from exhibition catalogue "fragility & endurance - textiles by Jan Irvine-Nealie", held at The Queen Victoria Museum and Art Gallery, page 5SURE AS NIGHT FOLLOWS DAY DESIGNER + MAKER: JAN IRVINE NSW AUSTRALIA MADE:1995...quilting, handicrafts, textile art, running stitch group, blankets, running stitch collection, irvine-nealie, ms jan

Brought to Orbost from the New Hebrides in about 1900.A round hand-woven palm fan. It has made with dyed fibres.fan handcraft new hebrides ethnographic dress-ornament

​In March 2014 Tracey Mallett, Manager Organisation Planning at the City of Whittlesea, represented the City of Whittlesea on a visit to the Buka Urban Council in Bougainville, Papua New Guinea, on behalf of the International Women’s Development Agency. During her trip, Tracey acquired two hand made bags and Shell necklace which she donated to the City of Whittlesea Civic History Collection.handbags, handmade

​In March 2014 Tracey Mallett, Manager Organisation Planning at the City of Whittlesea, represented the City of Whittlesea on a visit to the Buka Urban Council in Bougainville, Papua New Guinea, on behalf of the International Women’s Development Agency. During her trip, Tracey acquired two hand made bags and Shell necklace which she donated to the City of Whittlesea Civic History Collection.handbags, handmade

Commission and purchased by Guild funds, November 1985 from Verina Warren, an English embroidery designer. She is mentioned in the top 12 British embroiderers Book by Diana Springall.A picture of rural English landscape, mainly in blues and greens. A picture within a picture. Inner picture painted and over embroidered by hand and machine. Inner frame, narrow wrapped in green (rayon?). Surround dyed/painted silk and embroidered with lower quart thick card, painted with grasses. Mount - green card. Gold frame.Signed "Verina Warren '85"embroidery, pictures, england, creative, 1980-2000, painted, landscapes

Created for and entered in the 2008 ‘Expressions: The Wool Quilt Prize’- “The quilts connect us to our past and to our future, by interpreting Australian themes and telling our stories.”- Judy Hooworth, Quilter and Judge of the Prize. Donated to the National Wool Museum after the conclusion of the exhibition.Eucalyptus dyed woolen blanket base with salvaged fabrics hand sewn to create a patchwork effect. The eucalyptus dye has been used to create different tones of brown and red throughout the design with further dyeing used to create leaf imprints on the fabrics. A running stitch has been used to quilt the wagga, the stitching is imperfect, in places tied on the surface of the wagga.On reverse: INDIA FLINT RED BLANKET WAGGAexpressions: the wool quilt prize, quilt, india flint, wagga

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