Worn by Rose Caplan who was the donor, Ida Gouttman's mother. Immigration records show that Morris and Rose (Rosa) Caplan emigrated to Australia from England in 1910 on the Orsova. Rose died from a sudden illness in 1928 while she and her husband were travelling in Europe and had just visited her father in Latvia. Rose was buried in Berlin. Rose and Morris' daughter Ida, who had kept the shawl, married Leon Gouttman in Sydney in 1938. Ida was an active member of the Brighton Historical Society when she moved back to Melbourne later in life. Large blue silk shawl with reversible woven metallic thread floral pattern and deep fringing. shawl, 1920s fashion, metallic thread, weaving, rose caplan

Commissioned, 2017Metallic thread and watercolour on balsawoodgippsland, artwork, permanent collection

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Sleeveless round knecked jumper with bands of metallic thread, cream and beige.grace james, women's clothing, australian fashion 1969-1988, dressmakers - surrey hills (vic), knitted jumpers

From the 1960's this beret badge (in lieu of the official metal badge) was worn by officers of the Regiment as field dress. It was an individual purchase rather than official issue.Cloth Regimental beret badge. Coloured metallic thread on black stiff fabric backing.badge, 4/19 pwlh

Called "Klimt Print #2". Winning quilt in the 2017 Expressions Wool Quilt Prize Statement: "Every finger print is unique just as the art of Gustav Klimt is unique leaving an imprint for us which only he could leave." Art Quilt Australia 2017, held at the Queen Victoria Art Gallery (Royal Park location) Launceston, Tasmania, includes the 2017 winners of the prestigious Expressions Wool Quilt Prize (sponsored by the National Wool Museum) and the OZQN Award of ExcellenceWhole cloth painted quilt, hand wool embroidery, wool thread and metallic thread quilting.Klimt Print #2 Sue Reid

Used in the Port Fairy Masonic Lodge of the MUIOOF during rituals.White satin Grand Master's Lodge apron with metallic thread embroidery and black fabric backingMUIOOF symbol embroidered on frontlocal history, societies, muioof, masonic lodge

Unofficial badge. Worn by officers on field dress berets. 1960's - 1970'sCloth beret badge of 4/19 Prince of Wales's Light Horse Regiment. Coloured metallic thread on black cloth. badge, 4/19 pwlh

Black grosgrain ribbon bible marker with gold fringing and an embroidered Latin cross at each end. The crosses are detailed in gold metallic thread.

Indian shawl owned by Edith Brydon who made the wedding dress NA3494 for her niece, Mary (Molly) Sprunt for her wedding on 12 March 1938Cream cotton net, stamped with gold metallic thread into a Vandyke pattern.|See also NA3495 - Wedding veil & NA3494 - Wedding dresscostume, female

Long-sleeved ivory-coloured silk chiffon and gold metallic fabric dress decorated with silk and metallic thread emroidery and (gelatine?) beading.metallic fabric, embroidery, beading, 1920s

Navy blue woman's swimsuit marketed under the Miss Jantzen label by Jantzen, Australia. The swimsuit is made of navy blue fabric with a metallic threaded tie on the bodice.Labels picturedswimwear, miss jantzen - australia

Blue cotton handmade table cloth with an appliqued and embroidered Methodist Order of Knights symbol. The MOK symbol is outlined with gold metallic thread. The table cloth has gold fringing.methodist order of knights

Ceremonial purple velvet collar with gold metallic bullion fringe to outside edge and gold metallic ribbon and ribbon lace to all edges. At each end is a five point star in gold zardozi work in sequins and metallic thread with central couched button. Above the stars on the LHS is couched zardozi work initial G and on RHS couched zardozi work initial M and above these are two identical five point stars as lower ones with the addition to each of two metallic thread tassles. At the bottom centre of the collar are two small rings. In a separate bag is a purple velvet rosette with central sequined button and braided surround with large tassle all in gold metallic thread.ceremonial collar, grand master

Brush is part of the collection of Lorna BroadYellow horse hair bristles attached to china ornament in the shape of a dog's head. Brush has been glued to head and bound with pink ribbon and gold metallic thread which was part of the ornament on the back.Made in Japan.domestic items, cleaning

Louris Holly Larsen-Disney married Percy James White at Melbourne Grammar Chapel on 17 June 1948. In later years the dress was given to an opportunity shop and purchased by Mrs Landells of the Brighton Historical Society. Louris subsequently visited the Society and recognised her dress, and was able to provide BHS with information on it. Also in the Society's collection is a 1950s pink strapless silk chiffon dress worn by Louris, and a wedding photo of Louris taken at her mother and stepfather's home at 53 South Road, Brighton. The couple moved into a house just a few doors down, at 49 South Road.Wedding dress made from silver metallic thread crepe. Fastens down front with small self-covered buttons and loops. Long fitted sleeves fastened with 10 covered buttons and loops. Full bias cut skirt with train.wedding dress, 1940s fashion, louris holly white, percy james white, brighton

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 'dance frock' by Park Avenue Gowns is one of a number of garments in the collection by this designer.Metallic thread silk cocktail dress and wrap by Park Avenue Gowns, 1960. Virtually identical dresses by the designer were featured in the Australian Women's Weekly in 1960, described as 'dance frocks', to which the wide flairing skirt would be well suited.Label : "Park Avenue Gowns"women's clothing, cocktail dresses, dance frocks, australian fashion - 1960s, fashion designers - melbourne (vic) - park avenue gowns

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

Ancient Order of Druids was formed in London in 1871. Their motto was "Justice, Philanthropy and Brotherly Love". The Order was established in Australia in 1851.The Sandhurst Lodge 247 met at Queens Head Hotel (Lockwood cross roads) and was first mentioned in the Bendigo Advertiser in 1863.Ceremonial collar in red velvet with gold metallic bullion fringe around outside edge and lower inside edge and gold metallic lace to edge. At one end (LHS) there is a large gold metallic star in sequins and gold metallic bullion. At the other end (RHS) the initials PA are worked in zardozi work in gold metallic thread 5cmx7cm.ceremonial collar, ancient order of druids

Board wrapped w c.17m of heavy bullion fringe in several pieces, evidently unpicked from curtains (qv), and/or possibly furniture items. The fringe is composed of metallic thread tightly wound over a cotton thread, attached to a narrow header braid with an ornamental design worked in metallic gimp cord. The colour was originally gold, now tarnished on all parts exposed to air, but sections of the fringe under the top layers retain the luxurious gold finish.

This navy officer’s hat has been reconditioned and this alteration may have been done for theatrical purposes. No information is available on its original owner or his country or rank.This hat is of minor interest as it is no longer in its original condition and has no known local provenance. This is a Navy officer’s hat with a white cloth circular top and a black material base and a band lined with black material. It has a Bakelite peak. The black band has an off-centre cloth badge of metallic thread featuring decorative feathers and a flag with a blue and red six-pointed star. The hat appears to be a re-conditioning of an original hat and the badge is probably not an original one. The edges of the hat are frayed and soiled. The hat has a leather lining with the maker’s name inside the hat but this is illegibleSouthhamptonaustralian navy uniform, history of warrnambool

Two items of newborn clothing dating to 1944. The first item is a dress and the second is a singlet. Both items are made from wool and are in new, unused condition. The clothing was owned by Mrs L. Brawdrup and was donated to the National Wool Museum in 2022 by Lila Gore.Clothing item one is a cream woven dress. It is finished at the sleeves, neck, and hem with a white lace trim. The trim is formed from a thread that has a metallic gleam, presumably cotton. The dress is styled under the neck with a stitched patterned of frills and flowers in the same white metallic thread. The dress gathers under the armpits, similar in style to a dirndl. At the rear, the dress is loosened and fastened by 3 press stud buttons in an opening at the centre. Clothing item two is a cream woven singlet. It is finished at the sleeves, neck, and hem with a white lace trim. The trim is formed from a thread that has a metallic gleam, presumably cotton. The lace is like the dress; however, it is less intricate. baby clothing, 1940s, 1940s baby clothing

early (1940s?) hostess cap worn by Airlines of South Australia staffAirlines of South Australia hostess cap without peak. Light & dark olive green plaid pattern. Fine wool (blend?). Oval-shaped crown narrower & lower at front / broader & higher at rear. Olive green bemsilk lining & matching grosgrain sweatband. Matching fabric emblem 7cm high on left front, featuring metallic gold thread embroidery of 3mm thick initials "S" & "A " on crimson background with gold embroidered wings above. No visible evidence of manufacturer or ownersouth australian, hostess cap, wool plaid, gold wire embroidery, olive green

Floor length dress of royal blue silk fabric with a metallic thread forming a tinsel like pattern. There is a V neck at front with a high round neck at the back. The bodice front is made from two pieces with a centre seam. The bodice is attached to midriff panel of royal blue satin. At the front the bodice is gathered slightly onto the panel with a V shape at t centre front of the panel. At the hip line centre front the midriff panel narrows and then widens and the panel extends to the hem. The centre panel is divided and has a godet insert in the centre. Fifteen decorative fabric covered buttons with roulette loops are attached at centre of midriff panel. The back of the bodice is one piece is gathered slightly into a high waisted skirt made up of four gored pieces. The side opening (21 cm) at the waist on the LHS has three metal hooks with cotton loops and two press studs. The long sleeves are set in with lily point finish at the wrist. The underside of the sleeve at the wrist has ten decorative fabric covered buttons with roulette loops. Machine and hand stitched.costume, female daywear, blue silk dress

Premiership cap presented to Hercules "Hec" Vollugi after Essendon won the 1901 premiership. Premiership caps were presented by both the VFA and the VFL until about 1924. The caps were traditionally made of navy silk. This one has had Essendon's colours embroidered on the peak in the shape of a shield. Vollugi was a fine wingman who played 70 games for Essendon from 1901 to 1906.Navy blue grosgrain silk cap with small peak; cap is divided into six segments separated by cream silk braid with navy button on top; embroidered badge in metallic and silk gold thread at front of cap; badge consists of monogram of interwined V F L with "Premiers" in a scroll beneath and "1901" beneath that; shield embroidered in red and black longstitch on peak. Cap is lined with "H. A. Vollugi 1901" handwritten in ink in centre."H. A. Vollugi 1901" is handwritten in ink on the inside of the cap

This is the same gimp as on the curtains. Probably saved because it was beautiful and expensive, but inherently decontextualised from its original historic use.Length of decorative upholstery gimp, unpicked from original curtains and wound onto a piece of card for storage. Gimp is a type of upholstery trim. a flat tape made up of threads or fine cords forming a wave or chain design, held in place by another wavy cord to produce an openwork, geometric braid. In this item, the cords are respectively light blue and metallic gold (much of it tarnished to silvery colour). The gimp is en suite with the set of curtains and their ornaments (qv) - another luxurious trimming for expensive furnishings.upholstery trimmings

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. Textile designers used glasses such as these to see how many threads are within a textile sample. It was important to count correctly, otherwise the enlarged final pattern would be out of alignment. These glasses were popular in the 1950s but were replaced by viewing lens, such as item 8040 (in the National Wool Museum's Collection) in the 1960s because of their compact nature.Thin metal wire makes up the frame of the glasses. The metal is a standard metallic silver. The piece to sit on-top of the ear is excessively curved to hook around the ear. This is done to ensure the glasses do not fall off the face while looking down to view thread counts in a textile sample. The glasses are lacking lenses in their usual place. This has been replaced by another thin wire frame which protrudes an extra inch in front of the frame, almost like an additional layer of the glasses. Where this layer / frame ends, two lenses can be found which are square and much smaller than typical glasses lenses. This has been done to allow for powerful magnifying glass which would be ill-suited if it sat too close to the face / eyes. The glasses are also accompanied by their original box. The box is blue and has a large rectangle running through its centre. This rectangle works as a cushion for the glasses and is required as a result of their unusual shape.textile design, textile calculations