A hardcover book with a blue dust cover which shows an aerial view of Sunshine Railway Station and Sunshine Harvester Works, circa 1924non-fictionA social history of the town of Sunshine between 1920 and 1950sunshine, braybrook, braybrook junction, history

A yellow soft covered booknon-fictionStory of a child, Prue McGoldrick, growing up in Sunshine between 1920 - 1940.sunshine, history

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.The outfit was owned, worn and donated to the 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. Elegant ice green coloured sunray pleated sleeveless dress. The dress comes from the earliest period of Prue Acton's design career [1963-91].Label: Prue Actonaustralian fashion - 1960s, women's clothing, day wear, mcintyre collection

On March 30, 2006 Vision Australia held it's Bursary Award ceremony for NSW based recipients at NSW Government House. After the ceremony, these images of Prue Watt and a computer were taken.18 digital images of Prue Wattvision australia, prue watt

Black and white soft covered, 111 page book featuring the ceramic work of Prue Venables. prue venables, neville french, ceramics, allison britton, gwyn hanssen piggot, ballarat school of mines, rmit

Roads Ruts And Rubbish By Prue McGoldrick A talk given by Prue McGoldrick for Local Govenment Week 8 October 1987prue mcgoldrick

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.Heavy woollen cape designed by Prue Acton. The cape is tied at the front and features a wide band of woollen fabric simulating a collar.Label: "Prue Acton"prue acton, capes, outerwear, fashion design, fashion -- 1980s

On March 30, 2006 Vision Australia held it's Bursary Award ceremony for NSW based recipients at NSW Government House. After the ceremony, Bursary recipient and Paralympic swimmer Prue Watts was photographed with her amazing 4 silver and 1 bronze medals from the 2004 Paralympic Games.21 digital images of Prue Watts and her Paralympic medalsvision australia, sir nicholas shehadie, prue watt

This ensemble is a highly representative example of the pioneering textile artistry of Prue Acton, an iconic figure in Australian fashion history often celebrated for injecting the energy of the 1960s and '70s "Youthquake" movement into the domestic market. The piece belongs to Acton’s critically acclaimed 1970s "Patch" era. During this period, Acton moved away from the slick synthetics of the Mod era toward natural fibers and whimsical, story-driven collections inspired by the global folk revival and bohemian styles. According to historical archival provenance from similar surviving museum garments, these conversational, pictorial patchwork designs were often ingeniously engineered utilizing high-quality end-of-roll textile remnants. This specific garment beautifully encapsulates the early 1970s pastoral "cottagecore" fantasy, exhibiting how Acton blended commercial garment production with playful, illustrative textile collage.A two-piece daywear ensemble comprising a structured blouse and an elaborate, narrative-driven midi skirt with a coordinating waist sash. Comprised of a semi-fitted blouse of medium-weight slate gray plain-weave fabric. It features brief, extended cap sleeves, a high mandarin-style band collar, and a center-front button closure secured by five self-colored small round buttons. The high-waisted skirt is a full A-line midi-length skirt featuring an intricate, illustrative folk-art narrative applique landscape. The pieced design represents a stylized house or cottage set within a garden. Fabric sections are arranged into vertical stripe configurations mimicking window panes, alongside curved, layered patch elements in multi-colored floral calicos that form bushes and ground structures. The lower tier terminates in a broad, contrasting cream-colored patterned base hem panel. A wide, detachable self-tie waist sash executed in a dense, small-scale floral calico print is intended to be cinched around the high-fitted waistband to form a statement bow at the front.Label: "Prue Acton"prue acton, fashion -- melbourne -- 1970s

Prue Acton launched her label in Melbourne in 1963. Initially celebrated for capturing the youthful energy of the 1960s "Youthquake" movement, her brand underwent a significant maturity shift during the late 1970s and early 1980s. As her original teenage and twenty-something clientele entered the professional workforce, Acton transitioned her designs from playful boutique mini-dresses into sophisticated, structured, and upscale ready-to-wear pieces. This wrap day dress perfectly exemplifies that evolutionary step. It offers practical utility for the contemporary working woman while maintaining the high-impact visual flair she was known for. This specific garment reflects her obsession with pure, interacting hues. The combination of saturated teal against coral-red and gold metallic trimmings is a masterclass in complementary color dynamics. Instead of relying on traditional printed patterns, she used the structural trim itself to dictate the architecture of the dress. The wrap dress style allowed for physical ease in warmer climates, while the sharp graphic lines gave it an assertive presence. A midi-length day dress in deep teal featuring a wrapped crossover V-neckline, short fluttering tulip sleeves, and a defined waist. The dress is accompanied by a wide, matching self-tie fabric belt. The garment features striking, avant-garde contrast borders in coral-red and gold metallic ribbon. This graphic trim accents the length of the belt, forms a bold, geometric zig-zag pattern around the lower hips, and finishes in parallel horizontal bands directly above the hemline. While the tailored cotton construction echoes late-1970s daywear, the hyper-saturated colorblock palette and bold geometric patterns strongly align with Prue Acton's transition into the vibrant, structured aesthetics of the early 1980s.Label 1: "Prue Acton" Label 2: "Size 14 ..."prue acton, australian fashion -- melbourne -- 1970s, dresses

Framed Bookplate for fashion designer Prue Acton.bookplate, framed bookplate, available, available bookplate, prue acton, available framed bookplate

During the 1970s, iconic Australian fashion designer Prue Acton transitioned from her ultra-short 1960s mod mini dresses into softer, longer silhouettes. Her 1970s collections frequently embraced fluid materials like jersey, crepe, and chiffon to reflect the era's shift toward bohemian elegance and relaxed glamour. Pleating, pussy bows, blouson sleeves, and cinched, belted waists became definitive hallmarks of her later labels. This specific garment mirrors that exact 1970s transition—balancing standard office-appropriate coverage with a romantic, flowing aesthetic.Often celebrated as the "Golden Girl of Australian Fashion," Prue Acton was instrumental in putting Australian design on the global stage. She was the first Australian designer to successfully break into the highly competitive New York market and show her collections commercially overseas. Her 1970s designs remain significant as they captured a pivotal era of female empowerment, offering women versatile, high-fashion styles that seamlessly moved from professional daytime workwear to evening elegance.The garment is a monochromatic midi-length dress in a soft, dusty pink hue. It features a modest mock neckline and fluid, long bishop sleeves that taper into structured cuffs. The bodice remains unstructured and smoothly gives way to a defined waistline, accentuated by a matching fabric sash tied into a bow. From the waist down, the skirt drops into a highly structured, crisp accordion pleated design, creating a classic A-line silhouette with graceful movementLabel: "Prue Acton" [Silver label]fashion - melbourne - 1970s, prue acton

This dress belonged to Bayside woman Wendy Young, who bought it around 1980 from Melbourne designer Prue Acton's Toorak shop for about $300. She recalled, "It was one of her off the peg creations, but I never saw it on anyone else... she made limited runs, especially as this is hand painted silk." The belt has been signed by Acton.Sleeveless bias-cut dress of watermelon pink silk featuring red and gold hand-painted abstract designs. The dress features a Mandarin collar with a button fastening at the throat. A matching silk belt with tapered ties wraps around the waist.The belt features two signatures in gold paint: "Prue" and "P Acton"prue acton, 1980s, melbourne designers, wendy young

Photocopy from extract of book (?) featuring Prue Clark's memories of Miss WingroveDigital file only - Digitised by EDHS from a scrapbook on loan from Beryl Bradbury (nee Stokes), daughter of Frank Stokes. beryl bradbury (nee stokes) collection, wingrove, wingrove cottage

Two Colour photographs of Nursing Home Residents Prue Tredgett and Graeme Cox R.S.L. President and Ken Heslop and Des Leonard Secretary R.S.L.. Anzac day 2009.

Two Colour photographs of Nursing Home Residents Prue Tredgett and Graeme Cox R.S.L. President and Ken Heslop and Des Leonard Secretary R.S.L.. Anzac day 2009.

Relationship between Clifton Pugh and Prue Acton based on their common interest in painting. Clifton Pugh lived at 'Dunmoochin' on the Cottles Bridge-Strathewen Road between Hurstbridge and Arthur's Creek.Text and col. photographclifton pugh, prue acton, painters, hurstbridge

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 particular skirt, by one-time Kew resident Prie Acton, was sourced by Margaret Robinson. A-line suede leather midi-length skirt featuring "bull's eye" and zig-zag appliques at hemline. Skirt is black coloured.Label inside back waistband: Prue Acton / AUSTRALIA women's clothing, australian fashion, prue acton, skirts, costumes, 1970s fashion, melbourne fashion designers, margaret robinson

Soft covered booknon-fictionThe book celebrates life, people, family and communities living in Yallourn and Paynesville in Victoria.local history, genealogy, gippsland, mining industry

This evening gown represents a later, highly sophisticated phase of Prue Acton's career as she transitioned from the graphic patchwork youth culture of the early 1970s into the fluid, glamorous evening wear of the late 1970s and early 1980s. During this era, Acton embraced high-quality jersey and knit fabrics that celebrated natural bodily movement. The dress highlights her continued fascination with the Australian natural world, reimagined here through a sleek, nocturnal lens. Rather than using vibrant, multi-colored prints, she uses a minimalist monochromatic palette paired with a singular decorative focal point. The choice of stylized orchid-like blooms rendered in a corded, graphic style reflects the influence of Art Deco revivalism popular in late-70s evening wear. This garment serves as an excellent benchmark showing Acton's versatility in designing for a maturing "Youthquake" generation who required sophisticated, effortless formal attire.A floor-length evening gown in matte jet-black knit textile featuring a fluid, draped silhouette and asymmetrical decorative accents.nThe upper torso is closely fitted, transitioning into a clean crossover mock-wrap neckline that forms a soft V-shape. Brief, seamless cap sleeves extend directly from the shoulder line. The right shoulder is embellished with an asymmetrical, stylized twin-orchid botanical motif executed in contrasting silvery-white cord embroidery. Long, curly tendrils trail gracefully down toward the bust line.The lower portion of the gown features an asymmetrical drop-waist seam that slants downwards from the left hip to the right thigh. From this seam, a heavily gathered, fluid maxi skirt cascades down into a full, undulating hemline that provides dramatic movement. The garment showcases advanced technical handling of bias-cut or highly elastic knit textiles. The bodice uses minimal panelling, relying on the natural elasticity of the viscose jersey to mould to the bust and waist before angling into the dramatic, diagonal drop-waist seam. The embroidery is executed using a specialized soutache technique, where a narrow decorative cord is laid flat onto the jersey base and stitched down in intricate, swirling botanical formations. The heavy gathering along the asymmetrical skirt seam allows the viscose fabric to drop under its own weight, ensuring a clean drape without sacrificing structural stability at the hips.Labeling: Woven silken metallic brand tag reading "Prue Acton" with her signature butterfly/heart flourish. Care and size tags indicate a vintage Australian Size 14 (To Fit: Bust 90 cm, Waist 70 cm, Hip 95 cm).prue acton, fashion -- melbourne -- 1970s

Large collection of research material used by Prue McGoldrick when writing her book When The Whistle BlewAlbion St Albans Footscray|Advocate Index cards and sheets|Advocate photocopies pre 1927 1948-1948|Churches|Chronolgy|Contacts|Council Braybrook Shire City of Sunshine|Kororoit Creek Maribyrnong River Sunshine Gardens|Industries|Photographs|McKay File|Massey Ferguson Site Study 1 & 2|Maps|Melbourne's Living Museum of the West|Migrants|Planning|Photos Sunshine book|Newspaper cuttings photocopies inc Sunshine Advocate|Shops|Services|Notes for My Paddock|R.T.B. papers|Sport|Tapes - Audio interviews|Video - H.V. McKay from ABC|World War 2 WWII|Letter to Gwen Goedecke from Prue McGoldrick about book review 30th October 1994 From the Gwen Goedecke collectionprue mcgoldrick, when the whistle blew

Painting depicting a female nude with blonde curly hair standing in a dam with lily pads and owl. Noneclifton pugh, painting, portrait, prue acton, dunmoochin, owl

64 page hard cover book 'Bendigo Foods & Moods' by Prue Sayer and Kay Walls. Illustrated by Bill Walls, Foreword by Campbell McComas and introduction by Don Dunstan. Published 1984 by Fine Arts Gallery, Bendigo and printed by Oakdale Printing, Maryborough. Includes descriptions of buildings, sightseeing, galleries, restaurants and wineries in 1984.Prue Sayer & Kay Wallsbendigo, food, pottery

Councillors Ben Stennett and Prue Cutts attended the Remembrance Day Ceremony at the Schwerkolt Cottage and Museum Complex.Councilors Ben Stennett and Prue Cutts attended the Remembrance Day Ceremony at the Schwerkolt Cottage and Museum Complex.remembrance day, stennett, ben, cutts, prue, schwerkolt cottage & museum complex

Whitehorse Council welcomes three new members, Tina Liu, Tanya Tescher and Prue Cutts.city of whitehorse, liu, tina, tescher, tanya, cutts, prue

Hardcoverjapan, geography, economics, walsh st library

In 2020 during the period of lockdown due to COVID the National Wool Museum asked their volunteers to make and donate blocks made from a variety of materials found in their homes, for an ISO quilt. The NWM reached out to the patchwork and quilter community to find a local quilter to sew the donated blocks together. The quilt is sewn together and quilted by Judith Oke, 2020-2021. Judith is a local patchwork and quilter and a member of Geelong Patchwork & Quilters Guild. Through the process she was inspired by the tradition of wagga quilts, where bits and pieces are stitched together, sometimes lined with whatever the sewer found available, such as clothing and sacking, to provide warmth. In construction of the finished quilt the challenge was combining 10 inch blocks made from a variety of materials, with uneven sizing. The aim was to combine these very different blocks into a harmonious whole. To this end a light and dark pattern was planned, with the blocks to be sewn onto a blanket. The choice to layer the blocks over each other, rather than sew an even seam was aimed at emphasizing the make do nature of these ISO blocks. Due to the weight of the blanket a decision was made to sew the blocks onto a base before the whole was stitched onto the blanket. The blanket was sourced from NWM donations. The rich, red of the blanket provides a bright, warm background for the colourful squares. Some of the light weight blocks were backed with iron-on interfacing to strengthen them for sewing. The edges of two of the woven squares were blanket stitched with knitting wool. The 10 inch donated blocks/squares were machine sewn to a cotton sheet base, with liberal use of blanket stitching, as the blanket was too heavy to sew the blocks directly onto the blanket. The base with squares was then machine sewn onto the red blanket backing.Various multi coloured and designed patchwork squares sewn onto a red woollen blanket. isolation, covid, quilt, wool