As part of the National Trust's Australian Heritage Festival 2021, the Kew Historical Society and the Villa Alba Museum collaborated to mount a fashion and design exhibition. The theme of the exhibition took its focus from the year-long program at the Museum featuring the use of flowers in design. The walls and ceilings of the house are notable for their use of floral and narrative painted decoration produced, in the early 1880s, for William and Anna Maria Greenlaw by the Melbourne art decoration firm the Paterson Brothers. The examples of fashion and design from the collection of the Kew Historical Society were located on the ground floor of the house: in the drawing room, dining room, morning room and in the vestibule, or ballroom as it was sometimes described in nineteenth century newspapers. The exhibition was supported by the City of Boroondara through Triennial Operational Grant funding for the Kew Historical Society and the Villa Alba Museum.Series of photographs of exhibition pieces in situ at the Villa Alba Museum in May 2021.fashion & design, exhibitions -- kew historical society, exhibitions --- villa alba museum, textiles in bloom, fashion - nineteenth century, fashion -- twentieth century, textiles - nineteenth century, headwear -- twentieth century

As part of the National Trust's Australian Heritage Festival 2021, the Kew Historical Society and the Villa Alba Museum collaborated to mount a fashion and design exhibition. The theme of the exhibition took its focus from the year-long program at the Museum featuring the use of flowers in design. The walls and ceilings of the house are notable for their use of floral and narrative painted decoration produced, in the early 1880s, for William and Anna Maria Greenlaw by the Melbourne art decoration firm the Paterson Brothers. The examples of fashion and design from the collection of the Kew Historical Society were located on the ground floor of the house: in the drawing room, dining room, morning room and in the vestibule, or ballroom as it was sometimes described in nineteenth century newspapers. The exhibition was supported by the City of Boroondara through Triennial Operational Grant funding for the Kew Historical Society and the Villa Alba Museum.Series of photographs taken by Mitchell Luo Photography of exhibition pieces in situ at the Villa Alba Museum in May 2021.textiles in bloom, exhibitions — villa alba museum, australian heritage festival 2021

Unknown, possible early 1800'sCross stitch sampler of alphabets and numbers, worked on linen, mounted on linen in a wooden frame.Ellen Gibbon Aged 8 years "Just like an early rose I've seen an infant bloom but death perhaps before it blows may lay it in the tomb"alphabet, sampler

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