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I have been head down doing the work, not reporting on the work of late. Have not managed the promised steady stream of updates. But doing the work is after all the most important bit, right? Of course it is.

We now have 115 fabulous pieces available on Victorian Collections. It is sooooo hard to stop at 100! The more we spend time with the collection, the more we find of value. Great stories, great pieces, great characters of Brighton, Melbourne, Australia and beyond. But we must be strong and carry on with our mission as decreed!

I want to share with you some of my personal favourites. Favourites are always personal and variable. For me a favourite is chosen for how this item illustrates an aspect of social history that I connect with.

Here is a selection of some of my favourite pieces from the journey so far.

1. c1890 Pelerine 2. 1917 – 1919 Dress 3. Late 1800s – early 1900s Riding Habit

c1890 Evening Pelerine – A pelerine is a short cape commonly made of dress fabric, velvet, fur or lace and worn over a dress. It sits lightly on the shoulder, often with long points at the centre front and at this time frequently worn with a dress featuring a sleeve with an enlarged shoulder head. Black and red were common colour choices, with black being prevalent due to strict social conventions regarding appropriate dress during periods of mourning following the death of family members. The established conventions varied depending upon the relationship of the wearer to the relative, and passed through several stages each with its own decreed dress regulations.

Here is a simple table from Wikipedia taken from Manners and Rules of Good Society, or, Solecisms to be Avoided (London, Frederick Warne & Co., 1887)

c1917 – 1919 Afternoon dress  – This dress typifies the simplicity and notion of “Less is more” popular at this time. A move away from heavily corseted restrictive clothing towards more athletic, free moving clothing and lighter underwear. The first modern style bra was patented in New York in 1913 by socialite Mary Phelps Jacob. In the years to come clothing would become more relaxed and boyish but considerably more flamboyant as illustrated by the iconic “flapper” dresses of the mid 1920’s prior to the Wall Street Crash of 1929 and the ensuing Depression era.

Late 1800 – early1900s Riding Habit – For a start the idea of riding a horse side saddle seems absolutely crazy to my modern mind. The strain on a woman spine and hips completely impractical and downright cruel. Of course she would already be in a very restrictive corset and so the natural condition of her torso somewhat compromised but supported by the corset. I find it remarkable that they managed to stay in the saddle. Then there is the issue of covering her legs with a skirt so that she was “modest”, because to see that a woman has two legs and a groin would be “shocking”! This particular skirt features an elastic strap securing it to the riders leg to avoid it flapping and upsetting both horse and rider.

1. c1895 George and George’s Evening Gown 2. c1970 JOT coat 3. c1909 Evening Gown

c1895 George and George Ltd, Federal Emporium, Melbourne Evening Gown. – Later Georges Department store, Collins Street Melbourne, a Melbournian icon that despite its sad closing in the 1990s remains in the heart of many Melbournian’s today. Store motto as published upon the re-opening of the store in 1888  “Quod facimus, Valde facimus” – “What we do, we do well”.

They went on to say:

"We wish it to be distinctly understood that while we shall endeavour to secure the 
patronage of the elite of Australia we shall aim to make our business attractive to all 
ranks of society. In the Federal Emporium will be found a stock of goods unprecedented in variety, unsurpassed in novelty. And a variety of accommodation to customers that has 
never yet been witnessed in the Southern Hemisphere." Advertisement 11 September 1883

First opened in 1880, Georges occupied a difficult retail site on the hill of Collins St perched between churches and away from the centre of the retail hub. A small department store or a large boutique, Georges was a destination of its own and those in the know dressed appropriately to enter its hallowed chambers.

The entrance to the new Federal Emporium of George & George Limited, 1888. From “The Store on the Hill” by Keith Dunstan for Georges Australia Limited, 1979.

When Georges finally closed in 1995, I was working just up the hill at the Princess Theatre. I made my way into the packed building for the final auction of fixtures and fittings. I remember marble statues and paintings being sold off, it was heart breaking. Georges didn’t manage to adapt to the times but I do wonder if an era might be coming when a store like Georges with a focus on only stocking the best of things, not necessarily the most expensive, and a no rush, high customer service approach might just be re dawning. Where the experience of the purchase is well thought through with long lasting results.

c.1970 JOT coat – Youth culture makes its way to upper end boutiques such as JOT Toorak, of Toorak Road, Melbourne. This coat’s styling reflects the mid to late 1960’s influences of space exploration in metallic, synthetic fabrics and bold, optical art textile design. Bright, bold and optimistic, in this coat you could not help but be noticed.

c.1909 Acidic yellow and lime green evening gown – This stunning dress belonged to Clara Miller, first wife of Septimus Miller and daughter in law of Henry ‘Money” Miller, financier, politician and reputedly one of Australia’s wealthiest people in his time.

In 1889 Clara and Septimus  moved to their new home Cantala, Dandenong Road, Caulfield. Images of Cantala can be found on the Glen Eira Historical Societies page of Victorian Collections website. Throughout his life Septimus Miller was a key figure in Victorian horse racing circles and the Victorian Racing Commission’s Cantala Stakes is named in his honour. Prominent, wealthy members of Melbourne society I love this dress as it speaks to me of another of my interests, Melbourne’s lost east end theatre precinct. This time was the height of activity with The Theatre Royal, The Mechanics Institute (now the Athenaeum theatre), The Queen’s Theatre Royal, The Princess Theatre, The New Opera House, The Melbourne Town Hall, The Bijou and The Gaiety, and The Alexandra Theatre all in operation, only The Princess, Town Hall and Athenaeum remain. Whilst I do not know if Clara and Septimus ever attended any theatrical performances, this dress would have been appropriate to wear on such occasions.  Clara died young, in 1910 aged 43 and Septimus remarried. Septimus lies in Brighton Cemetery’s grandest and most impressive grave, a Gothic style vault.

Another aspect of this dress which fascinates me is its colour. In more recent times yellow and lime green clothing is quite uncommon but it was extremely fashionable and prevalent at that time. In the mid 1800’s Picric acid was combined with Indigo to create a new synthetic dye, creating this colour. Whilst many dyes at the time were highly toxic to the wearer, I do not know if this dress or picric dye in clothing is harmful. However in the early 1800s many textile and millinery workers and some fashionable ladies suffered horrific death and disease from the prevalence of arsenic to produce vivid greens. Even into the 1920’s a distaste for green at the fashion House of Coco Chanel was a hangover from the colour’s association with poison. Hence I am wondering if the lack of prevalence of this colour in more recent decades has any similar historical roots.

1. 1911 “Dolly Varden” Fancy Dress Costume 2. 1930 Bridge Jacket 3. 1950s Full circle skirt

1911 “Dolly Varden” Fancy Dress Costume – Fancy Dress parties and balls were a popular past time in the 19th century (and remain today). Party goers entertained themselves with elaborate costumes referencing historical figures, literary and theatrical characters and exotic cultures. The ‘Dolly Varden” character from Charles Dicken’s literary work “Barnaby Rudge” was a particularly popular figure at this time. The book was published in 1841 but set in 1780 hence the character’s “shepherdess” style of looped up polonaise skirt over a quilted underskirt. This particular costume’s history is perfectly typical, worn by Ida Burn, aged 21 at a costume party aboard ship en-route to China. Sea voyages were long and finding entertaining ways to pass time a necessity.

1930s Bridge Jacket – Various forms of Bridge or Whist were hugely popular games at this time. As I cannot find any information to suggest why the owner of this jacket reputedly wore this jacket “for Bridge” I suspect it is more to do with being considered her lucky jacket as opposed to any specific function or ritual of the jacket. Many of us have tendencies towards regarding certain objects or concepts as lucky or unlucky and it would seem Mrs Elsie Law was no different. Regardless it is also a lovely example of Art Deco, Asian inspired fashion of the 1930s.

1950s Circle Skirt – The invention of the teenager is typified in this playful full circle skirt with patch pockets and modernistic textile design. Worn with a crisp, fitted collared shirt or form fitting knit and petticoats this playful, youthful design shows the legs and swings with the body. The textile design  speaks strongly of the period with similar aesthetics featured in popular modern materials such as Laminex and Linoleum.

1. c1960-70s Armadillo Handbag 2. c1860 Child’s Shoes 3. c1880 – 1900 Shoes 4. 1920s Assuit Shawl

c1960 – 70s Armadillo Handbag – There is nothing new about the use of animal skins for our clothing and accessories, but somehow the act seems so much more brutal when we see the whole animal. The trade in exotic animals such as armadillos became illegal internationally in the mid 1970s. Being in Australia, and Armadillos being native to North and South America, they are not a common sight. This little thing all curled up and clutching onto itself seems so sweet and charming until I think about what I’m actually looking at. Fashion can be a little grotesque.

c1860 Child’s Shoes – Wooden soled, horse shoe clad and made of very thick upper leather, WWIII would likely erupt if a modern parent attempted to adorn her child in such shoes. Judging by the size of the shoes the child would be of approximately 3 – 4 years of age. Can you imagine the sound the poor thing would have made if indeed it was able to run and play?

c1880 – 1900 Victorian (Australia) Gold Rush Shoes -J.T. Morris was a shoe store located at 306 Sturt Street, Ballarat. Ballarat is a town, north west of Melbourne in country Victoria, Australia at the centre of the Victorian goldfields. Ballarat was largely built on gold in the 1850s – 1860s and has remained an important centre of commerce and society since this time.

J.T. Morris (previously Jago’s Boot Palace) This image was sourced from Flickr where it as listed as being copyright free and in the public domain.

Francis Jago in the 1866 Burgess Roll as a bootmaker in Skipton St, Ballarat. In 1887 he was listed in The Australasian Federal Directory as a boot and shoemaker at 46 Sturt St.  Advertising material is available until 1905. It is likely these shoes date from the later part of the 19th century to the early part of the 20th. As a Victorian, the discovery of gold has had a direct impact on my home city of Melbourne and State of Victoria. Gold either directly or indirectly funded our buildings, built our political system, fostered educational institutions and the arts. Footwear to me is the most fundamental item of clothing. It is the ultimate article of protection from our environment, and its degree of strength and comfort has a direct impact on our health and well being. I would like to know more about the owner of these shoes. As the old idiom goes “Before you judge a (wo)man, walk a mile in (her)his shoes”. The times these shoes hail from were exciting but tough.

1920s Assuit shawl – The discovery of Egyptian Pharaoh Tutankhamun’s tomb in 1922 by Howard Carter sparked great interest in all things Egyptian. Assuit is an Egyptian textile style constructed by passing thread through metal and flattening the metal creating patterns such as plants, people, camels and pyramids. The effect of this textile is shimmering and reptilian, weighted yet floaty. Whilst the fabric production dates back to ancient times its prevalence in the 19th century is due to its popularity as a tourist art for European and American travellers, reaching great heights during the Egyptomania of the 1920s. In this section of shawl you can identify plant forms and people typical of these designs.

As we move to our next section of work, it is sad to leave the process of photographing and cataloguing these wonderful pieces. However I hope that our work will allow greater access to the collection and perhaps in future further support for work to be done.

Please go to Brighton Historical Society on Victorian Collections to view more.

Cheerio,

Annabel

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I am going to admit straight up that this is a catch up post!! I have been madly busy and I manage to post the odd item to Instagram but I have not blogged for ages.

So, just wanted to fill you in on a few of the progressions of the Brighton Historical Society Collection. The BHS has had a friendly relationship with the National Trust for some time, and has previously loaned collection items for exhibit. Earlier this year I was pleased to facilitate a loan of five items for the fabulous Super 70s Exhibition. The very talented (and lovely) Elizabeth Anya-Petrivna and her team of talented internal and external collaborators put on a fabulous romp down nostalgia lane.

 

 

 

Room interpretations included:

Planet 70s – Cultural inspiration taken from outer space and new technologies, hits the disco dance floor.

Electrostatic – celebrating the SNAP, CRACKLE and POP! of synthetic fibres, their drape, versatility.

 

Exhibition label. Pool Party Ensemble. 1973 Watersun (1955 – 1987) Australia. Spandex, Lurex and Elastic Donated by Watersun. On loan from Brighton Historical Society.

Exhibition Label. Left – Hot Pants Suit, 1972, Ricki Reed (1961 – 1982), Estacel, Rayon and plastic. Ricki Reed. Worn as a bride’s “Going away” outfit in 1972, this suit is an example of how acceptable and common hot pants had become in the early 1970s. Although some establishments, like the Southern Cross Hotel would have refused entry to any woman wearing them. Melbourne woman Dorothy Tyoran began the label riki Reed in the 1960s. Her label’s success was due to its popularity amongst London’s mod subculture. By the 1970s, Tyoran has sold her rights to the Australian arm of the business, but continued to supply the company with designs for the local market. It is unknown if this suit was manufactured in England or Australia. Donated by Mrs C Shaw. Middle – Evening Gown, 1974, Van Roth, (1959 – 1985) Melbourne, Australia, Polyester, ostrich feathers and metal. This gown was purchased from (stocked at) Pearl’s boutique Brighton. Polyester Jersey was one of the most popular fabrics of the 70s. As a knit, the fabric has a soft drape, is comfortable and also reveals the bodies silhouette. On loan from Brighton Historical Society.

Time Travel – fashion nostalgia at its best, many eras provided inspiration including Edwardian romanticism, 1940’s sex appeal, floaty styles of the 20s and 30s reinterpreted with modern synthetics, Arts and Crafts, Art Deco and Nouveau. Heady times.

Bohemian Rhapsody – fantasy and romanticism as epitomised by the iconic store and label The House of Merivale and Mr John. Rock star chic and the male peacock!

Jean Jeanie – the rise of feminism, sexuality rights, self expression and the challenging of gender conventions.

Utopia & other places – all things spiritual, natural and authentic. The emergence of ‘flower power’ and ‘children of the earth’. Cultural appropriation reflective of an expansive awareness and respect for the environment and human connectivity.

Exhibition Label Maxi Dress. 1974ca. Bindi. Melbourne, Australia. Polyester cotton and elastic. Donated by Lee Lang. On loan from Brighton Historical Society.

Exhibition Label. Dress 1975 Georgia Charuhas Mexico City, Mexico. Cotton, lace. This dress was purchased in Mexico by Mary Owen (OAM) (1921 – 2017) While attending the first United Nations International Womens Conference and worn to the reception. Margaret Whitlam was also in attendance. Owen was a prominent feminist, unionist and activist.In the same year as the conference Owen co-founded The Working Women’s Centre, Melbourne. During her long career, Mary Owen advocated for women’s rights primarily in the area of the workplace. On loan from Brighton Historical Society.

 

Polite Company – fashion becomes more dressed down, and a heck of a lot sexier.

Great work to the team at The National Trust (Victoria).

We look forward to further opportunities to collaborate!

 

 

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In the latter part of 2017 Brighton Historical Society was thrilled to receive a Local History Grant from the Public Records Office Victoria. The project is to catalogue a substantial selection of the most important pieces of its costume collection onto Museums Victoria’s Victorian Collections data base. Laura Jocic and I are honoured and excited to get stuck in, research, record and share these valuable snippets of our history. Passionate about the social history of clothing, I hope you enjoy our work.

After each session I thought I’d offer a little taster of our activities in the way of a reoccurring theme or interesting discovery. Click on the image to be taken to the item on Victoria Collections website.

This weeks theme is Frippery.

The lustre on this oyster coloured silk is so beautiful, and the delicate ruching, pleats and lace create a sweet parfait of elegance. It’s owner was an early member of well known Melbourne Jewish family who also lived in a notable historic house, now a prominent art gallery.

This beautiful hand made lace somehow evocative of spiders webs or timber wheels, both which would have been prevalent at the time of its making. Queen Victoria popularised the wearing of white for bridal gowns upon her marriage to Prince Albert in 1840 but the wearing of the lightest of colours was a definite statement of wealth. Laundering of clothing was labour intensive and difficult and so a pure white garment had limited re use.This colour is infinitely more sensible for the dirt and grime it would encounter in it’s lifetime, beyond the wedding day as was common for bridal gowns to be reused for ‘good’.

A lovely woollen four piece wedding gown comprising of bodice, belt, skirt and train. Despite numerous decorative details with fringed ribbons, beading, ruching, lace and bows it remains a very elegant and understated ensemble thanks to its use of a beautiful quality matte wool, matte silks and quartz like beads. A lovely example of texture, and layering of delicate detailing.

A definite favourite of mine for the sheer charm of it. Fancy dress parties were a popular pastime and the “Dolly Varden” style was very popular amongst young women. This ensemble was worn on several occasions including to a Lord Mayor’s ball, possibly on board a ship bound for China…

Dolly Varden was a popular character from Charles Dickens novel “Barnaby Rudge” published in 1841 and inspired a craze of Dolly Varden inspired culture.

As yet we don’t know if there is any significance to the use of lace featuring a Maltese Cross in the design. It might have been a treasure from the travels of the owner’s family. It inspires romantic notions of exotic travel to China, and Europe with fancy dress ball’s enroute in the relative innocence of pre World War One.

Till next time…

 

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Ripponlea and Barwon Park have hosted some stunning frocks in their time. This new exhibition by The National Trust, Night Life – A fashion exhibition of the 1920’s and 1930’s is no exception. A recent bequest of gowns inspired this curation exploring the decadent, ground breaking, jubilant styles of the 1920s and the more sober, practical conservatism of the 1930’s. The post war and interwar periods saw an enormous amount of change in social customs and economic conditions, and clothing is always an incredible barometer of the whole picture of society at a certain  place and time.

Many early 1920’s evening dress features amazing, intricate beadwork with new and exotic materials such as celluloid and gelatine. Celluloid sequins offered the clothed experience a luminosity, sparkle and sound that reflected well the excitement, excess and prosperity of the time. Some dresses featured approximately 2 kg of embellishment carefully stitched to feather light silks and cotton tulle. With the thrashing of exuberant jazz dance moves such as the Charleston in hot sweaty smoky nightclubs it is no wonder that many dresses have not withstood the test of time.  It is a joy and a pleasure to be able to see such well preserved precious examples as these.

As we moved into the 1930’s with the occurrence of The Great Depression and Wall street crash of 1929 as well as ominous political events in Europe, sequins, and beads were abandoned in favour of printed, painted and more restrained styles, more practical in design, less boyish, re-embracing the female form.

Designs also reflect the influence of world events such as the discoveries by Howard Carter in Egypt and the ensuing popularity of Egyptian inspired motifs. Keep an eye out for them. My favourites are the camels. Can you spot them?

If you are an avid student of fashion you will appreciate curator Elizabeth Anya-Petrivna’s informative presentation both in the exhibition and the catalogue. I personally enjoy the notes taken from media of the day and insights into the lives of the owners of these clothes.

It makes me smile to think of what Barbara Wilson Milne’s father thought of her dress and dancing antics.

I am always struck by the wearability of these periods despite their difference. There are always elements that seem very contemporary. I was struck by the the simple, graphic beauty of this black, white and blue printed silk lining a simple black evening coat and the familiarity of the cloud shaped beading on a simple black dress.

As I walk around the exhibition I can’t help but think of the many young women who would have spent hours stitching these intricate items with tiny tiny beads and sequins, and that is not even thinking about the tiny bits of tin so carefully wrapped onto mesh to create the Egyptian wrap! I have recently finished reading Fashion Victims and I can’t help but feel for their hunched shoulders, and strained eyes. I only hope that some of them had such slender hands and elongated fingers as those on the wearer of these gloves!

Art Deco influences are everywhere in beading and embroidery. This beaded shoulder detail struck me as quite unusual.

The richness of well lit black in velvet, lace, silhouette and some inspired lighting effects.

Shimmer and sparkle in celluloid, tin and gelatine. Just keep away from a naked flame as celluloid is highly flammable! It always make me smile when I think of all these women resplendent in celluloid and the connection with the importance and influence of the film era at this time. Women were watching and wearing the same material.

Floral motifs are ever popular but it interesting to observe the differences in the representation. Here you see them beaded in the 1920’s, painted and printed in the 30’s. 

Embroidery and Asian influences in the 1920’s. These Chinese shawls were a popular choice to the warm exposed shoulders with flapper girls against chill.

A visual feast, informative and a lovely day out in the gardens of Ripponlea.

But did you find the camels? Here they are, plus some Egyptian figures! Thanks to Erica Louise of recycled-fashion for her sharp eyes in spotting them and most of all for taking me as her “plus one”. Thanks also to the National Trust for another most enjoyable event.

Enjoy!

Annabel

 

 

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Fashion Revolution Week 2017 April 24th – 30th #whomademyclothes campaign in memory of the Rana Plaza garment factory collapse on April 24th 2013. An estimated 1138 people died and many more were injured. Fashion Revolution asks for people to participate in many ways. One of which is by telling a love story to an item of clothing in your wardrobe. I told three. This is my love story….

For further information go to www.fashionrevolution.org and get involved in changing our fashion future..