THE POWERHOUSE OBJECTS WHICH INSPIRED MICHELLE JANK

Chinese embroidered panel 1800s

Chinese dress is laden with motifs that have been used for hundreds of years as a form of symbolic language expressing feelings and abstract ideas. This panel features auspicious motifs including the pomegranate, whose many seeds symbolise fertility and the peach, symbolising longevity and immortality.

Originally the front panel of a Chinese skirt the embroidered design is worked in Peking knot and satin stitch.

Made in China, early to mid 1800s.
Gift of Miss EA MacDonald 1971. A5945

Chinese embroidered panel 1800s

This fragment would originally have formed part of a woman's garment. The peonies, butterflies and grapes are worked in polychrome silks and metallic thread using Peking knot and satin stitch.

Embroidered silk, made in China in the early to mid 1800s.
Gift of Sir John Sulman, 1926. A2702

Chinese insignia badge c1875

Emblems on their official robes distinguished the rank of officials in the Qing court (Manchu-Qing Dynasty 1644-1911). This badge's silver pheasant motif indicates it was worn by a fifth-rank civil official. Sewn onto the back of the robe, it could easily be removed if the owner's rank changed.

Ground of silk counted-thread work, the bird worked separately in knot and stem stitch and applied to the panel, made in China about 1875.

Gift of Ken Rutherford 1992. 92/1404

Egyptian 'Asyut' coat c1930

The origins of the dramatic metallic textile used in this coat lie in the Asyut region of Egypt. The industry was stimulated by a Frenchman who set up a factory in Egypt to make the net that forms the basis of this cloth. His intention was to provide an income for the poor in this area by creating a cottage industry based on the distinct embroidery skills of the region.

Ship borne travellers between Great Britain and Australia would stop off in central Asia on their way through the Suez Canal purchasing the shawls as gifts and souvenirs. This coat was purchased by the donor's mother in Cairo in 1936 when she was on her way to England.

Cotton tulle, silver metal embellishment.
Gift of Mrs Caroline Bray 1984. A10332

Embroidered shawl c1920

Although most frequently associated with Spanish dress, these large embroidered shawls were made in China , primarily for the export and tourist trades. Sometimes known as 'mantóns de Manila ' they were originally traded from China via Manila to Spain . This shawl features a double-embroidered floral design which means that both sides of the fabric are the same. Two embroiderers work on a vertical frame, one on each side, pushing the threaded needle back and forth.

Silk with silk embroidery, made about 1920.
Gift of Miss Jess Worthington, 1981. A809

Layered cape c1896

In the late 1900s black dresses and capes were considered suitable for evening wear, especially for older women, both in and out of mourning. This elaborate cape is constructed from layers of black ciselé velvet and silk taffeta, heavily embellished in machine made lace, beads and moire ribbon.

The inflated shape of the leg-of-mutton sleeve became fashionable again in the mid 1890s making this style of short cape very popular as it was difficult to wear fitted garments over the sleeves.

Made about 1896.
Purchased 1959. H6203

Woman's Chinese surcoat c1900

From 1644-1911 China was ruled by the Manchu-Qing Dynasty. In order to establish power over the dominant Han Chinese population they changed dress styles and introduced sumptuary laws codifying court dress.

Government officials were graded according to nine ranks, displayed in the form of embroidered or woven insignia badges. This surcoat was worn by Margaret Tart (1865-1916) wife of Quong Tart (Mei Guangda 1850-1903) a Sydney merchant and philanthropist. Women dressed according to the rank of their husbands and Quong Tart had been appointed a fifth-rank civil official in 1888.

Gift of Ian Tart, 1996. 96/361

Photo: Margaret Tart wearing the surcoat over a 'Dragon' skirt. Photo courtesy State Library of Victoria.

Interview with Michelle Jank

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