WORLDS END, London (retailer)<br /> Vivienne WESTWOOD (designer)<br /> Malcolm McLAREN (designer)<br/> <em>Jacket, doublet, sash, shirt, trousers, belt, hat and shoes</em> 1981 {Pirate collection, autumn-winter 1981–82} <!-- (front view ) --><br /> cotton polyester (brocade, satin damask), cotton (brushed, thread, grosgrain), synthetic fabric (satin), wool (felt), nylon (lace), card, leather and plastic and metal (fastenings)<br /> (a) 72.0 cm (centre back) 66.0 cm (sleeve length) (jacket) (b) 46.0 cm (centre back) 52.5 cm (waist, flat) (doublet) (c) 42.0 x 223.0 cm (sash) (d) 86.5 cm (centre back) 49.0 cm (sleeve length) (shirt) (e) 104.0 cm (outer leg) 37.0 cm (waist, flat) (trousers) (f) 7.0 x 114.0 cm (belt) (g) 54.0 cm (outer circumference) 19.0 cm (height) 20.0 cm (width) (hat) (h-i) 9.0 x 10.0 x 29.0 cm (shoes) (each)<br /> National Gallery of Victoria, Melbourne<br /> Gift of Krystyna Campbell-Pretty AM and Family through the Australian Government’s Cultural Gifts Program, 2024<br /> 2024.747.a-i<br /> <!--154144-->
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Conservation

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Exhibiting Artworks: Curation, Exhibition Design and Conservation of Westwood | Kawakubo Special Panel Talk
Levels VCE Fri 13 Mar

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Australian Impressionism 9 by 5 frames Recreating a frame Lillie Williamson’s frames A conservator’s insight Goya’s tools and techniques A conservator’s view Florence Fuller’s Paper boy | Melbourne in 1888 Perspectives from an NGV Curator and Conservator

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A technical examination of William Blake’s Virgil wood engravings Louise Wilson William Blake and the NGV: the history of the Virgil wood engravings Louise Wilson Collection care and performance art at the NGV MaryJo Lelyveld and Louise Lawson Intersecting lines: the constructive paintings of Grace Crowley and Ralph Balson Beckett Rozentals and Raye Collins

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Investigating ancient Egypt Exhibiting Artworks at the NGV