Browse Items (2371 total)
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Nun's habit
A. Black wool twill worsted nun's habit; jewel neckline; shoulder yoke; large sleeves with turned-back cuffs; 2 black safety pin closure; 8 tucks into shoulder yoke; unfitted waist; ankle length. B. Black herringbone weave, possibly nylon, cinture belt; hook and eye closures in front under flap. C. Black cotton slip; scoop neckline; sleeveless; princess seams; right inseam pocket; knee length. D. White plain weave cotton forehead cover; rectangle; two pairs of ties on short ends. E. White starched cotton wimple; two connected rectangles; two ties; tied at top of head and pinned in back, making two horizontal pleats at neck across shoulders; should have vertical fold lines in front when worn. F. Black worsted wool veil; white starched linen underveil glued to front underside; connects with snaps at back underside; veil pinned at center front forehead to forehead cover. G. Nine straight pins with black or white heads; used to pin veil to forehead cover. H. White polyester knitted skullcap; worn under veil.
This style of habit was worn by Sister M. Jovanna and all School Sisters of Notre Dame before 1964. -
Objectives for Mount Mary College clothing and textiles minor for the fashion design major
A list of objectives for the clothing and textiles minor for the fashion design major at Mount Mary College in Milwaukee, Wisconsin. -
Overblouse and skirt without coat
B. Ivory wool jersey overblouse; bias cut; cowl neckline, high; five silver button/bound buttonhole center back closure. C. Gray wool double cloth A-line skirt; grosgrain waistband.
Worn with coat (Object ID #1997.272.A) to form three piece ensemble. -
Overblouse without jacket
B. Brown wool jersey overblouse; suede binding; center back closure.
Worn with jacket (Object ID #1990.221.A) and skirt (Object ID #1990.221.C) to form a three piece ensemble. -
Overdress and underdress
Black silk tulle surplice wrap overdress; jewel neckline, straight long sleeves, hook and eye closure at left side front. Gathered skirt with stabilized waistband, mid-calf length. Finished with tiny machine-sewn French seams. Worn over underdress (Object ID #1995.331). Worn by Valentina. -
Pants
Camel colored wool double knit pants; elastic waistline (stretched out); slightly flared bottom. -
Pants
Turquoise paisley pattern wool challis pants; pattern in shades of green and purple; tapered legs; built-up waist; two front and back darts; left side zipper closure. -
Pants
Black silk damask tapered leg pants; self-patterned with white linked circle design; banded waistline; three frontal pleats; two back darts; two inseam pockets lined in nylon; combination button; snap closure on left hand side (button is missing). -
Pants
C. Navy blue wool/rayon knit pants; elastic waistband; knit-in creases.
These pants are worn with a sweater (Object ID #1988.143.a). The third piece of this ensemble is a skirt (Object ID #1988.143.b) that can also be worn with the sweater; the three pieces are not intended to be worn simultaneously.
Worn by Florence Eiseman. -
Pantsuit
Brown silk shantung pantsuit. A. Cardigan style jacket; jewel neckline, hidden placket buttons at center front, ¾ length set-in straight sleeves, two patch pockets at hipline. Lined with brown taffeta. B. Long slacks; straight legs, no waistband, double gusset at crotch, center front fly zipper opening. Unlined. Worn by Valentina. This ensemble does not have her couture construction techniques. -
Paris T. recording
This recording was made by Paris T. as part of the 2024 Psychology of Peace course at Mount Mary University, which included a study abroad trip to Ireland over J term.
Description from creator: "My story describes the education. I noticed a lot of difference between the Irish Republic and Northern Ireland being mainly under the control of the British crown. I noticed a lot of things about industrialization in different parts of the Nation. I loved the entire nation less than its history. However, when I took a moment to reflect on all the information, I have learned about the IRA termed Irish republic assembly or Catholics." -
Pauline Trigère working on a coat (1 of 3)
Pauline Trigère demonstrating her cutting and draping technique with a live model in the Mount Mary Fashion Department during her visit to campus in November or December 1973. The coat she is working on is part of the Digital Fashion Archive (Object ID #2003.04.01). -
Pauline Trigère working on a coat (2 of 3)
Pauline Trigère demonstrating her cutting and draping technique with a live model in the Mount Mary Fashion Department during her visit to campus in November or December 1973. The coat she is working on is part of the Digital Fashion Archive (Object ID #2003.04.01). -
Pauline Trigère working on a coat (3 of 3)
Pauline Trigère demonstrating her cutting and draping technique with a live model in the Mount Mary Fashion Department during her visit to campus in November or December 1973. The coat she is working on is part of the Digital Fashion Archive (Object ID #2003.04.01). -
Peg Bradley at Pro Urbe Civic Awards Dinner at Mount Mary College
Peg Bradley (also known as Mrs. Harry Lynde Bradley) is the woman on the right in this photo. She received the Pro Urbe Medal from Mount Mary College in 1966. This undated picture was likely taken that year or the next year, as winners seemed to attend and possibly speak at the dinner the year after they won. -
Petticoat without dress
B. Brown tulle tiered petticoat. Worn with dress (Object ID #1985.31.a).
Worn by the donor's mother, Estelle Collins Naughton, as a "Mother of the Bride" dress at the donor's wedding on November 27, 1954. -
Picture hat
Black sheer polyester sewn braid picture hat; large brimmed; large black silk flower sewn to left side front; no hatband; white label. -
Picture hat
Silver large-brimmed picture hat; stripes of pink, silver, coral, and mustard on crown; silver braid hat band with knot.