- WE ARE OPEN. PROUDLY MANUFACTURING & SHIPPING THE FINEST CERTIFIED AUSTRALIAN MADE REGALIA.
- UCL University College London PhD Graduation Gown Set - Gown, Hood and
UCL University College London PhD Graduation Gown Set - Gown, Hood and Bonnet
- Certified Australian-made, tailored by us in Melbourne.
- Fabrics selected by us for the perfect weight and drape of academic dress.
- Quality garment construction techniques and reinforced hand-pleating.
- Perfectly-pressed vivid faculty colours.
- Gowns sent to you with a complimentary robe bag for garment care.
All our academic dress is made to university specifications. We guarantee the quality of our garments and after-sales service.
University College London PhD graduates wear a silver-grey gown with fully lined silver-grey sleeves and red facings. Each sleeve features a red cord and button. The matching silver-grey hood is also lined in red. The black bonnet has a silver-grey cord and tassels.
Due to popular demand, our website now caters for international orders.
Refer to the tabs below for information regarding gown sizing, headwear sizing, our fabric types and garment care advice.
Our family have been making regalia for 75 years. Thank-you for supporting Australian made.
We look forward to being of service!
Our most popular and affordable gown fabric. Lightweight, easily worn over clothing, comfortable in both humid and cool climates. Matt-finish for a smart, dignified look. 170gsm, selected by us for the perfect weight and drape of academic dress.
Gown sizing is determined by your height (floor to top of head). If you are in-between sizes, we recommend the larger size. Gowns are worn open at the front and are very loose-fitting, so don't worry about the waistline - just go by your height!
Head size is head circumference taken above the eyebrows and ears. Use a tape measure.
*Soft cap mortar boards are slightly elasticised with a little room between sizes. If you are in-between sizes, we recommend the larger size. ie: if you measure 57.5cms, choose a size large. Head sizing can be tricky. You are welcome to exchange size within 7 days of receiving.
We use Australia Post for domestic orders and DHL express for international orders. The charges below include shipping and handling $AUD.
Prices may be subject to change without notice.
Domestic shipping: refer to Australia post for delivery time estimates. Australia post no longer guarantee delivery time frames. Use the tracking number provided to track your parcel on the Australia post website. If there is reason to believe your parcel has gone missing, contact us for assistance. Do not assume that selecting express post means your order will be dispatched within a few days. A lot of our regalia is made to order. Refer lead time tab.
International shipping: international freight is expensive however we only use DHL express for reliability, speed and security. Additional freight charges may apply if your order is unusually large. We will contact you if additional freight charges may apply. Our international freight charges do not include any duties or taxes at your end.
If you would like your regalia for a particular ceremony date, contact us to ask about availability.
Please be aware that most regalia is bespoke and tailor made. We have a made-to-order, small-batch production cycle.
We aim to fulfil all orders within a reasonable time frame, however lead times can be situational, seasonal and will vary depending on our production schedule.
Please do not assume that by selecting express post that your order will be dispatched within a few days. We are not a pick-and-pack warehouse.
Please do not assume that we know you want your regalia in time for a ceremony, that we know the date of your ceremony, or that you will receive your regalia in time for your ceremony (refer points below). We recommend having a contingency plan; hire or borrow regalia from a friend, a colleague or your institution.
We cannot control shipping time once a parcel leaves our premises (see shipping tab).
Some things that are out of our control may delay production. We take all steps necessary to avoid delays but materials and deliveries delay, staff shortages, machine malfunctions, and natural disasters are out of our control.
Putting pressure on our staff will not make your order be processed more quickly. We do not tolerate unreasonable, impatient or aggressive behaviour.
We thank you for your patience and understanding as our production team work hard to try to meet everyone's requirements.
Be sure to follow the laundering instructions on the care label of your garment.
Our garments come to you pressed and ready-to-wear with minimal creasing from freight. However, we do recommend hanging your garment when not in use and if required, gently iron or steam your robe. (Do not put an iron directly onto any satin lining or facing!)
Every George H Lilley Regalia gown comes with a complimentry robe bag. We recommend using this bag for storeage and travel. Allowing your garment to air regularly will assist to keep your gown in best condition.
Particular care is required if your garment has satin linings or facings. In this case, we recommend that your academic regalia is worn in ceremonies only. Avoid eating or drinking while wearing your regalia as the satin may stain. Take care when handling as pinning or your fingernails could damage the fabric.
If at any time you are not sure on the best of care for your garment then please contact us, the manufacturer, for advice.
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Graduation Schedule 2024
Get ready to celebrate our newest graduating class!
Please find below the schedule for UCL Graduations in 2024, listed by Faculty. Students who completed the registration of interest on Portico have been emailed directly to confirm their ceremony date and time*.
If you are unsure which Faculty your Department belongs to, please check this website .
*Attendance at a graduation ceremony is subject to finalising registration on the graduation portal and your degree being conferred, if it hasn't been already.
Some Postgraduate (PG) courses will also graduate in the September ceremonies, for students who have undertaken and passed reassessment.
If you have any questions about your graduation, please start by checking the Graduation FAQs.
Express shipping: order by 3pm Mon-Fri for delivery next working day
University College London Masters Graduation Set (Hire)
University College London Integrated Masters Graduation Set (Hire)
University College London Bachelors Graduation Set (Hire)
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Graphics and geopolitics in moscow, russia.
There comes the time in every lady's life when she must put up a serious(ly boring) bio. Nina Kouprianova...errr...Why am I talking in the third person? I spend my time between graphics and photography ( ninakouprianova.com ), on the one hand, and independent scholarship and translation (Russia), on the other.
PhD Dissertation (History, University of Toronto): "Revolution, Tradition, and Modernity: Russian Consumer Advertising in the Era of NEP" (2012)
"Modernity and Natalism in Russia: Historic Perspectives" in the European Journal of Government and Economics (2013): http://www.ejge.org/index.php/ejge/article/view/31
“From Heroic Mothers to Maternal Capital: A Brief Overview of Russia’s Natalism,” video presentation and conference, “The Future of the EU 2: Demographics, Education, and Sustainability," University of A Coruña, Spain, (2012): http://www.economicas.udc.es/varela/?q=node/300
“The Birth of a Rock Subculture in the Soviet Union,” conference paper, The Association for Slavic, East European, and Eurasian Studies convention, Philadelphia, U.S. (2008)
Alexander Dugin, Martin Heidegger: the Philosophy of Another Beginning (2014)
Alexander Dugin, The Fourth Political Theory (2012), selected chapters
Contemporary Russian thought at my personal blog: https://ninabyzantina.com/
History of Espionage: https://espionagehistoryarchive.com/author/ninabyzantina/
Historic and contemporary Russia at the Soul of the East: http://souloftheeast.org/author/ninabyzantina/
MUSIC JOURNALISM (JAPAN): http://metropolis.co.jp/author/?auth=Nina%20Kouprianova
- Graphics, translation, independent scholarship.
- PhD (History): modern Russia, culture, U.S. foreign policy
- MA (History of Art): modern, medieval
- BFA (Hon): graphic design, photography, medieval studies
Cap & Gown - MHS Class of 1964
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Writing the Cityscape: Narratives of Moscow since 1991
This thesis considers how continuity and transformation, the past and the future, are inscribed into the cityscape. Drawing on Roland Barthes’ image of the city as ‘a discourse’ and Michel de Certeau’s concept of the Wandersmänner, who write the city with their daily movements, this thesis takes urban space as both a repository of, and inspiration for, narratives. In few cities is the significance of writing narratives more visible than in Moscow. In the 1930s, it was conceived as the archetypal Soviet city, embodying the Soviet Union’s radiant future. Since the deconstruction of this grand narrative and the fall of the Soviet Union, competing ideas have flooded in to fill the void. With glass shopping arcades, a towering new business district, and reconstructed old churches, Moscow’s facelift offers only part of the picture. A number of other visions have been imprinted onto the post-Soviet city: nostalgic impulses for the simplicity of old Moscow; the search for a new, stable, powerful centre; desires for luxury, privatized gated communities; and feelings of abandonment in the grey, decaying, sprawling suburbs. Following an overview of recent changes to Moscow’s topography, these four major themes are investigated through the prism of post-Soviet Russian literature. Retro-detective fiction offers insight into nostalgia for the past and the temporal layers that build up the palimpsestic cityscape. Descriptions of Moscow after the apocalypse shed light on the city’s traditional concentric structure and the concomitant symbolism of hierarchy. Glamour literature challenges this paradigm by focusing on the gated community, a topographical form that splinters the city. Images of the supernatural and the Gothic lead to an alternative vision of the hybrid city, embracing multiplicity. In this way, fictional works defy the physical world’s constraints of time and space, revealing a kaleidoscope of different perspectives on post-Soviet Muscovite experiences.
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