Thelma Afford

Thelma then worked on the costume designs for a live dramatic production of Oscar Wilde's Importance of Being Earnest, broadcast 18 December 1957 on ABN-2. She remarked that costumes for TV were different than for the stage since the focus was on the upper-body of the actors instead of the silhouette, and the filming was in black-and-white, more precisely 9 shades of grey.

The same year, she designed the costumes for Cinderella, the pantomime at the Elizabethan Theatre, praised for "its handsome costumes" and described as "Cinderella done in French 18th century style". Thelma worked with the Australian Broadcasting Corporation for more television plays, such as J. M. Barrie's The Twelve-Pound Look, also in 1957. She also collaborated with Cinesound Productions.

After Max's death in 1954, Thelma remained in Sydney where she lived until her death in 1996.

In 1949, she collaborated with Charles Chauvel on the film Sons of Matthew.

She was resident designer at the Minerva Theatre from 1940 to 1950 and designed most of the costumes for Max's plays for the Independent Theatre. She also worked for the Garrick Theatre and the Tivoli Theatre in Melbourne.

Max Afford and Thelma met when she was designing the costumes for his play Awake my Love performed at the Adelaide Tivoli Theatre, that won the centenary competition in 1936. The following year, Max was called to Sydney to work for the Australian Broadcasting Corporation, and Thelma moved to Sydney too to work for the sesqui-centenary celebrations. They married on 16 April 1938 at St Michael's church, Vaucluse, Sydney. They had no children.

Thomas then worked on South Australia's centenary celebrations in 1936, and was later called to Sydney to design the costumes for the sesqui-centenary pageant. She enjoyed costume designing on a large scale, and added that "period costumes give a designer more scope than modern clothes".

In 1934, she was commissioned to design for the Melbourne centenary pageant. Only one of her costumes for the Pageant of Nations is known to survive and is the embodiment of the State of Victoria, worn by Jessie Deakin Brookes, (a social worker and grand daughter of Alfred Deakin, second Prime Minister of Australia), who donated it to the State Library Victoria in 1998. It featured three iconic Melbourne buildings, Government House, the town hall and Flinders Street railway station, the Murray Darling river and irrigation system and a headpiece modelled on the Yallourn power station transmission tower. It was the inspiration of the exhibition Velvet, Iron, Ashes displayed at the State Library in Victoria in 2019-2020.

In the early 1930s, Thelma Thomas was an actress in Adelaide, collaborating notably with the Ab-Intra Studio Theatre for Woman Song, The Robe of Yama, The Stained-Glass Window, and The Aspen Tree in 1932. In 1935, Thelma joined the Ab-Intra for their last show Archway Motif before the theatre closed indefinitely.

Thelma started designing theatre costumes in the early 1930s at the Ab-Intra Studio Theatre with Alan Harkness and Kester Baruch, and also at the Adelaide Repertory Theatre, where she worked with Agnes Dobson and Robert Helpmann.

She worked as an art teacher in the late 1920s and early 1930s, then again towards the end of her career from 1955 to 1978. When she retired, she was Senior Art mistress at a private girls' school in Sydney.

Thelma May Afford (nee Thomas) (1 December 1907 – 21 August 1996) was an Australian costume designer, theatre performer, and fashion journalist who worked in Adelaide, Melbourne, and Sydney.

Afford was born Thelma Thomas in Broken Hill, New South Wales to William James Thomas and Ethel (née Henderson) in 1907. Her parents moved to Adelaide, where she attended the Presbyterian Girls' College, Glen Osmond. There she studied drawing and design, and became an art teacher at the South Australian School of Arts and Crafts. She acted between 1932 and 1934, then moved to Melbourne in 1934 to further study at Technical College.