Transferred to Cultural Collection from Records, July 2006.Photograph of Queen Elizabeth in jewelled and beaded cream dress with crown, necklace, blue sash and medallions. Seated on chair with red brocade and gilded wood. Framed in gold frame, under glass.

The Stole is a Methodist Minister's stole or perhaps the President's stole.Black fabric sole with gold fringing at each end. The edges are decorated with gold brocade style ribbon. The stole has symbols at each end and a small cross at the middle. The stole is made of synthetic materials."METHODIST CHURCH OF AUSTRALASIA THE BEST OF ALL IN GOD WITH US"methodist church of australasia, regalia

This beautiful cap has been passed down through the McKeown family. It was donated by Marjorie McKeown (nee Ford). Womens art / handcrafts.A boudoir cap made from cream silk, sections are crochet silk thread with an insertion of silk brocade. Small pieces of bone have been inserted into the sides of the cap giving a stiffening effect over the ears of the wearer. boudoir-cap sleep-apparel female-costume

Tilly Aston wearing both of the Coronation Medals for Distinguished Citizenry that she was awarded in 1935 and 1937. This photograph was possibly taken at the same time as the profile image used by John Balmain for his portrait of her. She wears a brocaded black top, with a pin in the lapel and a necklace holding a single bead.B/W photograph of woman wearing medalsGainsborough ... embossed on lower right cornertilly aston, medals, gainsborough studio

sepia photograph on cream board. Young child in light coloured frock. Large collar with lace edge. Pintucking around hem and deep lace flounce, seated on brocaded cushion, placed on pedestal. 'Eden Society Studioes' embossed on bottom edge.Eden Society Studiosperson, individual, baby portrait

The dress and accessories worn by Mrs Margaret Scully for her wedding. Following their engagement in 1956, her husband built their home of 67 years in Box Hill South.- Silk brocade (cream) - Rouleau loops, covered buttons from back neck to waist - hook & eye below waist - Rouleau loop, covered buttons wrist to elbow - Mandarin collar - Corded waistband and hem - Dress forms train at back - Shoulder padsNilwedding dress, c 1950's, marriage

Used by donor in the 1970s.Cummerbund, bow tie and handerkerchief in a machine woven brocade, grey and white in geometrical design. fastenings and clips in dark grey plastic. Velcro strips on inside of cummerbund. Cummerbund is lined with dark charcoal grey rayon. All stored in a silver coloured box with clear plastic lid.on lid--- Bottinellicostume accessories, male

The donor's aunt, Margaret E. Hollis nee Piesse (18/2/1919-2008) wore this gown to the Coronation of Queen Elizabeth II in 1953. She was one of a total of 8,251 guests who attended the ceremony at Westminster Abbey, London. Margaret Piesse was born in Hobart and grew up in the Piesse family home, 'Merridale', Sackville Street, Kew. She was residing at 4a Little Cloister, Westminster Abbey at the time of the Coronation and was married (on 14/2/1942) to Rev Howard Hollis, a minor Canon at the Abbey and a deputy Priest in – Ordinary to the Queen (1954-1959). Howard chanted the litany and carried the sceptre. Margaret’s daughter-in-law, Sue Hollis, Margaret’s sons, Julian who attended the Coronation with his mother, and Richard, gave the photograph to Felicity Renowden, the donor. Margaret Hollis died in Kew on 16/4/2008.Single piece, formal silk brocade gown worn to the Coronation of Elizabeth II on 2 June 1953. The bodice is informally draped with horizontal folds of fabric above an antebellum waistline below which is a full skirt. An accompanying photograph of the wearer in the dress can be viewed in the final image above. coronation elizabeth ii, piesse family, merridale -- sackville street -- kew (vic.), margaret e hollis, margaret ellen piesse, fashion design, fashion -- 1950s, women's clothing -- 1950s

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.This evening gown is one of a number of items donated to the Collection by Rosemary-Vaughan Smith.Full length ivory satin evening gown, possibly used previously as a wedding dress. Inset figured brocade panel on front of skirt and bodice, with flared plain satin panels at sides. Bodice has a wide rounded neck decorated with bands of pleated satin, and broad satin shoulder straps. evening dresses, women's clothing, vaughan-smith collection, evening wear, australian fashion - 1950s

Triangular shaped black velvet ceremonial headwear with black ostrich feathers attached from each corner/point to centre. Gold coloured brocade and decorative button on the left-hand side, atop black pleated fabric. Satin-like lining, adjustable drawstring, with hard head support under the material.tricorne, hat, mayor, ceremonial wear, city of brighton, bayside, headwear, ostrich feathers, r.w. bredin & son, mayoral regalia

Thangkas are cloth scrolls unique to Tibetan Buddhism, depicting deities, venerated spiritual figures, or common religious symbols. Intended for personal meditation or instruction of monastic students, they are invested with the spirit of a deity to whom they are consecrated. A thangka is a composite three-dimensional object consisting of: a picture panel which is painted or embroidered; a brocade mounting; and one or more of the following: a silk cover, leather corners, wooden dowels at the top and bottom and metal or wooden decorative knobs on the bottom dowel. A Tibetan thangka depicting Shakyamuni Buddha.buddhist art, tibetan buddhism, holy objects

Also known as 'Platform Rocker', 'Spring Rocker', and 'Dexter Rocker'. Unlike traditional rockers it does not tend to creep along the floor when used. Carved wooden rocking chair, originally covered with a red velvet on the back and brown leather criss-crossing on seat. It has now been re-upholstered in Old Gold, cotton damask brocade.furniture, domestic

A silk scarf souvenir from Egypt. It was embroidered with military symbols and a personal message from someone called William to Nellie. The connection with Legacy is not known. The founders of Legacy were all returned servicemen who returned from overseas service in World War One so would be familiar with similar sentimental souvenirs that were purchased in Egypt and sent home to loved ones.Founding Legatees would have been familiar with Egyptian souvenirs from World War 1.Purple and yellow fabric scarf with machine embroidered text, decorative flag and floral motifs and decorative brocade edging. Scarf is made from two panels of fabric (possibly silk) machine stitched together with '14th Inf. Batt / Souvenir / of Egypt / 1916 / From William to Nellie with best love' on front face. Similar items see 00182, 00179.Embroidered '14th Inf. Batt/ Souvenir of Egypt 1916. From William to Nellie with best love'.souvenir scarf, 14th infantry battalion, egypt, world war one

This lady's jacket and vest has been made early in the 20th century and worn at formal occasions such as family celebrations, receptions etc.This garment is a fine example of a lady's jacket, made about 100 years ago and could have part of some one's mourning attire. It is a display item.This is a lady's fitted jacket made of black satin with a vest. There is satin brocade on the front sides of the jacket. The jacket has a peplum waist at the back and cuffed long sleeves edged with lace. There are hooks and eyes on the front to allow the jacket to be closed. The vest is made of fine black lace over a cream insert at the front. An added feature is a white lace collar with a black ribbon tie. vintage women's clothing, warrnambool history

BHS Collectionsepia photoghraph on cream board. Adult female, seated and holding rolled paper, left arm resting on cushion with hand at chin. Wearing brocade dress, velvet cape with fur collar. Ward Bros. Paris panel. Photo, Bairnsdale and Sale, written on base of photo board in brown print. 'with very kind regards to Mr. and Mrs. Bush, July, 1899'Ward Bros., Bairnsdale and Sale.person, individual, portrait female, related to bush family ?

This dress belonged to Ethel Nina Blundell (1876-1949), having been first made for her mother Jane Blundell (nee Burkitt, 1845-1878). Born in Dublin, Jane married James John Blundell Jr at the Black Street Congregational Church in Brighton on 16 March 1874. The Blundells were a socially prominent Brighton family who played an important role in the development of the area. James' father, publisher and bookseller James John Blundell Sr, served as a Brighton Borough Councillor between 1862 and 1867 when the local government was still in its formative years, including holding the position of Mayor in 1864. He was involved in the foundation of the Brighton Volunteer Rifle Corps and was also a strong supporter of the Brighton Ladies Benevolent Society. The Blundell family were active members of the Brighton Congregational Church and supported the construction of the Black Street church, where James Jr served as a deacon for sixty years, in addition to his work in the Crown Land and Survey Department. The dress is believed to have been made for Jane in 1875 or 1876 during her early pregnancy, likely by a local dressmaker. Jane died in 1878 when Ethel was very young, and Ethel was then raised by her father and paternal grandmother. As she never married, Ethel remained living in the family home of 'Eumana', 164 Church Street, and as an adult she assumed the role of hostess whenever she or her father had guests. On these occasions, she reportedly wore her mother's dress. The family home was sold on James Jr’s death in 1924 and Ethel was living at 52 Black Street Brighton when she died in 1949. In the 1930s, Ethel gifted the dress to a close family friend, Dr Jean Kelly. She told Jean that the garment held precious memories, perhaps due to the connection it provided to the mother she had never known. Jean donated the dress to the Merimbula Old School Museum in NSW in 1987, where it was on display for many years. The Museum donated the dress to Brighton Historical Society in 2023.This is a good example of a late nineteenth century day dress, made from two different patterns of russet brown silk brocade and featuring a lobster tail style bustle. The lack of boning combined with waist and hip measurements indicates it may have been made as a maternity dress. It is lined with beige leaf pattern cotton fabric. The princess line fitted bodice of herringbone pattern brocade has a high round neck with small 'mandarin' style collar and buttons down the front to below the waist where it forms an overskirt which is bordered with a band of coffee bean patterned brocade. The overskirt drops down to hem length at the back but from the centre front it is draped up to the back to a point below the waist level. Here it is sewn to the edge of the lobster tail style bustle which is also bordered by the coffee bean fabric. There is a concealed pocket with the opening under the right edge of the bustle. The buttons on the front of the dress have a decorative circlet of small blue flowers around a russet silk covered dome. The long sleeves are set in and slightly full with a contrasting three pleat band of coffee bean fabric with an ornamental turn back from the pleats sewn just above the wrist. The skirt section of the dress is in four 20 cm bands of alternate fabric patterns with the top and third band of coffee bean pattern slightly gathered and the second and fourth bands of herringbone forming pleated ruffles.1870s, ethel nina blundell, jane blundell, jane burkitt, eumana

This dressing gown was made from a patchwork quilt begun around the 1880s or 1890s by the daughters of William and Polly Hodgens, owners of the Adelphi Hotel near Montague Station, South Melbourne. The quilt became a communal project, added to over many years by the Hodgens children, relatives, friends and guests. Together, they filled the colourful patchwork with images and figures from their everyday lives, giving us a unique glimpse into the world of early Melbourne.Crazy patchwork dressing gown made from a patchwork bedspread. Made from irregular pieces of silk, satin, velvet and brocades and embellished with embroidered and painted motifs. Fully lined with maroon silk. Neckline trimmed with thick silk cord. Right over left fastening with two large metal press studs. One of the pieces on the back has an inscription dated 11/7/94 (1894).dressing gown, patchwork, embroidery, hand painted

This opera coat was made for Louisa Jane Cam, nee Rust, born 24/6/1873. Her parents were John Rust born in Hamburg, Germany and Jane Mc Meekin from Port Patrick, Scotland. In 1892 Louisa married John Cam the director of the Hawthorn Brick Company. It is understood Louisa wore the coat to the opening of the first Federal Parliament in the Exhibition Buildings in Melbourne in 1901.This item being an early nineteenth century opera coat has aesthetic interest. It is also important because of its provenance being worn by Louisa Cam at a significant event in Australia's history.A three quarter length Mandarin styled gold threaded brocade, lined coat dress with long sleeves. The fabric is black with gold patterns of leaves and circles. Large circles feature gold, red, yellow, pale and dark blue flower like images surrounded by gold fringes. The yolk section finishes with a small pleat over the flared bottom section. Edging around the neck is black lace. It is understood a fur collar was previously in place. The cuffs of the sleeves are pleated and have a wide frill above the pleating. The lining is pale blue silk . At the end of the sleeves the lining has hand ruched binding. Nil

This cream and green patterned vest is said to have been made for William Herbert Teal as part of his "trouseau" on the occasion of his marriage to Daisy Edith Davis on April 14th 1916 at St. Peter's Church, Merino, Victoria, Australia. It is a handmade waistcoat but it is not known who made it. William Teal was born in 1889 to Elijah Teal and Isabella Campbell Reid in Camperdown, Victoria and after marrying, William and Daisy also lived (and worked as farmers) in the Camperdown area. They had seven children. Daisy died in 1962 and William died in 1975. A wedding portrait of William and Daisy shows William wearing a dark suit consisting of a single breasted coat, trousers, good shoes, gloves and a shirt with a stiff, high collar, however if he is wearing this vest, it is unfortunately hidden under his coat. Although by 1916, men's "ready to wear" clothing were widely available, this waistcoat was handmade (possibly by his mother or sister or future wife) and has been preserved by his family for almost one hundred years. Men's suits in the early part of the twentieth century were predomininantly three piece, consisting of a jacket, vest ( or waistcoat) and trousers made from matching fabrics. On special occasions (such as a marriage) the groom might also wear gloves and have a flower in his buttonhole. Some men liked to wear a watch attached to their waistcoat with a fob chain.This item is of significance as a rare example of a man's vest that was made for a special occasion (William Teal's marriage in 1916) and preserved by his family for several generations.Man's handmade vest with a green and cream patterned brocade front, trimmed with green cord around the edges and featuring four inset pockets (also trimmed with the green cord). It has six buttonholes down the left front edge (plus a hand embroidered buttonhole to hold a fob chain) and six corresponding holes for shank buttons (which are missing) down the right front edge. The back and lining are made from cream cotton fabric. The back has a centre seam and a strap with a metal buckle with prongs (to allow for adjusting the length). The cream lining and back display some discolouration and brown marks.flagstaff hill maritime museum and village, great ocean road, warrnambool, camperdown, merino, teal family, william herbert teal, daisy teal, daisy davis, waistcoat, man's waistcoat, vest, wedding, handmade vest, wedding clothes

Clothing. Circular, on a gold metal frame, with a gold (badly tarnished) brass chain handle. A small beaded brass clasp closes the bag. Three small .5 cm pearls sit on top of the clasp, one in the centre of the beaded clasp, and two other groups of three pearls on top of the frame, with tiny white, pink and green beads - possibly silk brocade, has an all-over floral design in cream, pink, and dull green, on a cream background. The bag is lined with cream satin and has a small internal side pocket. A fine gold piping outlines the circular shape of each side, separating the side and centre gussett.costume accessories, female, circular brocad and beaded evening bag

Clothing. Silk-satin brocade cape with 7 cm high stand-up collar. Rounded at the hipline, and curved upward toward the centre fronts, where two 6 cm wide cream ribbon bows are attached. The hemline then falls to a steep 16 cm deep peak at the centre fronts. Four metal hooks and stitch covered metal eyelets form the closure from the high collar to the bustline. Two silk fabric loops on the inside of the opening-19 cms long, and 6.5 cm wide allow the arms to be free, and the cape to remain firmly fitted. The cape is padded and stitched internally in a diamond-shaped pattern. The back of the cape is curved and fitted at the waistline and the centre back. A large satin bow is attached 12 cm above the hemline, and sits over two box pleats 12 cm long, from waistline to the hemline.costume, female, silk cream brocade short cape

A newspaper cutting "Past Lives Again" - The past will live again when the Bendigo and District branch of the Royal Historical Society of Victoria holds its Golden Days Exhibition at the Memorial Hall Next Friday, Saturday, Monday, Tuesday and Wednesday. many treasures of yesteryear have been resurrected from attics and storage chests. Among these the glorious royal blue silk brocade gown worn by Jennifer Wyatt. the frock was brought out from England more than 110 years ago by Mrs. Jonathan Harris of Axedale (her husband was the founder of the Hustlers' line of reefs in Bendigo). This paper clip is inside an envelope addressed to L J Ellison, Axedale Bendigo Vic. A postage stamp of 5d posted in Sydney 20 Sep 1960. No return address . In blue pen across "Harris dress picture".newspaper, bendigo

Clothing. Woman's black silk brocade bodice. High round neckline with full length front opening fastened with 13 metal hooks and eyes. Bodice fully lined with black cotton fabric and shaped in at waistline. Seven casings for boning - two on each side of front, one on each side seam and one at centre back (18cm X 1.3 cm). Casings reinforced with bright yellow cotton stitching. Cotton tape casing at hemline at waist. Long straight set in sleeves extending to a rounded shape over the back of the hand.Cross over front outer layer fastened with three hooks and eyes at the top and one at the waist. Panels of black lace run from shoulders to waist on either side of a centre insert panel (12 cm X 15cm) with five horizontal strips of velvet ribbon. Below the insert are three 7-9cm wide black lace ruffles with khaki green embroidery (Jabot effect). The back has a deep V shaped insert of vertical pin tucks and black lace, from across the shoulders to centre back. Pin tucks also on either side of front neckline.costume, female, woman's black silk brocade bodice

This piece of fabric, known Fälter (butterfly), was designed by Mathilda Flögl (1893-1958), who worked in the textile department of the Wiener Werkstätte in Vienna. It is a remnant of the fabric that was used to make a bedspread for Karl and Slawa’s bed in their Vienna apartment where it lay decoratively over a gold brocade eiderdown. The purchase demonstrated Slawa’s interest in and knowledge of modern design and her commitment to the idea of enriching everyday life with beautiful objects, a principal of the Viennese Secession. Following the Duldigs removal from Vienna, the original bedspread and remnant were safeguarded and preserved by Slawa’s sister, Rella, in the basement of her Paris apartment. In 1948 the bedspread and this remnant were sent to Australia. The bedspread was a much-loved item but deteriorated over the years. In 1955 it was made into curtains, which are held in the Duldig Studio Collection. The Photographs of the bedspread in its original location are also held in the collection. The remnant is in pristine condition. The Wiener Werkstätte (Vienna Workshop) was a guild of designers and craftsmen that was founded by the architect Josef Hoffman (1879-1956) and the designer Koloman Moser (1868-1918). The firm manufactured a range of interior furnishings between 1903 and 1932. The textile department opened in 1900, and produced about 1,800 designs, mainly for printed fabrics for furnishings and apparel. The designs were characterised by simplified forms and vivid colours, and inspired by Eastern European peasant art and geometric motifs in contemporary painting. The workshop had a profound impact of European art and design, and its work is still celebrated today. Mathilde Flögl was born in the Czech Republic in 1893, and studied at the Kunstgerwerbeschule in Vienna. In 1916 she began working at the Weiner Werkstätte, and where she designed more than 120 textile patterns. This fabric Fälter or Butterfly was designed in 1924. The butterfly was a favourite motif of Flögl. In this design she plays with a variety of whimsical abstractions and arrangement of both the butterfly and the snail on a background of abstract colour stripes and blocks. Ann Carew 2016The fabric is of great aesthetic interest as an example of the work of the Viennese workshops, and the noted designer textile designer Mathilde Flögl. The original pencil drawings, pencil and gouache designs, and fabric swatches for Fälter are held in the MAK Museum in Vienna, and the Victorian and Albert Museum in London have a sample of piece of the silk fabric in an alternate colour wave. The Museum of Applied Arts in Sydney holds a swatch book of textiles from the Wiener Werkstätte, however Flögl’s work is not represented. The National Gallery of Victoria holds a similar swatch book. The remnant has an excellent provenance, is associated with a powerful personal narrative, and is significant and rare item relating to history of the Wiener Werkstätte in Vienna, and the oeuvre of Matilda Flögl.   Ann Carew 2016Remnant of a block-printed silk fabric used to make the bedspread for Karl Duldig and Slawa Horowitz-Duldig's bed in Vienna.

Ladies black boned bodice of brocade fabric with floral pattern. Crossover front opening with internal centre fastened with thirteen metal hooks and eyes.Crossover section fastened on LHS with seven metal hooks and eyes covered by overlapping panel. Front of bodice is decorated with dense patterns of small black beads and black sequins. There are three vertical panels of beading. The centre panel is bordered with gathered ruffles of black ribbon (one cm wide). The overlapping edges of the side panels of the bodice are edged with gathered ruffles of black ribbon. The front panels of the bodice are lined with black cotton fabric. The back of the bodice is plain. The bodice has a straight edge at waist level with a cotton tape hem. The lower section of the bodice is boned with ten fabric cased bones distributed across the front and back, attached vertically from the waistband. A fabric belt (three cms wide) is attached at centre back four cm above the waist, inside the bodice. The left hand end of the belt has a metal buckle ( 3cmX2cm). The bodice has a 7cm stand-up collar fastened above the left shoulder with three metal hooks and eyes. The collar is densely decorated with small black beads and black sequins. At each shoulder is an epaulette decorated with beads and sequins and edged with one cm gathered ribbon ruffles. The long sleeves are shaped at the elbows with four cm beaded cuffs fastened with two metal hooks and eyes. Above the cuff is a four cm fabric flounce, a row of gathered ribbon ruffle (one cm) and a three cm row of beading and sequins. Sleeves are unlined.costume, female, ladies black beaded boned bodice.

The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. Most of the hats in the collection were created by milliners for women. There are however a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Woman’s hat made of stiffened patterned fabric in shades of blue, gold and white.Nilhats, australian fashion, women's clothing

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This dress is one of a number donated to the collection by Rosemary Vaughan-Smith. Full-length cream and purple paisley pattern evening dress.Nilwomen's clothing, caftans, evening dresses, australian fashion - 1960-1969, rosemary vaughan-smith, australian fashion - 1960s