The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne.Black hostess apron embroidered with sprays of leaves using orange and yellow silk thread. The apron is bordered by commercial guipure lace. The apron is backed by the same black fabric. While the leaves are embroidered on the upper layer only, the pocket is embroidered on/through both layers.clothing - women's, aprons, protective wear, fashion design, fashion -- 1950s

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne.Cotton apron comprised of scalloped panels of plain green and white floral patterned fabric.clothing - women's, aprons, protective wear, fashion design, fashion -- 1950s

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne.Black hostess apron created from a black silk southeast asian textile featuring a stylised woven band of red, black and gold silk. The fabric is gathered at the waist. The strap includes a black silk tassel. clothing - women's, aprons, protective wear, fashion design, fashion -- 1960s

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne.Green cotton apron, hand embroidered with a basket of flowers in coloured threads. clothing - women's, aprons, protective wear, fashion design, fashion -- 1950s

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne.Coffee-coloured decorative lace apron.clothing - women's, aprons, fashion design, fashion -- 1950s

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne.Home made cream flannel apron featuring wide box pleats.clothing - women's, aprons, protective wear, fashion design, fashion -- 1950s

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Large white cotton apron. Halter neck. Added scalloped border and decorative pockets.clothing - women's, aprons, porective wear, fashion & design collection - kew historical society

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 outfit was donated by Netta Fuller.Two piece grey silk outfit comprising a tailored bodice and a very full skirt. The bodice has puffed leg-of-mutton sleeves and is heavily encrusted with large grey artificial pearls and steel beads of the period. The skirt is cut to allow for a long train at the back. Grey pearls and steel beads are similarly used on the right side of the front of the skirt. Metallic braid may have been added at a later date. The outfit has been much altered over time. There is evidence of shattered silk in parts of the garment. Printed on a strap at the waist is the label of Peter Robinson, Oxford Street/Regent Street.Peter Robinson. Oxford Street/Regents Streetwomen's clothing, women's fashion -- 1890s, peter robinson, international fashion, fashion -- united kingdom, fashion design, fashion -- 1890s

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.Red velvet hat with black feathers at the rear. The hat features a high crown and a narrow brim.Nilheadwear, clothing, women's hats

Grey corset with boning inside. White lacing and eyelets on back and attachments for suspenders."Sibyl", Cotton Corset, Made in England. Rust-proof throughout.costume, female, clothing, women's, corset, undergarment, underwear, sibyl.

BHS CollectionHanro Advertising Brochure for Night ware Summer 1979. 8 page brochure on a white back ground with a coloured photo of two models wearing nightwear, pyjamas and dressing gowns. The front page is of two models, on the left the model is wearing a long sleeveless night dress with thin straps and gathered across the chest, the night dress has a thin belt at the waist. The long nightie on the right has three quarter sleeves with a peter pan collar, yoke gathered top and a tie front, she is also wearing slippers with matching material. Both night gowns have a white background with red and yellow flowers with green leaves. The gown is trimmed with green, red and white stripes on the collar and bottom of the garments. Both ladies are leaning against a white cement wall. At bottom left is the number 3676/68468 Fr. 129.-. Bottom right the number is 3676/68488 Fr. 169.-. Bottom right in black print is 'Hanro of Switzerland. At the top of each page is writing in Swedish. Each page shows different styles and colours of the garments together with their item number and Hanro of Switzerland at the bottom of each page. Box 116AHanro AG, CH-4410 Liestal, Schweiz - Printed in Switzerland 79/1hanro, clothing, women's apparel

This item of underclothing, called a "combination" is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. Combination undergarments combined the chemise and drawers into one garment. The combination is divided, or bifurcated, from the waist to the crutch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. Their primary use was to protect clothing from perspiration and because they were made with cotton or linen, were easy to wash. Although they were worn under the corset, next to the skin (and therefore not meant to be seen), they were often decorated with lace and embroidery. Although these combinations are made with a plain cotton fabric, Eliza Towns has incorporated pin tucks, hand embroidery and crocheted lace to embellish her garment. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear.Women’s white cotton and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has three buttons in the front and a handmade drawstring cord around the square neckline. It is trimmed with crocheted lace (with a floral design) on the neckline, sleeves and pants. It had pintucks and feather stitching on the bodice and the left and right sides are divided from the waist to the crutch. The back of the garment is plain with a gathered section at the lower back.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, victorian era, combination undergarment, all-in-one underwear, combination, ‘combinations’, one-piece underwear, one-piece undergarment, chemise and bloomers, combination chemise and bloomers, divided, bifurcated, split, chemise and drawers, women’s underwear, ladies’ underwear, undergarment, women’s clothing, women’s fashion, lingerie, 19th-century undergarment, handmade clothing, handmade lace, crocheted lace, towns family, nhill, eliza towns

Clothing. Women's black satin skirt - unfinished. Calf length with raw edges at waist and hem. side opening with five metal hooks and cotton loops.costume, female, women's black satin skirt

Description of women's costumes from 1860s to 1970s, illustrated by photographs from various sources.10 p. text and black and white/sepia photographswomen's costume, dating photographs, clothing, fashion, women's clothing

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of reticules, purses and handbags, purchased, inherited or collected by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products. Hand-beaded evening purse, with silver frame and finger ring. While the note accompanying the item states that it was made and used in the 1880s, the label 'Made in France' would indicate that it was probably made in the first decade of the twentieth century.Label: "Made in France / Hand-made". A note which accompanies the item states: "Hand beaded evening purse, 1880s. Frequently used when formal dinner dances were held in the Kew mansions." [Editor - See correct date in Physical description]fashion accessories, clothing accessories, women's clothing -- accessories, bags -- handbags, bags -- purses

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of reticules, purses and handbags, inherited, owned, used and or donated by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products. Hand-made crocheted or lace reticule with a long cord and a flap opening. The bag is lined with cream voile. It relies on different kinds of stitching for its decorative effects as well as rosettes and round pom-poms.fashion accessories, clothing accessories, women's clothing -- accessories, bags -- handbags, bags -- reticules, bags -- purses

Clothing. Women's wrist length white cotton gloves. Two rows of decorative stitching around the wrist in scalloped pattern plus one vertical row of stitching on the back of the glove.Tag inside left glove, ''Cotton Simplex Size 7'' ''EMPIRE MADE''costume accessories, female, women's wrist length white cotton gloves

Clothing. Women's white above the elbow leather gloves. Slit inside the wrist (12 cm) fastened with three X .6 cm spherical pearl buttons and button holes. Visible external seams.costume accessories, female, women's white leather gloves

The dress was in the cupboard of Muriel Kerr, the donor's recently deceased mother. The donor remembers being shown it and trying it on in the late '70s or early '80s and being told that it belonged to her great-grandmother, Lilian Armstrong Ballantine (nee Power) [1887-1967]. Lilian Ballantine lived at 31 Harp Road (now the site of the Leo Baeck Centre) from the early 1920s to 1967. Lilian's married Archibald Dill Ballantine [1883-1947], in 1910. He was a member of the Monumental firm of A&G Ballantine, responsible for the Kew War Memorial (and possibly the Springthorpe Memorial). Lilian was highly involved with the Finlay McQueen Memorial Church [ie the East Kew Presbyterian Church]. Lilian's daughter, Mary (the donor's grandmother) married Alan McQueen, the son of Finlay McQueen, the first Minister of the East Kew Church. Mary Macqueen lived at 1 Oswin Street; she was a well-known artist. The dress is significant due to its associations with a family with strong connections, through a number of generations, to Kew East and its spiritual institutions. The garment's integrity and design also contribute to its aesthetic significance as a representative item of women's outerwear during the first decades of the twentieth century.Pale blue striped muslin single-piece dress with lace, tulle and embroidery at the neck and on the cuffs. The lace at the neck and cuffs is embroidered with coloured flowers, and edged with tulle. Bordering the v-neckline is a deeper blue guipure lace (possibly added later). There is a satin flower on the right side of the skirt which gathers the hem, exposing the deeper blue cotton underskirt. The dress has a narrow band of blue satin at the high waist. The cotton underskirt is attached by thread in places to the outer layer. Both the outer and under layers are attached with metal hooks and eyes. Edging the cuffs and hem of the dress is blue commercial fringing. The exterior of the dress has a slight brown tinge which is not apparent on the inside hem, suggesting that it has been discoloured through exposure. There are minor stains.women's clothing, edwardian dresses, lilian ballantine, australian fashion - 1910s, mary macqueen, finlay mcqueen memorial church, east kew presbyterian church, alan mcqueen, kew war memorial, archibald dill ballantine, leo baeck centre, 31 harp road -- kew (vic.), a&g ballantine, women's clothing -- 1900s, fashion - 1900s, fashion design

Clothing. Women's elbow length white cotton gloves. Slit inside each wrist (9 cm) fastened with two X .7 cm spherical pearl buttons. Three pin tucks on the back of the glove.costume accessories, female, women's elbow length white cotton gloves

Clothing. Women's wrist length cream coloured leather gloves. Two decorative U-shaped cut outs at wrist on back of glove (1.5 cm X 2.5 cm) with a decorative band of knotted leather across the gaps.costume accessories, female, women's leather gloves

Clothing. Women's white full length skirt of cotton fabric with scattered square spots. A-shaped skirt of three horizontal sections with three rows of decorative stitching below each horizontal seam. Shirred elastic waistband (4.5 cm).costume, female, women's white full length skirt

Clothing. Women's straight full length white cotton petticoat. Fold over waistband (4.5 cm) with cotton tape drawstring fastening at centre back above 7 cm opening. Decorative geometric pattern stitching above hemline.Tag at centre front waistband, ''Cherry lane by French Connections'', ''100% cotton'' ''Hand wash''.costume, female, women's straight full length petticoat

Clothing. Women's brown wrist length leather gloves. Decorative stitching around seams on fingers. Three pin tucks on back of gloves. U-shaped cut out at centre front at wrist (3 cms X 1 cm).costume accessories, female, women's brown wrist length leather glove

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in a mansion, originally named Illapa, at 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937), his wife Edith Mary Weir (1867-1948) and their children. George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.Edith Mary Weir (nee Betteridge), Illapa -- 84 Princess Street -- Kew (Vic.), Women's clothing, Weir Collection Dresses, This garment is part of a collection of women’s clothing, owned and worn by Edith Mary Weir (nee Betteridge) - born in Clare, South Australia 1867, died Kew 1948 - and also by her daughter. The garments date from the 1880s to the 1930s. The collection includes day dresses, evening dresses, evening coats, capes, and undergarments. As the wife and daughter of a mine manager, the collection includes representative examples of clothing worn by upper middle class Australian women in domestic circumstances, and at social and civic events. A number of the costumes from the 1920s to the 1930s are of a particularly fine quality, being both rare, representative and intact examples of Australian fashion of the period. The garments in the Weir Collection were donated to the Kew Historical Society by a granddaughter of Edith Weir in 2017.Two piece lightweight purple silk outfit consisting of a bodice and very full skirt. The loose fitting bodice is joined at the front by three fabric covered large buttons beneath which are two flat ties of the same fabric that are also buttoned. The bodice has wide pleats at the waist. The long full sleeves have wide cuffs.edith mary weir (nee betteridge), illapa -- 84 princess street -- kew (vic.), women's clothing, weir collection, dresses

This bodice was part of the wedding outfit worn by Grace Burland at her marriage to John Henty Hindson in 1912. Her husband's grandfather, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew.The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Silk crepe wedding bodice decorated with Mechlin lace, pearls and jet, which was worn by Grace Burland at her marriage to John Henty Hindson in 1912. A report in Punch [12 September 1912] described her outfit as “... white crepe de chene finished with Mechlin lace and pearl trimming; also pearl crescent brooch (gift of the bridegroom' s mother).” Mechlin lace or Point de Malines is an old bobbin lace, one of the best-known Flemish laces, originally produced in Mechelen, Belgium. Used for women's clothing, it was popular until the first decade of the twentieth century. The high silk net neckline is finished with pearls. These are repeated on the loose fitted diagonal ornamentation on the front and back which is finished with pearl and jet beading. Similar ornamentation finishes the elbow length sleeves. [The wedding skirt is not part of the donation]. wedding dresses, women's clothing, fashion -- 1910s, bodices, grace burland

History of clothing trades unionism. An industry and union that have high female participation. The book charts the history of the union, including when women started to gain positions of power (1970s).Significant to the history and growth of the Clothing and Allied Trades Union, and women's issues in employment and unions.Book.Stamp: International Bookshop.ballarat trades and labour council, unions ballarat, ballarat trades hall, trade unionism, clothing trades, women's issues, work and gender

Clothing. Women's white sleeveless linen nightgown. Below knee length cut from two straight pieces of fabric gathered into casing across the top. Two rectangular pieces of fabric attached to the casing to form shoulders. Arm holes edged with 1.5 cm broderie lace. Square neckline edged with .5 cm lace scalloped edge.costume, female, women's white sleeveless linen nightgown

Clothing. Women's knee length white cotton bloomers with 6cm waistband dipping to a V at centre front. Two side openings (30 cm). Originally fastened with cotton tape ties attached to waistband. Ties have been removed. Leg sections gathered into waistband. Legs trimmed at hem with cream coloured crocheted lace (10 cm) edged with light blue.costume, female underwear, women's white cotton bloomers

Marjorie Burton ( nee Whiteman), born 12 June, in Birmingham, England came to Orbost in 1995 This item was made by Mrs Whiteman, Marjorie Burton's mother. Her mother was a milliner who made most of Marjorie’s clothes, hats and outfits.Marjorie Burton wore it to work with a skirt when she worked in Brittannia Insurance as a comptometrist earning 12/6 per week. She stopped working when she was married in 1938 to a salesman who later became a mechanic in the R.A.F. during WW11 . This item is an example of a home-made item and reflects the handcraft skills of women during the first half of the 20th century.A lady's blouse - probably silk. It has a square neckline, long sleeves with press studs on the cuffs. An pleated inset is attached with press studs. There are 3 large brown buttons to open the front.women's-clothing blouse burton-marjorie