Gladys Reed was a member of the Ormond Choral Society c 1950. who performed plays and musicals the City of Moorabbin and she was an accomplished dressmaker and made this blouse for her daughter Judy.Manufactured lace became affordable and plentiful so it was used by home dressmakers like Gladys Reed in City of Moorabbin c1960A white cotton lace, sleeveless blouse c 1960 with opening front fastened by hooks and eyes clothing, manufactured lace, dressmaking, blouses, theatrical props, craftwork, sequins, beading, early settlers, moorabbin shire, mechanics institute cheltenham, ormond choral society, postworld war 11 settlers, housing estates moorabbin 1950, bentleigh, ormond, moorabbin, cheltenham, drama societies, musical society cheltenham, clark judy, reed gladys, reed george

Craftwork, Crochet, Knitting and Sewing were all popular in post World War 11 Moorabbin as the new settlers established their homes on the previous market garden estates. Gladys Reed was and accomplished dressmaker and was involved in local community activities like the Ormond Choral Society Craftwork, Crochet, Knitting and Sewing were all popular in post World War 11 Moorabbin as the new settlers established their homes on the previous market garden estates.A ball of silk thread and 2 steel crochet hooks, 1 completed cotton handkerchief, 2 squares of fine cotton and a small length of lacework 2 Crochet Hooks ; a) Made in England / 4 / CROSS FOX b) ARGOBY / 6 / ; packet MILWARD Silk Cotton ; J & P COATES / MERCER CROCHET / 80

This child's green, silk, party dress was worn by Sylvia Marriott in 1927. The Marriott family were early settlers in the Moorabbin ShireMembers of the Marriott family arrived in Port Phillip in 1857. However it was John and Jane Marriott who in 1876, (after toiling hard since their arrival in1871, for very little gain), first leased, then purchased in 1882, 30 acres with a four-roomed house in East Boundary Road, in the area then called East Brighton. (Now known as East Bentleigh). The land they purchased had previously been a part of the 1841 Dendy Special Survey. Over the following years, John and his four sons with hard work and determination became prosperous vegetable growers and purchased further land in the area. Following John's retirement and subsequent death in 1903, the land was passed to his sons, and then onto the Marriott grandchildren. The family continued to remain very prosperous and successful vegetable growers and are one of many families steeped in the tradition of vegetable growing which significantly contributed to the prosperity of the Moorabbin ShireA home-sewn pale green silk party dress, worn to a wedding by four year old, Sylvia Marriott c 1927. The skirt of the dress has layers of ruffles. It has short cap sleeves. Decorative ribbons are attached at the shoulder continueing to the waist, then hang loosely over the skirt of the dress. Small pink and white ribbon rose buds have been applied at the neckline, waist and the edges of the sleeves .brighton, moorabbin, marriott, clothing, market gardeners, home, dressmaker, needlework, dendys special survey

The pioneer settlers and market gardeners of Moorabbin Shire were very committed to their religious observances. The meetings and celebrations of religious rites gave them companionship and support during the difficult times of establishing their market gardens. The craftsmanship and skills of the families is shown in the clothing they made. The skill and craftsmanship shown in this christening - baptism - gown is and example of the clothing made by the pioneer settlers and market gardeners in Moorabbin ShireA long, white, cotton, baby's christening gown with lace and inserts and pin-tucking.brighton, moorabbin, pioneers, bentleigh, market gardeners, baptism, clothing childrens, religious rites, dressmakers

A typical, white ,cotton, nightgown worn by girls c1900.. it was probably made by her mother who usually made all the clothes for the family. The pioneer settlers and market gardeners in the Moorabbin Shire had to be very self reliant and make their own clothes and utensils. Many early settlers came to rent and eventually buy land after the 1841 Dendy Special Survey in Brighton Victoria. These settlers developed market gardens and supplied the growing Melbourne population with produce . They had to make their own clothing and this is an example of their dressmaking craftsmanship.A white, cotton, girl's nightgown is typical of those worn c 1900clothing, brighton, moorabbin, pioneers, dendy henry, box elizabeth, market gardeners

The pioneer settlers and market gardeners who came to the Brighton area after the 1841 Dendy Special Survey had to be self reliant. The women made most of the clothing for their families and many items on display exhibit their skill and craftsmanshipThis is a typical garment made by the women pioneer settlers in the Brighton area after the sale of land in the Dendy Special Survey 1841. By 1900 the area was known as Moorabbin Shire and the successful market gardeners were supplying the population of Melbourne with produce.This is a baby's long white cotton nightgown with a frilled collar and waist ties, typical of that made c 1900 an worn in Moorabbin Shiremelbourne, brighton, moorabbin, dendy henry, market gardeners, dressmakers

This long, white cotton pin-tucked baby's dress is an example of the clothing the women of pioneer settlers and market gardeners in Moorabbin Shire made for their familiesAfter the 1841 Dendy Special Survey of Brighton, Victoria, allotments of land were rented or sold to pioneer settlers. These settlers had to be self reliant and the women made most of the clothing for their families. This garment is one of the examples of the skills and craftsmanship of these women.A white, cotton, pin-tucked, long Baby's dress c 1900clothing, brighton, moorabbin, dressmaking, dendy henry, market gardeners, pioneer settlers, craft working

This white, cotton, baby's pinafore with hand crochet work is and example of the dressmaking skills of the women of the families of the pioneer settlers and market gardeners of the Moorabbin Shire.The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of many items that exhibit the skill and craftsmanship of the women in these families.A white cotton infant's pinafore, with hand crochet work around armholes, and lower edge of garment. Feather stitch embroidery, and pin-tucking on bodice. Waist ties.clothing, crochet work, moorabbin, bentleigh, early settlers, pioneers, market gardeners, dendy special survey, brighton pioneers

This white, cotton half petticoat with hand crochet work on the hem is an example of the dressmaking skills of the women of the families of the pioneer settlers and market gardeners in the Moorabbin ShireThe pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This petticoat is one of many items that exhibit the skill and craftsmanship of the women in these familiesA lady's white cotton half petticoat, with deep hand- crochet border at the hem. brighton, moorabbin, pioneers, dress, bentleigh, early settlers, garments

The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of many items that exhibit the skill and craftsmanship of the women in these families. This white, cotton Lady's blouse with pin-tucked front and back is and example of the dressmaking skills of the women of the families of the pioneer settlers and market gardeners in the Moorabbin Shire. Ladies long-sleeved white cotton blouse with high collar. Pin-tucking to front and back, guipure lace inserts on front of bodice. Significant tear at lower edge of the garment.clothing, brighton, moorabbin, pioneers, dendy henry, market gardeners, home dressmaker, craft work

These white cotton underpants were made for Mr Geoff Maggs by his mother in 1907 as his first underwear at age 2 years old. The Maggs family were early settlers in the Moorabbin ShireThe pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of many items that exhibit the skill and craftsmanship of the women in these families. White, cotton underwear for a 2 year old boy. Made at home on a sewing machine with hand feather stitching and factory-made guipure lace on leg-bands. Buttons at waist, and a tuck pleat to let down as child grows.clothing, brighton, moorabbin, pioneers, dendy henry, dressmakers, market gardners, early settlers, maggs geoff

This white fine lawn girls pinafore is an example of the dressmaking skills of the wives of the pioneer settlers and market gardeners of the Moorabbin Shire 1900. The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of many items that exhibit the skill and craftsmanship of the women in these families.A white, fine lawn girl's sleeveless pinafore. Guipure lace frill around armholes, neck and hem. Guipure lace insert to bodice and feather-stitch embroidery to skirt. Waist ties.moorabbin, brighton, pioneers, early settlers, market gardeners, home, dressmaker, garments, craftwork

This white, cotton, short-sleeved blouse with eyelet work for a young woman is an example of the dressmaking skills of the women pioneer settlers and market gardeners of the Moorabbin Shire c 1900.The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of many items that exhibit the skill and craftsmanship of the women in these families. A white, cotton, short-sleeved blouse, with eyelet work for a young woman .brighton, moorabbin, pioneers, dendy henry, market gardeners, dressmakers, craft work, maggs geoff

Early settler women used their dressmaking and craft skills to make clothing and homewares for their homes and familiesA pair of white cotton pillowslips with pin-tucking and broderie frillclothing, brighton, moorabbin, linen, pioneers, haberdashery, dendy henry, market gardeners, dressmakers, craft work, risstrom lorna

This hem marker stand is a measuring tool for gauging the height of a hem, such as on a dress or curtain. The adjustable arm slides along the ruler and its snug fit ensures that it stays at the right height. The end of the arm has a metal pin inserted into it to hold a piece of chalk, which would be used to mark the fabric. The hem marker would be used by professional dressmakers, seamstresses, and tailors as well as by crafts people at home. The hem marker was made in Birmingham.The hem marking stand is an example of tools used during the 1900s in the garments and furnishings trades as well as for domestic purposes. Since that time the tool has evolved into a more efficient design that makes home sewing easier.Ham marking stand with a wooden ruler, stand and a sliding adjustable arm on a brass sleeve. The arm has a metal pin on the end. Measurements are marked on both sides, inches on one side and centimetres on the other. Inscriptions are stamped into the wood. Made in Birmingham."- - - - / - - - - - / -BIRMINGHAM" On end of arm "2*4'flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, hem marker, dressmaker, dressmaking, alterations, tailor, dressmaker's tool, sewing marker, sewing gauge, seamstress, domestic use, dress fitting, curtain hemming, birmingham, freestanding, chalk hem marker, stand, home craft

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

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 made and worn by Dorothea Fush, the mother of Thea Sartori. It is one of a number of items in the Sartori Collection.Mother and daughter, Dorothea Fush (nee Winstanley) and Thea Sartori (nee Fush) were both skilled dressmakers. One of the items donated was entered in the Royal Melbourne Show in the 1960s and won an award for home dressmaking. The donation overall dates from the 1950s and 1960s and includes dresses and hats.Gold figured satin dress and organza coat, the latter held by a large button at the neck. women's clothing, evening wear, evening dresses, cocktail dresses, evening ensembles, dorothea fush (nee winstanley), sartori collection

Lily and William Wishart lived during this period in 'Noranook', Fernhurst grove, Kew. There are numerous contemporary accounts of the social and civic activities of Lily Wishart as mayoress of Kew. In a description of a 'Mayoral At Home' in the Kew Recreation Hall, a report in The Australasian (10 Aug 1907, p.46) described the event thus: MAYORAL AT HOME In the Kew Recreation-hall on Thursday evening the Mayor and Mrs. W. Wishart gave an at home to between two and three hundred guests. ... Prior to the musical programme, the mayor and mayoress held a reception, standing on a dais at one side of the room. Mrs. Wishart was gowned in black glace silk, trimmed with handsome lace applique, and she wore a cream Maltese lace scarf over her shoulders, and held a bouquet of cardinal carnations.' This may be the dress in the collection. Another interesting and relevant report is an account in The Argus (19 March 1907, p.6): 'WOMEN'S WORK EXHIBITION The mayoress of Kew (Mrs. W. Wishart) invited the ladies of the district to meet in the mayor's room, town-hall, Kew, at half past 3 o'clock tomorrow afternoon, to consider steps to be taken locally in support of the proposed Exhibition of Women's Work.'The dress is locally significant as the work of a skilled home-dressmaker in Kew, who was also a leading civic figure in the municipality. One tends to think of amateur dressmakers as women who could not afford to purchase clothes from a retailer. Clearly, 'women's work' and the skills that educated and wealthy women acquired in the period allowed them to fashion their own garments.Full length evening dress in four parts. Undergarments include two items: a basic black silk petticoat and an upper black silk slip, the latter with two bands of ruffles. The lace dress is in two parts: a bodice and a skirt. The black, high-necked bodice is constructed of silk organza to which guipure lace has been extensively applied. The bodice has long puffed sleeves, gathered on the forearm to form a wide band of lace and ribbon at the wrist. The skirt is constructed of the same black fabric with descending bands of gathered black silk ribbon, used as ornamentation. The skirt also features a long train. Apart from the donor information about its provenance, the style of the dress can confidently be dated to the period 1900-1910. The dress was made and worn to civic functions by Mrs Lily Wishart, Mayoress of Kew in 1906-7. Earlier items belonging to William and Lily Wishart entered the collection as early as 2002. The dress was donated by a descendant of a friend of Lily Wishart in 2020. The photograph of the dress and its components attached to the record needed to be digitally enhanced so that details of the dress could be viewed online, as the fabric of the dress is an intense black. A physical assessment of the dress is included in the condition report.fashion & design collection - kew historical society, australian fashion - 1900s, evening dresses, lily clara wishart, fashion design, fashion -- 1900s

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Long mauve dress of a heavy crepe like fabric incorporating floral embroidery.grace james, women's clothing, dressmakers - surrey hills (vic), fashion -- 1960s, fashion design

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Floral jersey with matching cape and small coin pursefashion and textiles collection - kew historical society, grace james, women's clothing, dressmakers - surrey hills (vic), fashion -- 1970s, fashion design

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Three piece brown outfit comprising a long dress, a separate bodice and a belt of scarf. The outfit is made of a synthetic fabric. The long plain brown dress has been designed with a matching bodice that features a tan trim; the wide belt/scarf is striped. Brown silk purse with brass fittingsgrace james, women's clothing, australian fashion 1969-1988, dressmakers - surrey hills (vic), fashion -- 1970s, fashion design

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Black caftan decorated with aqua braid and matching capgrace james, women's clothing, dressmakers - surrey hills (vic), fashion -- 1970s, fashion design

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Long plain red sleeveless dress made of a crepe like fabric. The dress has narrow strapped shoulders. Red, pink and black floral chiffon overlap. The chiffon overlap is a John Kaldor fabric.grace james, women's clothing, dressmakers - surrey hills (vic), fashion -- 1970s, fashion design

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Multicoloured knitted long coat dress. The garment has a high round collar and full-length sleeves. It is buttoned at the front.grace james, women's clothing, dressmakers - surrey hills (vic), fashion design, fashion -- 1970s

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Three-piece pink chiffon outfit, the outer sections of a different floral weave. The two outer sections are attached with buttons at the waist. The plain pink shift with a zip at the neck was created to wear underneathgrace james, women's clothing, dressmakers - surrey hills (vic), fashion design, fashion -- 1980s

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Multicoloured patchwork waisted dress featuring a full skirt.grace james, women's clothing, australian fashion 1969-1988, dressmakers - surrey hills (vic), fashion design, fashion -- 1980s

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Long silk taffeta skirt made of patchwork silk pieces/panels with a matching silk scarf. The patchwork panels are in shades of pinks, purples and blues. The skirt is secured with clear plastic press-studs. A narrow internal border of lace is attached to the basque.grace james, women's clothing, australian fashion 1969-1988, dressmakers - surrey hills (vic), fashion design, fashion -- 1980s

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Knitted dress Long-sleeved pink, knitted wool dress with a high round neck created by the dressmaker Grace James for her daughter Ceri Spain in 1988. Acquired in 2006 Grace James Collectiongrace james, women's clothing, australian fashion 1969-1988, dressmakers - surrey hills (vic), fashion design, fashion -- 1980s

Local children in Wandsworth Road, c1930 Taken outside No. 44, home of the Stalker family, later that of Howard and Mary Everard, nee Stalker. Betty Stalker is on the left. The car is a Dodge c1920. House just seen at left is No. 57 then home of the Butler family. To the right is No. 61, the Stevens family one. Further research: Betty Neil Smith (Stalker) was born in 1919 in Balwyn (Surrey Hills). She was one of 4 daughters of Alexander MacLaren Stalker (1885-1970/1973) and Charlotte Eleanor Hayward (1884-1953) who were married in 1911. Her sisters were, Betty Neil Stalker and Ruth McLaren Stalker (1913, Surrey Hills), Joan Winnock Stalker (1917, Surrey Hills) and Beatrice Mary Stalker (1919). Their mother Charlotte Hayward was a teacher prior to her marriage. Their father Alexander, an accountant, lived in Wattle Valley Road, Canterbury in 1910. From 1912-1931 they are listed at ‘Benwerrin’, (44) Wandsworth Road, Surrey Hills. This was later the home of Beatrice Mary and Howard Everard. Betty, Ruth and Joan later lived at 9/48 Wandsworth Road. The 1931 electoral roll has Olive Myra Butler (machinist), Herbert Arthur Butler (carpenter), Ernest Philip Butler (pastrycook), Mary Butler and Hilda Jarrett Butler (machinsit) at 59 Wandsworth Road ('Bona Vista'). The 1936 electoral roll has Hugh Joseph Stephens (fireman), Ada Agatha Stephens (HD), Mary Christina Stephens (dressmaker) and Sylvia Ada Stephens (dressmaker) at 63 Wandsworth Road. Hugh and Ada are at the address in earlier electoral rolls. It is presumed that these are the families referenced in the general information noted by Jocelyn Hall. A black and white photograph of some children standing beside a dodge car. At least one is a member of the Stalker family.surrey hills, wandsworth road, (mr) howard everard, (mrs) mary everard, (miss) mary stalker, (miss) betty stalker, dodge, butler family, stevens family, cars, (mrs) betty smith, (miss) beatrice mary stalker, (mrs) beatrice mary everard, (miss) joan winnock stalker, (miss) betty neil stalker, (miss) ruth mclaren stalker, bluestone kerbing, children

The rotunda was built in 1912 by Clarence Montgomery for the Surrey Hills Progress Association and the local community and dedicated to John Gray, "a highly respected and revered citizen". Surrey Hills Brass Band regularly gave concerts in the rotunda, provided music for regular 'loyal' celebrations and also for silent films held in the gardens. The rotunda was quite elevated off the ground due to the slope of the gardens and the bioscope was stored in the room underneath. This was later used as the infant welfare centre until the Progress Association built a dedicated facility for these purposes. The rotunda was demolished in 1972. Clarence Montgomery, carpenter, was living in Sunbury Crescent in 1914. By 1916 he had moved to 83 Croydon Road where he lived for the rest of his life. Clarence was born in 1869 in Taradale, son of John Montgomery and Jane Ford. He married Sarah Ann Ingram in Echuca in 1894. Their children were: 1. Annie (Mrs P Paynter) born Echuca in 1895 2. William Henry born Echuca in 1897 3. Christina Mary (Mrs F Meyers) born Echuca in 1898 4. Violet (Mrs G Ewing) born Echuca in 1902 5. Clarence George Ingram born Echuca in 1906 and died aged 7 months. Violet became a tailoress and Christina a dressmaker. William became a carpenter like his father. Sarah Ann Montgomery died at their home in June 1932 aged 62 years. Clarence died in August 1946 aged 77 years. They are buried in Box Hill Cemetery (P-EB-0020). John Gray was "actively associated with all movements for the benefit of neighbours and fellow citizens". [Quote from the official tribute on his death in 1909.] He was very active in the Surrey Hills Progress Association in the early 1900's. The rotunda built in the Surrey Gardens by the Progress Association in 1912 was dedicated to him. John Gray was born in 1861 in Eldorado. He died on 7 December 1909 in Surrey Hills and is buried in Box Hill Cemetery (M0472). He married Emma Beckett in 1888 at 'Guildford Villa' in Essex Road, the Beckett home. They are listed in both the 1903 and 1906 electoral rolls in Arundel Crescent; his occupation is given as bootmaker. The Alan Holt property register identifies this as 24 Arundel Crescent, known as 'Tumberumba'. John and Emma had a large family: (Gunner) John Robert Gray (1888, Surrey Hills - 21 June 1917, France) Benjamin Walter Gray (1890, Surrey Hills - 1949, Heidelberg) Herbert Harry Gray (1892, Surrey Hills - 1959, Queensland) William Beckett Gray (1897, Surrey Hills - 1899, Surrey Hills) Norman Douglas Gray (1901, Surrey Hills - 1947, Sydney) Evelyn Lizzie Gray (1906, Surrey Hills - 1983) Evelyn married Reginald Roberts and donated a number of photos to the collection. The donor Violet Ewing (nee Montgomery) was Clarence's daughter. She married George Isaac Henry Ewing (blacksmith) in 1934. They inherited the family home at 83 Croydon Road. Although constructed 5 years after their opening, this rotunda was a central feature of the Surrey Gardens which was planted to a design adapted from one suggested by the renowned landscape gardener and botanist William Robert Guilfoyle (1840-1912). Rotundas were a key feature of many late nineteenth and early twentieth century public parks. This particular rotunda was notable for the Chinoiserie influence reflected in its roof. Surrey Gardens are now regarded as one of the City of Boroondara's heritage gardens and this image is significant as evidence of the design of the rotunda which is no longer extant. It is also significant as evidence of the extent of the role of the Surrey Hills Progress Association in the provision of public facilities. A black and white photo of an octagonal rotunda situated within Surrey Gardens taken from the perspective of the main entrance. It is a largely wooden structure with a domed chinoiserie-style roof. The rotunda is enclosed by established gardens. There are 4 people in the photo, with 2 women standing on the steps at the rotunda's entrance. A man and a young person are seated within the rotunda. It has 8 support pillars, which are open with balustrades to 7 sides.rotundas, surrey gardens, union road, surrey hills progress association, surrey hills brass band, parks and reserves, 1925, john gray, clarence montgomery, box hill cemetery, cinema, john gray memorial rotunda, bandstands