This doll's blanket was beautifully handmade by Gladys Angus, wife of Dr Angus. Gladys made it for her daughter’s doll, which was also donated along with its pram and a silk doll's dress. It is part of the W.R. Angus collection, donated by the family of Dr W R Angus, surgeon and oculist. The W R Angus Collection spans from 1885 to the mid-1900s and includes historical medical and surgical equipment and instruments from the doctors Edward and Thomas Ryan of Nhill, Victoria. Dr Angus married Gladys in 1927 at Ballarat, the nearest big city to Nhill where he began as a Medical Assistant. He was also Acting House surgeon at the Nhill hospital where their two daughters were born. He and his family moved to Warrnambool in 1939, where Dr Angus operated his own medical practice. He later added the part-time Port Medical Officer responsibility and was the last person appointed to that position. Dr Angus and his wife were very involved in the local community, including the early planning stages of the new Flagstaff Hill, where they contributed to the layout of the gardens. Dr Angus passed away in March 1970.This doll's blanket is connected to the history of Warrnambool, as it was owned by the daughter of Dr W. R. Angus and his wife Gladys. It is part of the W.R. Angus Collection, which is important for still being located at the site connected to Doctor Angus, Warrnambool’s last Port Medical Officer. Dr Angus and his wife brought their young family to Warrnambool in 1939 and he remained a resident until his death in 1970. Early in his profession in the town of Nhill, Dr Angus assisted Dr Tom Ryan in his pioneering use of X-rays and in ocular surgery, and Dr Angus later inherited these items. The W.R. Angus Collection includes these medical instruments and other related equipment and is culturally and historically significant as an example of the medical practice of the late 19th to the mid-20th century. Additional items in the collection relate to Dr Angus’ service in the Flying Doctor Service and the Army. The doll's blanket is also significant as an example of handcrafting in the early 20th century and represents toys made for and used by children in the Warrnambool community.The doll’s blanket is rectangular in shape. It has been hand-knitted in a decorative pattern using cream wool, and then embroidered with floral motifs. The blanket is lined with a hand-knitted blue rectangle. Gladys Angus made the blanket for her daughter’s doll. It is part of the W.R. Angus Collection.flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, dr w r angus, dr roy angus, dr ryan, warrnambool oculist, port medical officer, mira hospital nhill, toy, nhill hospital, doll, silk doll's dress, gladys angus, embroidery, doll's blanket, handmade doll's blanket, knitted blanket, w.r. angus collection

Handmade by internee in Camp 3 for his son. Handpainted by George Hoffmann in Camp 1Wood carving of a boy. Painted orange and red dress, yellow shoes, crown on his head. Standing on a triangular shaped black base with a green, spotted yellow, frog at his feet. A character from "The Frog Prince" from Grimms Fairy Talesbox - carved, wood, drescher w, drescher p, hoffmann g, camp 3, camp 1, tatura, ww2 camps 1 and 3, handcrafts, woodcarving, toys, general

Bodice of a blue linen dress made by Elfriede Girschik for her daughter, Helga, in Camp 3. c1942 (early). The singer sewing machine it was made on came with her into the Camps.Blue linen bodice which has been part of a dress. The bodice has sleeves gathered at the top and slots for elastic (not there) at the lower edge. 6 handmade buttonholes down the opening at the back with 6 small buttons. Hand embroidery on the front, 2 ladybirds, sprays of yellow, blue, pink and orange flowers. The bodice has been separated from the bottom of the dress and hemmed up to make into a top.bodice, embroidery, camp 3, tatura, ww2 camp 3, internment camp handwork, helga griffin, helga girschik

The Peterborough Power Boat Club was formed "on an indoors sort of day" during the summer of 1946/1947 in the bar of the old pub (The Peterborough Hotel). There was an annual race, which was a bit of fun, not a serious race. The race was called The Schomberg Cup (which then evolved into a golf tournament) and varied from a single unhandicapped lap around some marker buoys to the highest aggregate score from a series of three handicapped heats. The night before a Calcutta was held at the Hotel at which well dressed patrons all bet on the winning crew. The event ceased probably due to the aging of the main instigators.This is significant because it was a much anticipated annual event involving the whole township, anyone with a boat entered. Also, it somehow evolved into the annual golf tournament The Schomberg CupHandmade poster in a wooden frame which include text and photographspeterborough, schomberg cup, boat race, holiday activities, peterborough hotel, tinny grimwade, wokker moore, andrew chirnside, des moore

The coat along with matching hat and dress ensemble was made in 1980 at the Deniliquin TAFE 'Garment Assembly' course which was 2 years in duration. Mrs Sayer was always crafty but not great at other subjects. Coat is lined with a petticoat which Mrs Sayer wore in 1958. The seal fur collar was purchased by Mrs Sayer's mother at the shop 'Manly Corso' in Sydney, after WW1 with money from her father.Light brown wool coat with seal fur collar attached. Lined with red fabric from the petticoat of a taffeta and lace dress that was worn by Mrs Sayer in 1958. Wooden buttons down coat and on sleeves. Coat has been handmade and has no label.coat, wool, fur, fashion

St Nicholas is an old Christian tradition all over the world and Slovenians are very diligently keeping the tradition. The children were given presents, lollies and oranges, sometimes toys as well.Handmade outfit for St Nicholas still in use todaySt Nicholas giving gifts to Slovenian children in a hall, accompanied by angels and devils, much feared by children. The St Nicholas was MrSt Nicholas dressed in a home made outfit made by Dragica Gomizel in late 1950s.st nicholas, sv miklavž, slovenian custom, slovenian tradition

Worn by Jessie Allan for her marriage to William Thomas Kenny on 13 May 1945 at St Stephens Church, Richmond. They lived in 19 Baldwin Road, Blackburn from 1965. Jessie deceased 1.4.2010. Funeral at St Alfred's Anglican Church, Blackburn South.1945 Cream satin wedding dress with a rouched bodice to a centre panel, high neckline and pointed collar. Bead work on centre panel and edge of bodice, long sleeves to a pointed wrist and beading. Thirty covered buttons down centre back. Skirt cut on cross and three metre train at back.|.2|Champagne coloured Wedding Veil - (approx 6ft in length) - complete with orange blossom 3 1/4' headdress. Headdress is handmade, attached to a wire frame|.3|Cream satin slipper. Machine stitched half in rows. Bow with satin loop and spray of wax orange blossom attached.|.4|Horse shoe shaped wedding item to hang over bride's arm. Rouched satin with ornamental - artificial (wax) orange blossom and buds with 2 mm ribbon to hang over arm. Cream coloured to match wedding dress.|.5|Satin horse shoe, rouched, with satin ribbon handle.|.6|Cream braided horse shoe with gilded wishbone and wax orange spray attached. A bow with long loop to hang on the arm.|.7|Satin Horseshoe Good Luck charm with 'petal' flowers surrounding it, made of cut material - ribbon bow with pearls in centre.|.8|Doll in taxi - Rosy-cheeked, dark hair, blue eyes, dressed in bridal dress with veil, with pearls and 'flowers' decorating the doll. The doll stood across the back seat, under the window. Lavender in base of stand.|.9|Bridal Ring Box - 'Good Luck' horseshoe charm box - in the shape of a prayer book. Cream box with silver motifs printed on.|.10|Groom's Buttonhole of spray of wax orange blossom - 4 flowers and 3 leaves. Cream flowers with yellow stamens - green leaves. 10 Items in total..7 'Wishing you all The Best' 'Good Luckcostume, female ceremonial

Ref. NA4362Maroon and white quarter-inch check princess line dress. This Summer uniform has short sleeves with a V-Neck collar and zipper front (14'/35cm zipper). There are two pockets in side seams. The garment is handmade on domestic machine and hand finished.costume, children's uniform, handcrafts, dressmaking

Cream viyella baby gown, smocked at front and at waist. Edged with cream cotton lace at neck and wrists. Decorative feather stitch on bodice, handmade button holes pearl buttons, 'jap' silk bodice lining, french seams throughoutcostume, infants'

Part of Betty Jones collectionWhite, handmade needle lace collar for female dress.costume accessories, female

Dress worn by Mary (Molly) Sprunt on marriage to John (Jack) Leith on 12 March 1938 at St Andrews Presbyterian Church, Rushworth. Veil was handmade by mother Madge Brydon in 1912 for her wedding. Dress and veil donated by Molly's daughter. Dress also worn by sister - Lyndsay (Lyn) Sprunt for her marriage to George Hendrie on 10 November 1945 at St John's Church Elsternwick. Gown made by Molly and Lyn's aunt Edith Brydon. Veil (NA3495) worn was made by mother Madge Brydon. Donated by Molly's daughter.Cream damask 1938 satin dress. Long sleeves, cross over neckline to a diamond front panel. Skirt cut on the cross, with front pleat. Back skirt has long train. Self-covered buttons at centre back.|See also NA3495 - Veil. Also worn for 1945 wedding with veil. NA3496 - Shawl.costume, female ceremonial

Veil worn by Margary (Madge) Isabelle Brydon. Was later worn by many (about 15) local ladies who lived in the area of Rushworth. Madge's daughters, Molly and Isobel both wore the veil at their weddings in 1938 and 1945. Donor is granddaughter of bride. Veil made by bride and described in the Waranga Basin newspaper at the time. Margary (Madge) Brydon married Edward (Ward) Sprunt at the bride's family home in Carag Carag, Victoria on 10th April 1912. Veil also worn by Mary (Molly) Leith at her wedding to William (Bill) Paynter on 18 January 1932 at Stanhope Presbyterian ChurchCream 1912 cotton net Princess veil. Lace is handmade tape and cotton embroidery. See Also NA3494 -wedding dress, NA3496 - shawl and photograph NA3498costume, female ceremonial

Wedding photograph of Lyn Sprunt & George Hendrie, with attendants, Pat & Geoff Cook. Wedding dress made by her aunt, Edith Brydon, and veil handmade in 1912 by her mother for her weddingPhotograph of wedding of Lyn Sprunt to George Hendrie, 10 November 1945 at St John's Church Elsternwick. Attendants, Pat & Geoff Cook|See also NA3494, 3495 & 3498, 3496Munty Malvernphotography, photographs / slides / film

made by & worn as bridesmaids dress by Estelle Macnaughtan (Bannister), 10th Jan 1953 at sister's wedding.Example of handmade bridesmaid's dress & cap.Broderie Anglais bridesmaids dress Cap & belthandmade wedding party costume c 1953

Dress and bonnet was used on the childhood doll of Rosalie Whalen (nee Schwerkolt). Doll NA5163 and another dress NA5166.Doll, whose name was Janet was given to Rosalie Schwerkolt Whalen as a child in 1945 with a lemon voile dress and matching bonnet and a patterned voile dress.Lemon coloured doll's bonnet and match lemon coloured doll's dress. Dress has bodice with V shaped bib style collar two lines of blue stitching and pink and white variegated thread trim. Sleeves have pink braid with blue stitching vertically from armhole to cuff. Gathered skirt has three lines of blue stitching around hem line. Bonnet has frill and a sun visor trimmed with pink and white variegated thread. Doll is NA5163 and other dress is NA5166doll, dolls clothing, handmade, sewn

Marriage of Melambi Emily Thomason to William Archibald Anos on 15th Oct 1913 at Presbyterian Church Clayfield, QueenslandBeautiful example of handmade wedding Dress of the era.Family wedding dress and trainNilwedding dress - 1913 - amos/thomson

Various garments associated with wedding January 1965.- Cream coloured - "A" line - 3/4 sleeves - slightly 'belled" - Organza lined - square neckline - Reputedly Georges manufacture (unlabeled) - C 1968Nilsilk, otterman, wedding, handmade, georges ltd

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.- Made from Vilene A65 interfacing - Organza (stiffened) - Bell shaped with added ruffleNilwedding, clothing, handmade, scully

Roselia Isabell Welch was an actress born 16 November 1838, probably in England. Father John Murrell Welch, mother Angela Towsey. Dress has been worn by her descendants.|This decorative day dress was worn by Roselia Welch to the 1872 Melbourne Cup. Roselia made her Cup Day dress by hand - she may have used a published dress pattern but her skill as a needlewoman is evident as the entire surface is decorated with narrow hand beaded black braid applied in a fern-like motif over the blue cotton fabric of the dress creating a lace-like effect.Dress worn by Roselia Isabel Welch to the 1872 Melbourne Cup. White lining inside dress, blue lining inside train. V neck, front hook and eye opening. Handmade hook holes down centre front. Set in sleeves with black piped armhole seams. Fitted bodice with black piped seams Flat front skirt, full bustle area at back with centre back opening. Floor length train. Blue printed label on lining of centre back panel, right side. Upper case letters 'SUP' visible. Brown tape at waist with hook. Two pairs of tapes either side of back opening for bustle. Black lace around neck, sleeve, train and back opening edges. Black cotton loop in centre of train. Inset pockets right side at hip level and very small one left side at waist level. Entire surface of dress decorated with black braid hand stitched in a fern-like pattern.

The fashion and 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. The collection includes numerous fashion accessories including items of lace clothing.Machine embroidered broderie anglaise dress front with lace edging hanging from a shoulder to shoulder broderie anglaise panelwomen's clothing, lace, jabots

This wedding gown was worn by Mary Ann Lawrence at 8.00am on 5 January 1842 at St John's Church, Launceston, when she married Francis Henty. The couple were to catch the tide on their way to Portland two hours later. 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.Mary Ann Lawrence's grey silk wedding gown has a v-line waist and a partly smocked bodice. It is lined with muslin throughout. It has hand-tatted cotton lace and handmade piping around the neck and bodice and pleated short sleeves. There was originally trimming on the skirt which was removed at a later date. Orange blossom made of chamois and tiny coiled springs originally decorated the neckline. The outfit was complemented by a bonnet to which a Limerick lace veil was attached. Measurements (mm): Girth - Neck 914, Chest 812.8, Waist 660.4, Cuff 330.2, Hem circumference 3200.4. Vertical - Front neck to hem 1270, Front waist to hem 1016, Back neck to hem 1320.8, Back waist to hem 1041.4, Sleeve length 114.3. Horizontal - Neck to sleeve head 50.8, Chest back 406.4, Underarm to underarm 406.4.mary ann lawrence, francis henty, wedding dresses, fashion -- 1840s, women's clothing

This afternoon dress was owned and first worn in 1875 by Alice (Henty) Hindson, the daughter of Francis Henty and Mary Ann (Lawrence) Henty. The outfit was worn in the same year as Alice's marriage to John Hindson at Trinity Church, East Melbourne, and may have formed part of her trousseau. Alice's father, 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.Alice (Henty) Hindson's afternoon dress is a two-piece, two-toned pink ensemble made of silk taffeta. The detailing is done with fine knife-pleated trims piped in ivory satin and decorated with ivory silk moiré bows on the bodice and skirt. The panelled peplum jacket is boned and the front button closure has hand-embroidered buttonholes with handmade covered buttons. The gathered full buttoned skirt falls into a train. The skirt is decorated with rows of ivory tulle corded lace and the hemline is edged with crisp fluted organza and tatted lace. Measurements (mm): BODICE: Girth - Neck 355.6, Chest 863.6, Waist 685.8, Hip 787.4, Cuff 304.8, Hem circumference 1422.4. Vertical - From neck to hem 546.1, Front waist to hem 241.3, Back neck to hem 609.6, Back waist to hem 355.6, Sleeve length 330.2. Horizontal - Neck to sleeve head 60, Underarm to underarm 419.1. SKIRT Girth - Waist 558.8, Hip 1473.2, Hem circumference 3911.6. Vertical - Front waist to hem 1092.2, Back waist to hem 1524. fashion -- 1870s, afternoon dresses, alice (henty) hindson, women's clothing

This bridesmaid's dress was owned and first worn in 1875 by Alice Frances Henty, the daughter of Francis Henty and Mary Ann (Lawrence) Henty. The outfit was worn at the marriage of her friend Miss Hopkins to Mr ST Staughnton in 1874. Alice's father, 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.An ivory silk skirt and matching jacket worn by Alice Henty, aged 22, at the marriage of her friend Lizzie Hopkins and S.T. Staugnton in 1874. The ivory silk satin peplum jacket is boned, tailored, and fitted with many princess line panels. The front closure has handmade embroidered buttonholes and covered buttons. The collar and sleeves are decorated with gathered silk tulle frills. The peplum back features a silk cord bow decoration. The skirt with bustle and train features a central panel with hand ruching and silk satin piping. It is decorated with five rows of pleated silk tulle frills. Measurements (mm): PEPLUM JACKET Girth - Neck 317.5, Chest 914.4, Waist 698.5, Hip 965.2, Cuff 279.4, Hem circumference 1168.4. Vertical - From neck to hem 558.8, Front waist to hem 254, Back neck to hem 838.2, Back waist to hem 241.3, Sleeve length 279.4. Horizontal - Neck to sleeve head 165.1,Cross back 292.1, Underarm to underarm 393.7. SKIRT Girth - Waist 635, Hip 914.4, Hem circumference 3810. Vertical - Front waist to hem 1092.2, Back waist to hem 1701.8. fashion -- 1870s, alice frances (henty) hindson, women's clothing, bridesmaid's dresses

This dress belonged to Mary Ann Henty [nee Lawrence] (1821-81), the wife of Francis Henty (1815-89). Her husband, 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.A two-piece, moiré silk faille day dress, owned and worn by Mary Ann Henty, aged 59, while resident at Field Place, Kew. The fitted and panelled bodice on the day dress features wide velvet ribbon, hand sewn to form ‘V’ detailing at front and back. The front bodice hook and eye closure is decorated with handmade velvet covered buttons. The high round neckline is trimmed with pleated ivory fine tulle lace. The wide long sleeves of the bodice are also trimmed with velvet ribbon and buttons forming exquisite cuff detailing. The full length skirt and train are tucked into a fitted waistline band. The hemline is hand finished with wide velvet ribbon. A separate attached peplum is worn over the full bustle of the skirt. Measurements (mm): DRESS: Girth - Neck 355.6, Chest 889, Waist 673.1, Cuff 279.4, Hem circumference 4292.6. Vertical - Front neck to hem 1447.8, Front waist to hem 1117.6, Back neck to hem 1765.3, Back waist to hem 1346.2 , Sleeve length 590.55. Horizontal - Neck to sleeve head 196.85, Chest back 469.9, Underarm to underarm 457.2. PEPLUM Girth - Waist 711.2, Hem circumference 1066.8. Vertical - Back waist to hem 406.4.mary ann lawrence, francis henty, fashion -- 1880s, day dresses, women's clothing

Alice Henty (1852-1932) was the third daughter of Francis and Mary Ann Henty. her father 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 with his wife following 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.Alice Henty’s wedding dress, made in 1876 for her marriage to John Hindson was remodelled in 1943 for the wedding of her granddaughter, Alice Henty Hindson to Norman Lithgow Tait at Holy Trinity, Kew. It was worn again by Margaret Henty Hindson (1918-2000) at her marriage to Dougald Webster Matheson at St Paul's Church, Henty in 1944. The two piece dress has a low décolletage shaped with a collar from which two curved panels drop. The fastenings for the bodice are buttons covered with the same fabric. The bodice is completed with two full length sleeves. The full skirt is slightly flattened at the front with a long train. In contrast, the ivory silk, silk faille and satin bodice with long tails remained unaltered. The front closure of the jacket has handmade embroidered buttonholes and covered buttons. The pleated collar and sleeves are decorated with gathered silk tulle. The jacket features long tails. alice frances (henty) hindson, women's clothing, wedding dresses, margaret henty hindson

Imitation fur products were initially popular due to their relative cheapness. As the 1960s progressed, faux fur became more popular due to social uneasiness about the wildlife and farmed fur trade. Whereas real fur hats might be seen as matronly, smart, light and bright, clearly fake fur hats were designed for a younger market, and proved more suitable to the light weight fabrics of dresses and coats that became fashionable in Australia in the 1950s.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.Faux ermine black and white woman’s hat.Nilheadwear, women's hats, hats - 1960s, fashion accessories, faux fur

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Pleated pink and white striped cotton apron interspersed with bands of a separate blue and white fabric.aprons, protective clothing, handmade clothing, costume accessories, lisa sylvan