Clothing. Women's straight black wool crepe skirt. Fold over waist band lined with stiffened fabric (4cm). Centre back opening. Lining at waist fastened with two metal hooks and eyes. Back opening (19cm) fastened with five press-studs. Inverted pleats (28cm) on RHS front and LHS back above the hem. Skirt is unlined. Two hanging loops.costume, female, women's straight black wool skirt

Clothing. Dark olive green fabric,(possibly cotton) with a sueded feel, bracelet length gloves. In between the fingers (on the side of the fingers)the gloves have panels of dark olive kid leather. At the top of the glove, on the outer side, the fabric is pleated, to give a rounded effect. A flat bow 6 cms from side to side, trims the curve. The bow is made of the dark olive coloured leather.costume accessories, female, olive green leather trimmed gloves

Worn by Donor's baby boy during the 1950sViyella fabric boys shepherd's jacket with collar and long sleeves. Opening at front with three cream buttons at top and one press stud at top. Jacket is cream coloured with blue smocking at front top.|There is a blue and white edging on cuffs and collar, also down one side of jacket. Back has centre pleat and one smaller each side. Under smocking jacket is gathered.Dacolocostume, children's

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.Late Victorian black silk damask outfit comprising a flared skirt and a short bodice. The high necked bodice reflects changing fashions at the turn of the 20th Century in that the silk fabric on the bosom is lightly gathered. The sleeves are pleated at the elbow. The skirt is lined with a black cotton lining. The neckline of the bodice includes a narrow band of pale cream lace. The outfit was owned by one of the donor's maternal ancestors.women's clothing, australian fashion - 1890s, mourning wear, micky ashton

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.A handmade, sturdy white cotton christening gown. The bodice is made from a number of separate pieces of fabric. At the front there is a flat, pleated panel that extends well below the waist. The longer half-length sleeves are attached to the neckline rather than from a shoulder. Each sleeve is bordered with crocheted lace. Crocheting is also used as a decorative element on the front of the tie. The skirt is simply hemmed. christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

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

Probably 1890's to early 1900's. The Dress and Mantle Makers departments was part of F. Davey and Co. and the department was run by Miss Middleton, formerly of the Beehive. F Davey and Co. sold their View Point premises in Oct 1904.Bodice (Wedding dress), hand and machine stitched. Silk lined with polished cotton. Slim ruched sleeves - ruched at inner and elbow side of sleeve (hand sewn). Elbow edge of ruching forms two ''frilled pleats'' down the sleeve to the wrist. Wrist edge lily pointed and finished with a 9 cm underfill of cotton lace. Top of sleeves have a leg-o-mutton balloon effect panel sewn at the shoulder and the upper arm. This balloon effect hangs down over the sleeves almost to the elbow. Top of sleeve has an embroidered lace frill hanging over armhole. Two silk bows are placed at the shoulders. Stand-up collar,5 cm deep is finished on each side with a pearl and glass beaded bow motif- 6cm in diameter. Hook and eye fasteners down front-metal loops covered with button hole stitch. Bodice boned with thirteen (13) ''bones''. Each pocket finished with a fan pattern stitching. Linen panel, with a diamond shaped weave stitched at each underarm. Front bodice is pleated from shoulders to centre front. Right front laps across left to fasten with a hook on the left shoulder. This panel is heavily beaded with glass beads and sequins. Over panel from right shoulder fastens with hook and eye at left hip line,with the pleated panel circling the waist.Matching skirt 11400.315.F.Davey & Co, Dress & Mantle Makers, View point, Sandhurst Label stitched at inside waistline of bodice.costume, female, wedding dress bodice

The term ‘puggaree’ originates from the Hindu word, ‘Pagri,’ meaning a turban or thin scarf of muslin. Intended for insulation, the puggaree was a traditional Indian head-wrap, adapted by the British for headdress worn in hot, sunny regions. During World War One (1914-1918) a plain khaki cloth band was worn and this practice continued until compulsory training was suspended in 1929. Following the introduction of Voluntary Training in 1930, new puggarees were issued to the Commonwealth Military Force with different coloured folds denoting Arm or Service. During World War Two, a flat type of band was issued. Troops who were on active service in the Middle East at the time introduced a folded puggaree as a distinguishing mark of active service. Later, the Army reverted to various types of plain bands, green dyed puggarees for example, for jungle warfare. However, the official puggaree at the conclusion of World War Two was still the flat band. The current puggaree has seven pleats, one for each state and one for the Australian Territories. It is made from light khaki coloured cotton and is worn on the slouch hat with a unit colour patch sewn on the right side. While the majority of the Australian Army wear the light khaki coloured puggaree, there are slight variations for members of the 1st Battalion, the Royal Australian Regiment, and the Corps of Staff Cadets. Soldiers of the 1st Battalion, the Royal Australian Regiment, wear jungle green puggaree. The dark green puggaree was introduced during the Battalion’s service in Malaya over the period 1959-61. Unable to get puggarees from Australia for an official parade; the task of producing them was given to the Battalion tailor, Mr. Mohavved Beseek. Mr Beseek used ‘bush shirts’ (common issue British field uniform at the time) to make the puggarees as he was unable to obtain the khaki material locally or from Australia. It is thought that the Commanding Officer, Lieutenant Colonel W. Morrow decided that the green puggaree would be the puggaree worn by the 1st Battalion, the Royal Australian Regiment, in Malaya. After the battalion’s return to Australia, the dark green puggaree was adopted for permanent use. Because the dark green puggaree is so distinctive, the battalion does not wear a colour patch. Royal Military College staff cadets wear a distinctive puggaree of olive drab colour. The puggaree has eight pleats, with seven representing each state and one for the Australian Territories. The eighth pleat signifies the graduation of the first international cadet through the Royal Military College who hailed from New Zealand. Worn on slouch HatHat BandNilpuggaree,hat band, slouch hat, lara rsl

The jacket belonged to RAAF Chaplain Aubrey Alfred Quick. Rev Quick served in seven Methodist Circuits in Victoria, one in Tasmania, one City Mission (North Melbourne) and also an appointment with the Methodist Inland Mission in Central Australia. He was one of the first ministers to be appointed to the new John Flynn Memorial Church in Alice Springs. Aubrey Quick was a part-time Chaplain in the Royal Australian Airforce and received an Order of Australia for his pastoral care of the apprentices the RAAF. He served on the University of Melbourne Queens College Council for 23 years. Navy blue wool belted jacket with four brass buttons and a brass buckle. The jacket has four pleated pockets, each with a brass button, one small ticket pocket on the RHS and two pale blue grosgrain ribbons at the cuffs. It is lined with black cotton and the sleeves with cream striped lining. The right pocket contains two metal Chaplain's RAAF metal hat badges and two colour bars.rev aubrey quick, raaf chaplain, methodist circuit, australian inland mission

This dress was worn by Julia Benjamin (1850-1927) for her marriage to Abraham Smith (of Polish descent) at the Melbourne Hebrew Congregation in Bourke Street, Melbourne on 5 September 1868. Julia was the daughter of Joseph Benjamin and Hannah Soloman. Records suggest it may have been converted into her 'calling' gown for the three month 'bridal' period following her marriage. The gown would have been worn with accompanying accessories of a cape and gloves.An early example of a wedding dress of the Melbourne Jewish community.One piece floor length dress of (originally) lavender, watered (moiré) silk taffeta with short sleeves and train that is controlled by interior tapes to create bustle effect. The bodice fastens down the centre front to the waist where the opening below the waist is concealed by side pleats. The bodice appears to have originally featured a piece of lace at the neckline and a textile ruched belt. The dress is backed with a cream cotton.julia benjamin, abraham smith, joseph benjamin, hannah soloman, melbourne hebrew congregation, wedding dress

BHS CollectionBlack fox / fur stole, lined with polished cotton lining(?). Lining pleated at back neckline. Two fox heads- one either side of front shoulder. Front panels- 11.5 cm X 52 cm finish with a luxuriant fox tail, and two smaller ''tails'' on each side. Neck panel at back 16cm wide. Metal hook, chain and loop fastening at centre front.costume accessories, female, black fox fur stole.

BHS CollectionBlack dress of synthetic crepe fabric. Sleeveless bodice with darts at front from waist to bustline. Side panel inserts under arms to waist. Back has opening from neck to below waist with metal zipper(53cm). Peplum(8cm) at waist front and back. Decorative bows of black cord at waistline at each hip. Long tassels.Knee length skirt is knife pleated. Dress is unlined.Markings/Inscriptions Label attached to lower zipper. ''A59110 mf ex st sz'' Handwritten ''Sample'' ;Y127' '12'.costume, female, black synthetic crepe dress

Black silk-satin machine stitched dress. Dropped waist with bans 3.5 cm wide across front. Pleat from neckline to dropped waist, 2.5 cm wide and fastened down by four groupings of two one cm diameter buttons, mauve in colour. Four rows of narrow pin tucks each side of centre front and one tuck one cm wide on outer side of pintucks. Six press stud fasteners concealed under left hand tuck. Fold down collar, with two silk embroidered flowers appliquéd at collar fronts. Three quarter length sleeves slit at lower edge, and trimmed with two mauve buttons and two silk flowers appliquéd at each lower edge. Four knife pleats at each side of front skirt/ Back straight through from shoulders.garments from the Executors of the late Frieda Kahland 11400.122,11400.364, 11400.365, 11400.366.. Donated by A.L.Lienhop of Harcourt.costume, female, black silk-satin dress

Royal blue rayon and silk short sleeved knee length dress. Back is made of two pieces with centre seam. Inverted pleat at centre 18cm above hem. Two vertical darts have been used on either side of the centre back (30cm). Both darts have been unstitched. Short set in sleeves. Front has bodice crossover to form V neck.15 cm crossover Midriff piece and skirt in one piece – straight. Bodice crossover pieces joined to midriff. Dull blue lace fabric lined with royal blue rayon, joined to midriff piece – layered horizontally with 4 tucks of 3cm showing. Attached to skirt. Skirt one piece with two knife pleats on either side of centre. LHS opening with 26cm metal zipper from 8cm below sleeve. Linen look fabric. Part of ensemble with 11400.525Created by ZANKO of Melbournecostume, female daywear, dress

MIL-A-25892C(USAF) H.I.Garment Co. DSA 100-1734 U.S Large Regular Stature 67.07-71.24 Weight 191-220 S/N 8475-559-5347 Marking of W/C Knudsen inscribed on label.

Fitted bodice with 1.5 cm deep stand-up collar. Long curved sleeve, tapering at the wrist, has a fine piping around the armhole. Wrist is trimmed with a piped, plain silver peaked false cuff, and two 3 cm deep pleated and piped ''frills''. Three covered buttons trim the diagonally cut decorative cuff. One metal hook, and hand stitched loop on the stand-up collar. 23 covered buttons ( one missing,others in various states of disrepair) extend from the neckline to the lower skirt. Front skirt is trimmed with a 7 cm deep band of plain silver silk, bordered by the striped fabric piping, and a 3 cm deep pleated frill on either side. Below this is a 25cm deep band of the striped fabric, at the lower edge of which are sewn four X 5 cm deep bands of pleated frills. At the centre back neckline are two X 20cm ''tails'' curved at each end and lined in plain silver silk. These are to be wrapped around the neckline, and fastened with a metal hook and eye, to form a 4cm deep rounded silver collar. Skirt back extends into a 34cm deep train. Brown cotton tape binds the hemline. Front of skirt is ruched from the centre buttoned section, in three sections either side, to the centre back panel, which is pleated, and extends into the train. Back waistline is trimmed with a 14cm wide bow, striped fabric, lined with plain silver fabric.A 7cm wide, and 34 cm long loop is stitched into the centre back seam, presumably used to hold, and lift the train above the ground. (The ends of the bow are trimmed with 10 cm deep black and silver fringing.) One metal ''bone'' in left front dart(now causing damage). One tiny 5.5cmX5.5cm shield shaped pocket on left front. Dress fully lined with cotton fabric.costume, female, victorian silver striped long silk dress

A shirt stud is a decorative fastener that fits onto a buttonhole on the front of a pleated shirt, or onto the starched bib of a stiff-front shirt. Such shirts have special buttonholes solely for shirt studs. A shirt stud may be fashioned from alloys, precious metals, and gemstones—materials uncommon to buttons sewn on shirts. The stud may have an inlay, such as of pearl or onyx. Dress code of the modern western world reserves shirt studs for men's formal wear and some semi-formal occasions. In the western world, shirt studs were first used in the mid-19th century, when some shirt fronts were too stiff to close with buttons. So remains the case for the heavily starched, modern full dress shirts worn with white tie. A collection of men's shirt studs in black and white and in various styles,and sizesclothing, shirts, menswear, early settlers, pioneers, moorabbin, bentleigh, cheltenham, jewellery, dinner suits

The bed jacket, a woman's garment, is a waist-length robe worn to cover the chest, shoulders and arms while sitting up in bed. Its short length and cape-like cut allowed it to be put on (or removed) while in bed. Often made of sheer or lacy fabrics and displaying very feminine trimmings and details, it was often used more for seduction, rather than warmth or modesty. It was popularized in 1930s Hollywood films featuring glamorous settings and glamorous stars lounging languorously in their silken bedrooms. Ostrich feather tips, swan’s down, pleated tulle and shirred lace were just a few examples of the extravagant materials that could be used in creating these confections. These garments are currently very popular with people who have been hospitalized or recommended bed rest. (Source: http://www.wikipedia.com) Pale lemon coloured ladies silk bed jacket with silk lace edging. Figured silk bow tie at front neck.home, lace, female, ladies, silk, bed, jacket, bow, made

Mrs Clare Roper wore this dress to a garden party at Buckingham Palace when she was invited there to represent the Lions Club.The Roper Family is one of the pioneering farming families of the Kiewa Valley. They built and used Ropers Hut on the High Plains. The dress worn by Clare Roper has historical significance as it represents the importance of the CWA which Claire Roper was involved with as President thus being invited to Buckingham Palace. The dress also shows the fashions of the time and indicates ladies living in the small country towns still viewed fashion as important. Since we know it was Clare Ropers dress it is well provenances, is in reasonable condition and has very good interpretive capacity. This brown shirt waister dress has an 'A' line skirt with an inverted pleat on the lower half of both the front and back. The dress has a 'Peter Pan' collar, matching belt, pockets and short sleeves. There are 3 bound button holes and buttons, gold set with pearls, only one is complete. The front top, cuffs and pockets are embroidered with cream lace. There is a press stud and hook at the neck. There is also a side zip opening in the skirt.kiewa, farming; ropers hut; lions club; clothing; clothes; dress; clare roper; high plains; buckingham palace;

The helmet was used by Sgt Cane A. E.Royal Australian Air Force Pith Helmet WW2.Khaki pith helmet with khaki puggaree which has 5 pleats. One the pugaree is an oblong colour patch blue white red colours. The Pith Helmet has a cloth khaki band around the brim and 4 ventilation holes on each side of the helmet. This helmet has chin straps that also have ear protection when done up. On the back band of the helmet is a leather loop with a press stud.Inside the helmet handwritten numbers R18098 and 13745 name Cane A. E.khaki pith helmet field sgt a.e.cane

25 cm x 17.5 cm black & white Tin Type portrait. Woman half length in black mourning dress. Parted drawn back hair style with pale pleated cloth head band worn similar to a tiara. Pendulum earrings. Silver Albertina chain and bar suspended from dress front to side pocket. Knotted silk scarf around neck and down to waist. Photographer and subject unknown.unknownphotograph, person, female

Clothing. Men's brown leather driving gloves. Cuff above wrist (11 cms X 15 cms) with inverted pleat on inside seam. Three pin tucks on the back of the gloves. Two piece decorative leather band across wrist on the back of glove (10 cm X 1-5 cm) with metal buckle, and metal loop fastened with 1.5 cm metal press-stud with red cover.Printed on plastic cover of press-stud ''AUSTRALIAN MAKE'' with knotted rope pattern in centre. Printed inside both gloves ''8 1/2''costume accessories, female, men's brown leather driving gloves

Dress belonged to donor's mother.1960s blue velvet dress with V neckline decorated with flowers of embossed matching velvet Braide, diamantes, beads & sequins, matching curved velvet belt. Dress is waisted with 2 pleats either side of centre. Metal zipper down back & metal hook & eye. Lined with shot Taffeta in pink and grey shades. In lining at base of front V is an enclosed weight for modesty. Sleeves are elbow length with gathering at elbow.

Clothing. Women's knee length white cotton bloomers with straight waistband (6 cm wide). Two side openings (21 cm). Originally fastened with cotton tape ties attached to waistband. Ties have been removed. Leg sections gathered into waistband with pleating. Triangular gusset n back seam. Legs trimmed at hem with cream coloured crocheted lace (11.5 cm) edged with light blue.costume, female underwear, women's white cotton bloomers

A bodice belonging to the family of George Ward Cole in the late 1800s. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor The Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished. A hand sewn cream silk satin evening bodice from c.1865. This bodice features a very low, wide scooped neckline with a set in sleeve and four small pleats across the head of the shoulder. The elbow length, straight fitted sleeves are trimmed with a pleated ruffle that extends around the arm finishing at the elbow crease at the inside arm and tapering to mid forearm length at the back. The fitted bodice, lined with waxed linen, fastens down the centre front with eight covered buttons of the bodice fabric. The front two panels wrap around the sides of the bodice to meet another series of panels creating a princess line with a delineated central spine. The waist position is just below the natural waist at the sides, tapering to an elongated front covering the belly. From the sides towards the back it curves up to the natural waistline and then down again to a central point. The bodice is decorated with strips of the same fabric, which has been tucked, pleated and padded to create ruching. The ruching edge has a multi coloured thread, suggestive of rosettes, on both sides. In the front of the bodice, a strip runs down the centre front, concealing the buttonholes, and finishing at the elongated point. It then goes up the bodice over the bust line where it meets the neckline. It follows the neckline around the nape of the neck and back down the front over the bust line to the centre front. More strips run around the base of the fitted sleeve near the elbow above the ruffle. The rosette like coloured thread finishes the base of the ruffle. st ninians, george ward cole, bodice, late 1800s, brighton, margaret morrison ward cole

Two seated young female studio photograph. Family resemblance suggests Sisters. Right hand side. Pleated pale dress buttoned up front, closed neck with silver chain necklace and locket. Left hand side girl. Dark dress , blouse top with bow below chin and one on chest. Buttoned boots of each girl can be seen. Printed on front. Grouzelle et Cie, Melbourne. Monogram on reverse. GFC.Grouzelle et Cie Melbournephotograph, person, female

Northern District School of Nursing nurse's base uniform 1950s - 70sBlue cotton uniform worn beneath white apron. The uniform is open at the front with nine button holes in right placket for buttons and shanks to attach. There are corresponding buttonholes on left side for closing, a small pocket at top left and a pocket at RHS of skirt. There is a small buttonhole at back of neck and at lower hem of sleeves to attach collar and cuffs. The front has gathering from below the shoulders and the back top has an inverted pleat at centre.A white tag with 'Cotton' in red is attached inside back neck. There are other indecipherable words in black marking pen most likely owner's name. Laundry mark BAS 574.nurses uniform, northern district school of nursing

This dress is of uncertain provenance. BHS records indicate that it was owned by Marion Jane Ellen Devlin, nee Stokes (1845-1936), who married Oliver Devlin on 2 April 1877 in Victoria. The dress is believed to have been worn on the Bendigo goldfields circa 1878. It may have been worn as a wedding dress. However, additional documentation discovered in August 2019 suggest that the dress belonged to Margaret Cocking, nee Carr (1850-1936), who married Gustavus Cocking in Bendigo in 1877.A grey-green circa 1878 dress comprising a matching jacket and skirt. The jacket (.1) features a standing collar that gathers to a low point at the throat. This point is concealed behind a bow with raw edges which may not be original. The centre front of the jacket has been secured with nineteen concealed metal hook and button holes. The centre front features fifteen sets of single fabric covered glass buttons secured in a diagonal pattern and appearing as double headed buttons. From the shoulder through the body the jacket is shaped with decorative panels with grey silk detail. Beside these panels shaping into the waist and under the arm are a further two pleats. On the left side waist is a small pocket with decorative flap, grey silk trim and button. The base line of the jacket features a decorative horizontal panel that wraps around the jacket. The sleeve head is small and sits on the natural shoulder line with a slim fitting, curved, full length sleeve. At the base of the sleeve, there is a decorative panel reminiscent of a formal cuff, with a decorative turn back and two buttons. Secured underneath this turn back is a bow like decoration. From the back the jacket features a V shaped decoration, an extension of the front two decorative panels. From the shoulders the jacket is shaped by four panels curving tight into the waist and flaring out again to fullness of the bustle. These seams are also finished with decorative binding. This peplum-like shape features two decorative flaps and six covered buttons. The skirt (.2) is shaped to the waist with pleats and secures on the front left hand side, the original waistband and fastenings have been replaced. The skirt front features a large decorative panel of the same fabric that curves from the front at approximately shin length, upwards towards the back securing underneath the bustle decoration. A second panel, plus a pleated panel finish the hem of the skirt continuing around to the back. At the back the skirt features two deep pleats with a large decorative bow that would sit out over the bustle. The skirt is long featuring a small train at the back. The dress is lined in a brown waxed cotton.wedding dress, 1870s fashion, marion jane ellen stokes, oliver devlin, margaret carr, gustavus cocking, bendigo

1. Blue drill cotton polyester skirt. It has belt loops at the waist. It has a side zip held shut with one button -colour deep blue. 2. & 3. Blue cotton/polyester skirts. They have belt loops with an installed belt. The belt has a silver chromed buckle. It has a side zip held shut with one black plastic button. It has a sewn in lining/petticoat. It has two pleats either side of the zip.3. Written on label, “W.326143. B. Williams”raaf cadet uniform, skirts, female uniform

Red Cross Dress,This is a light khaki, short sleeved dress. It has a collar with round corners. the buttons of 2 cm diameter, are red. There are 8 buttons. The 4th position down from the neck has a press stud. It has a small pocket on left breasat with a Red Cross badge. There are two waist level pockets. The left and right sides have a pleat. the left shoulder has a woven badge "The Australian Red Cross Society". The dress has belt loops at the waist.Nilred cross, uniform