Presumably World War II based on comparison with silimar items. Initials inside cap may be associated with item to jacket, initialled with Lt. H. Dixon, VI. 7290.This item has historical signifigance as a an example of Australian military uniform dating presemably to World War II. Military peak cap, dark green. Brown leather chinstrap, attached by buttons on either side of visor with lettering 'AUSTRALIAN MILITARY FORCES' and Australian army insignia. Top of cap has double row of top stitching in dark yellow thread. Metal rimmed air holes (two) on each side under top of cap. Inner band made of brown leather embossed or printed with maker inscription. Rear of inner band has a row of rectangles punched through leather .50 mm in length, 22 in total, threaded through with gold coloured ribbon, tied together at centre back. Inner cap lining made of pale gold fabric, with diamond shaped liner/swear shield attached and topstitched in gold thread. Bronze coloured badge above visor with lettering Australian Commonwealth Military Forces.'THE MYER STORE FOR MEN MILITARY TAILORS MELBOURNE & ADELAIDE' on inner band in gold. Hand written initials H, and what appears to be D N (area has tears and insect damage) visible on lining behind visor. Initials in black marker. military, war, fashion, uniform, head, style, fabric, textile, cap, hat, visor, peak, outfit, myer, tailor, australian, forces, headwear, commonwealth.

Refers to the service of "Lt. R. Baker" 5/13385..1) Jacket, black wool. Four front pockets. Rising Sun on Collars. Lieut. pips (2) on each epaulette. Four brass buttons on front. Button Motif - Australian Military Forces. On left chest are two ribbons, War medal 1939-45 and Australian Service Medal, and an RAAF Flying wings badge. .2) Trousers, black wool, Red stripe down outside of legs. Button fly, striped lining around waist line inside. Two side and one rear pocket. .3) Shirt - off white cotton, long sleeves, one breast pocket. .4) Cap - peaked black, red band, Rising Sun Badge. .5) Tie - black .6) .7) Shoes - pair of black leather, rubber soled shoes L & R.Inside jacket - “Lt. R. Baker 5/13385 2/11/51”ww2, post ww2, mess dress uniform, r. baker, passchendaele barracks trust

'Going Away' jacket and skirt worn by Catherine Grant - nee Marden after her wedding at Holy Trinity St Kilda on 22 June 1873. Catherine Jane Marden was born in Bacchus Marsh in May 1849 and died in June 1925. William Fraser Grant was born in Aberdeen on October 17, 1845 and died in April 1916. See Love letter ND3737 and Marriage Certificate ND1667Going Away Dress. Faded grey skirt and jacket. Material- shot silk . Lace trim on neckline. Cuffed jacket sleeves with 3 buttons. 13 covered material button trim, with hook and eye fastening. Bustle effect skirt. Same material on long train.costume, female

Peace Time (1971) Navy CommodoreBlack Wool. Royal Australian Navy. Commodore Mess Jacket. Gold Lace Rank to both Lower Sleeves. Gold Buttons (8). Gold Thread Australia to both shoulders. Two Fob Pockets to Front. Black cotton lining. Pocket to left hand inside Australia to both shoulders. Inside left of jacket J.N.Crosthwaite. (John Nevil) C.G.C.F. Which is Commonwealth Clothing Factory. R.A.N. Which is. Royal Australian navy. Made in australia. Gold Circular Rosette 4.5cm dia. Width of Gold Laceing. 4.5cm. Two Jacket buttons Link with metal link. Black cotton lining in side. Lable to Collar C.G.C.F.uniform, royal australian navy, commodore

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced for Cleckheaton wool and contains knitting patterns for a jumper and a jacket.Knitting pattern book, 4pp. Cover printed in colour with an oval photo of a man and a woman wearing a chunky, textured knitted jumper in beige (her) and a shawl necked brown jacket with a belt tie (him).No. 106 / Cleckheaton / COUNTRY SPUNknitting handicrafts - history, cleckheaton, knitting, handicrafts - history

John Moule was President for the Association for the Blind from 1992 until 1999. Shortly after his commencement, political changes forced the realignment of government departments and expenditure, requiring a reduction in nursing home accommodation and staffing levels. With the demand increasing for services, and the need for a financially sustainable model, he oversaw the increasing amount of government support for the AFB as well as the successful centenary appeal. In this image, John Moule Man is dressed in striped shirt, dark jacket and striped tie.1 B/W photograph of John Moule in striped shirt, dark jacket and striped tieassociation for the blind, john moule

Belonged to donor's aunt1960s navy blue fine silk shantung fabric dress with lace bodice and elbow length sleeves. Metal zip, hook& eye down back. A-line skirt with two front seams and pockets. Dress is below the knee length. Lined from above bust line in bodice with fine blue crepe fabric. Matching jacket of fine silk shantung with lace trim on collar& cuffs of full-length sleeves. Self-covered shantung 4 buttons and stitched buttonholes. La Petite label in jacket and underarm on dress.La Petite Model Frocks, 165 Collins St Melbourne.la petite

Part of the small collection of uniforms in DAHC's possession. Like most of these uniform this one stems from the 1950's. The shoulder insignas indicate a "Genie" division (Engineering Corps).Many of the 1950's period uniforms came from people that had been discharged after having served in the Dutch East Indies (now Indonesia) during the Indonesian Indepence War.Part of Dutch army uniform: (1) dress jacket with (2) cotton dress belt, (3a) leather belt with (3b) cross belt, (4) khaki tie and (5) cap with names W. van Reed//Dorland on the inside. Jacket has brass buttons, NL lion embroidered on sleeve, "genie" emblem on shoulder strap and rank sign (one star - Lieutenant) on collar. Note: match box "Drogist Lucifers" left in pocket.(1) Label jacket text "Maatkleding, Maison Jordi & Cie, tel 4608, Amersfoort" and rank indication (Lt). (5) Cap has names W van Reed & Dortland. "Drogist Lucifers" on matchbox in pocket.

The full costume used traditionally by ladies in the 16th to 19th century AD. Now used in Greek dances, parades and theatrical performances as a traditional costume.Historical significance due to the variety of traditional functions it was used during the 1990'sLady's dancing costume Jacket, gold and silver embroidery around edges. It has orange lining of silk material, lace and linen frill sleeve. Whole costume is called "Vlahopoula". Velvet outer. Part "C" of a four piece costume.lady's costume, jacket, greek, βλαχοπούλα, γιλέκο, στολή

Made for the representatives of the VTBA, (Victorian Tramways Bowls Association) lawn bowling club, for attaching to a blazer or jacket to be worn at functions or events. Most likely made by the clothing workshops at Hawthorn. The purpose of the yellow/green stripe is unknown on the 3rd copy.Demonstrates the badges or pocket patches used by the VTBA members.Set of three cloth badges or patches for sewing onto a jacket pocket - two black cloth, gold lettering with MMTB logo in gold and one with green and yellow stripes on the top.vtba, lawn bowls, tramways, mmtb, fred turner

This Edwardian era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death occurred often to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were a part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The black silk tailor-made jacket is one of three pieces of a ladies’ Edwardian mourning outfit. It has long sleeves, a stand-up collar trimmed with appliqued black crochet lace, and pleated sashes on the left and right sides from front to back fastened at the shoulder and waist. The jacket has a peplum or flounce below the waistline. The front of the jacket has brass hooks and fabric eye fastenings. The back of the jacket has two tails. The jacket is lined and the shoulders are padded. It has been machine sewn and finished with hand stitching. A white card is tied with a ribbon inside and has an inscription. The poplin skirt on the jacket has been cut up to the waist at the side seams. There is an attached card with an inscription, handwritten in ballpoint pen.“Jenny” and “Mrs Sheila Handscombe, Wallaura, Jenny”flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, sunburst pleats, western district victoria, mourning jacket

19th century Irish linen Christening gown and matching petticoat donated by Ruth Starkey. The Christening gown and petticoat have been in the family for around 170 years, passed to generations. They were sewn by Eliza Lynon in Enniskillen, Northern Ireland. The following history has been provided by Ruth Starkey: • Town of origin is Enniskillen, Northern Ireland, sewn by Eliza Lynon. • The gown came to Australia with Eliza Lynon on the Red Jacket in 1855. • Eliza married Joseph Dobbyn (who was a member of the Royal Inniskilling Fusiliers Regiment) at Christ Church Geelong. • They built a home at 150 McKillop St, Geelong. Melrose was the name of the home. • Family name Dobbyn - Joseph Wilson Dobbyn b. 07/04/1844 - d 12/10/1892 and Elizabeth (Eliza b 12/03/1847 d 26/08/1934) and passed to Eliza Jane, Jessie Victoria Mary and Lucy Ellen Dobbyn (sisters). • Lucy Ellen nee Dobbyn, married Herbert Blunt, Boatbuilder Geelong at Christ Church Geelong • All lived at 150 McKillop St Geelong over the years • Passed to Marjorie May Fearn born nee Blunt who was baptized at Christ Church Geelong 29/5/1915 • Passed to Ann Rosemary Starkey nee Fearn • Passed to Ruth Norelle Starkey (me) I was baptized at Christ Church Geelong. • I am the great- great granddaughter of Joseph and Eliza and the great granddaughter of Herbert and Lucy.Irish linen Christening gown with cutwork anglais. Cutwork along hem is scalloped with a central motif going down the centre front of the body. Bodice is embroidered in a v shape at the front and has cutwork embroidered sleeves. Skirt is attached to the bodice with cartridge pleats.irish linen, christening, religion, children's clothing, ceremonial, church, geelong, red jacket ship, enniskillen, christ church geelong, northern ireland

This ticket is part of a three piece set. There is also an Army Uniform (jacket and trousers) which are associated with this item. The ticket was found within one of the front pocekts of the jacket. There are three chevrons on the sleeve of this jacket which signifies three years of service. The unit patches on the shoulders may denote that the wearer was part of the Army Serice Corps Divisional Unit one. The ticket shows that the serviceman was at some point travelling in uniform on defence leave in a first class carriage from Spencer Street to either Moreland, Newmarket, North Carlton, Northcote or Westgarth.As an historic train ticket with an association to Victoria and the Army Service Corps this item is of local historic and social significance.A rectangular light brown paper card with printed ink inscriptions on the front and back.Horizontal inscriptions on the front in black ink: SPENCER STREET / (1 [symbol of a cross] ) TO / MORELAND / NEWM’RK’T / Nth. CARLN. NORTHCOTE / or / WESTGARTH / FIRST CLASS / Not transferable to Another Person. / PENALTY £20. / (the numbers 6706 surrounded by black rectangular backgrounds) Vertical inscriptions on the front in black ink along the left edge: Single First Class Single Vertical inscriptions on the front in red ink along the left edge: TRAVELLING IN UNIFORM Veritcal inscriptions on the front in red ink along the right edge: DEFENCE LEAVE Horizontal inscriptions on the back in black ink (this inscripion is right side up along the top edge and also upside down along the bottom edge): 13F E441army, uniform, jacket, army service corps, asc, divisional unit one, division one, train ticket, train, ticket, defence leave, defnce leave ticket

Reversible ski jacket made by Rosalie Kiessling, 1970s. Used by Rosalie's son and daughter-in-law, from the 1970s through to the 1990s. The Kiessling family skied at Mt Buller and are members of Omega Ski Lodge. German by birth Rosalie, grew up skiing and ice skating, studied fashion design in Munich and worked designing women’s ski wear and lingerie before migrating to Australia via New Zealand in 1939 with her husband. As skiing increased in popularity following the end of WWII, Rosalie’s business grew reaching its peak during the 1960s. Though it was never large; at most she employed three staff. Rosalie continued to design and manufacture fashionable but functional ski wear until the late 1970s, although increasing imports from large overseas manufactures and constant new innovations in fabric technology made it difficult for her to compete in a relatively small industry. Reversible ski jacket with side zip pockets and full zip front. One side of the jacket is black fabric, while the other is black checked with a yellow and red weave. Rosalie Kiessling sportswear Melbourne / All cottonskiing, ski clothing, fashion design

Button used by The Met on their uniform jackets with the first logo or symbol used by The Met.Demonstrates a The Met Uniform button.Button - brass - The MTA (Metropolitan Transit Authority) of The Met logo with a raised metal finish - made by Stokes Australia - approx. 23mm dia. The badge backing piece is brass. It is fitted with a lug for sewing onto a jacket and have name of manufacturer stamped on rear part. Two copies held. The second copy has a section of thread wound around the lug,"Stokes & Sons Australia" stamped on the rear.trams, tramways, melbourne tramways, uniforms, buttons, the met, mta

Black satin empire line cocktail dress with white lace bodice featuring gathered fabric detail with half sash on bodice.Label says 'Styled by Daru Fashions' with black and white poodle motif on labelcocktail dress, fashion, lemega, new year's ball

Royal Victorian Regiment WO2 JacketPost WW2 jacket with Parachute Qualification BadgeWoolen Serge Battle Dress. Royal Victoria Regiment /White over red. Right upper sleeve- Parachute Qualification, Lower both sleeves WO2. Which is Warrant Officer Class Two. Five buttons to front of jacket, Belt and buckle does up on RHS, Makers tag with personal name of Piggott, South Australian Lable, Date 1968. Class 8505-66-025-6422. Size 41/42 PR Length 74cm. In sleeve, Length of sljacket army

This cotton baby's nightgown is and example of the dressmaking skills 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 utnesils. This is one of many items that exhibit the skill and craftsmanship of the women in these families.A long, white cotton baby's nightgown with collar and bodice ties. Lace panel to bodice, and guipure frills and hand embroidery to collar and cuffs.brighton, moorabbin, pioneers, bentleigh, cheltenham, market gardeners, oakleigh, clothing childrens, dressmakers home

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.Tan/Rust-coloured silk bodice and skirt. The silk used in the garment is self-patterned with a leaf design. The bodice has extensive gold and silver coloured glass beading. The silk used in the sleeves of the bodice and the skirt is badly degraded/‘shattered’.australian fashion - 1860s, women's clothing - 1860s, dresses - 1860s, shattered silk

Most likely worn to balls around the Yarrawonga district most notably at Wilby where there were monthly old time balls held during the 50’s to 1980’s. Tomato pink crepe gown with tafetta lining. Three quarter full flowing Sleeves.V neck, gathered at bust with a beaded diamond shape set in the middle. Back zipper Label on bodice Silver Star, Sydney, size 18 Bust 100, waist 80, hip 105old time dancing, costume

THE MANNEQUIN The included wooden mannequin made by J.A. Walker of Melbourne has been very well used, as can be seen from the pin marks and split and torn fabric in areas where pins would have been used many times. The painted wood of the bodice is wearing away. The top of the neck is very rough in the centre, indicating that it possibly had a knob, handle or even a head shape on top. The mannequin could have been used for storing and cleaning of the evening outfit and even in the process of making it. It is made to match the measurements of the outfit beautifully and would be close in measurement to Mrs. Isabella Mitchell. Isabella’s sister-in-law Eliza Russell made her own wedding dress and perhaps she or Isabella herself made the evening outfit using the mannequin for fittings. The mannequin is significant as its size gives an image of the shape of the evening outfit’s owner. It is also significant as an example of the process and skills to create garments of fashion during the period, with many people making their own garments. The mannequin is also an example of an item manufactured in Melbourne in colonial times. This wooden display mannequin is from neck to floor length. It has a round pedestal. The mannequin’s bodice has been painted black. It is padded then covered in black fabric. The maker of the mannequin was J.A. Walker of Melbourne. It dates to the mid-late 19th century.Mannequin maker’s fabric label “J.A. WALKER / MANUFACTURER / MELBOURNE”mannequin wooden, mannequin made in melbourne, dressmaker’s mannequin, 19th century mannequin, dress form, display mannequin, custom made mannequin, dressmaker’s dummy, andique mannequin, clothing display, j.a. walker manufacturer melbourne, j.a. walker mannequin manufacturer, evening outfit

Nicholson Family HistoryDust Jacket a series of B/W Photos Blue hard Cover with Gold PrintOn Dust Jacket: 115 First Cousins. 250 years of Beth Nicholson's Kith & Kin. Researched by Elizabeth Bell nee Nicholson. Compiled By Jan Bell On Hard Cover in Gold Print: 115 First Cousins. 250 years of Beth Nicholson's Kith & Kin. Researched by Elizabeth Bell nee Nicholson. Compiled By Jan Bell Inside: Donated to the Stawell Historical Society by Elizabeth Bell (Nicholson) 21st July 2019 Further Inside: Best wishes stawell

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in a mansion, originally named Illapa, at 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937), his wife Edith Mary Weir (1867-1948) and their children. George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.This garment is part of a collection of women’s clothing, owned and worn by Edith Mary Weir (nee Betteridge) - born in Clare, South Australia 1867, died Kew 1948 - and also by her daughter. The garments date from the 1880s to the 1930s. The collection includes day dresses, evening dresses, evening coats, capes, and undergarments. As the wife and daughter of a mine manager, the collection includes representative examples of clothing worn by upper middle class Australian women in domestic circumstances, and at social and civic events. A number of the costumes from the 1920s to the 1930s are of a particularly fine quality, being both rare, representative and intact examples of Australian fashion of the period. The garments in the Weir Collection were donated to the Kew Historical Society by a granddaughter of Edith Weir in 2017.A plain tightly fitted black woollen bodice [without a matching skirt] with flat black fabric buttons at the front and on the sleeves. The sleeves are cut in the American style. The jacket has a high neck. It is lined with a brown silk fabric and tightly structured with extensive bands of baleen.bodices, weir collection, fashion -- 1890s, edith mary weir (nee betteridge), illapa - 84 princess street -- kew (vic.)

The jacket is indicative of the dress jacket worn by a sailor of the rate of Naval Police Petty Office who has completed 12 years service.Jacket Double Breasted Service Dress Navy Blue with gold embroided insignia, [Naval Police Coxswain Petty Officer] on right upper arm; gold embroided rank insignia [Petty Officer] above three gold embroided chevrons indicating 12 years service on the left upper arm; shoulder flashes with gold embroided word, "Australia" on both shoulders. 8 gold button with embossed Australian Navy Emblem and the word "Australia" in parallel columns of 4. Size 111S (short fit) with 2 small gold button with embossed Australian Navy Emblem and the word "Australia" the cuff of each arm.Manufacturer's identification label on inside right breast.Manufacturers label measuring 4omm x 80mm showing company logo ADI / 1999 / arrow pointed up /NSN: 8405-66-132-2309 / Wool polyester / size 111S / matching / trouser size 101S / chest 112 / waist 102 / inside leg 78 / No / Name / Dry Clean Only / Made in Australia

Twenty eight page colour knitting pattern book. The cover features a woman wearing a black, white, pink, blue and purple cardigan.front: [printed] THOROBRED / scheepjeswol / Jackets / and / Cardisthorobred scheepjeswol, fashion, design, knitwear, home made, wool, pattern book

A 1930s cream nylon seersucker dance dress. Full skirt with horizontal pleated bodice with plaited roleua straps covered in sequins. Self fabric bow & tail on left side at bodice. Boning on side of bodice with gold metal zip on left side.costume, female

Part of S E Surman collection (album) page 38 left.Sepia photograph of a lady wearing long full skirted gown laced at bodice, with scarf at neckline, standing with left hand on shoulder of bearded man wearing suit with long jacket, wide tie, standing with left arm leaning on back of chair, right arm by side."Mr and Mrs Tully".mr tully, mrs tully, surman collection