Purpose or the city of use of the complimentary tickets not known, - have not been punched. The ticket dates from 1955 to c1965.Demonstrates the use of a 6d ticket to provide a complimentary trip on tram. Set of two tickets - teal ink on off white paper, denomination 6d, numbered 042067 and 042126, headed State Electricity Commission of Victoria, Provincial Tramways and stampled "COMPLIMENTARY" in red ink. On rear in teal ink is a diagonal criss cross or tartan pattern.trams, tramways, tickets, secv

The boys from Bulla Primary School were attending a school camp at Hanging Rock. At that event the students engaged in a variety of activities and judo was one of them.His was a chosen activity in the evening as during the day the students were introduced to a variety of outdoor pursuits.A non-digital coloured photograph of two boys engaged in a judo bout in a large room while an adult and little child and another boy are watching. One of the contestants is wearing a judo outfit and black belt while the other boy is dressed in jeans and a tartan shirt.school camps, hanging rock, judo, bulla primary school

White embroidered cotton Christening gown. Eleven cm deep bodice with five vertical front neck to bodice and skirt seam, panels of embroidered cotton.Neckline has a casing with drawstring of cotton tape. Cap sleeves gathered at neckline edge, and outer edge trimmed with embroidered cotton. Skirt gathers to the bodice. Bodice also has a casing and drawstring tie, leaving a centre back opening from neck to skirt. Skirt is 84 cm long, and has an elaborately embroidered centre panel - full length. Two bands of embroidered cotton edge the centre panel. Embroidered "bobbles" similar to french knots extend full length beside the embroidered bands, and also form part of the embroidery on the bands. The gown was made by Merle's Grandmother for the christening of Merle's grandmother Geuer's son in 1885.costume, children's, christening gown

This outfit from Sydney-based wearables label Iordanes Spyridon Gogos (ISG), was designed by Founder and Creative Director Jordan Gogos in collaboration with Akira Isogawa and other creative partners. The outfit comes from the ISG x Akira 2023 Afterpay Australian Fashion Week (AAFW) collection show presented at Carriageworks, Sydney 16 May 2023. Jordan Gogos is one of Australia's most innovative multidisciplinary artists. Preferring to describe his current designs as 'non normative', 'wearables for the imaginative' Gogos' work and practices have been influential in changing the conversation around clothing design, production and presentation by embedding co-collaboration, sustainability, diversity, and inclusivity in all aspects of his label. Born and raised in Tokyo, Japan before immigrating to Australia in 1987, Akira Isogawa is regarded as one of Australia's most innovative and successful fashion designers. In a career spanning over 25 years, Akira is perhaps best known for his contemporary interpretations of traditional Japanese clothing, and the quality of his craftsmanship. Isogawa has worked on a range of creative collaboration projects over the course of his career and was named Australian Designer of the Year at the Australian Fashion Industries Awards in 1999. The ISG x Akira collection show presented at AAFW resulted in a collection of 40 looks featuring digitally printed, compressed and patchworked garments with applique, embroidery, beading and origami. Made from deadstock and archival fabrics, accessorised with unique headpieces and footwear designs, the looks were presented in a theatrical collection show amid a colourful runway piled high with upcycled textile artworks and trojan horses signifying Gogo's Greek heritage, signed by Akira in red calligraphy. The models included people with diverse gender identities and body shape and size. - Kristina StankovskiOutfit consisting of a headpiece, top, skirt and shoes (pair). The fabric of the hat, top and skirt has been quilted and stitched together, and is of grey, white, black and yellow hues. The top has two sets of ties which fasten at the back of the waist. The skirt and top feature gold medallions which show a trojan horse and lettering. The shoes are lace up boots and include hues of fluro pink and yellow, as well as white, black and grey. The boots are lined with black vinyl. As part of this collection, this record includes six quilted squares of material created as test patch/samples of fabric used to create the outfit, and two test gold medallions. 9014.1 Headpiece 9014.2 Top 9014.3 Skirt 9014.4 Boots 9014.6 Six fabric sample squares 9014.6 Two gold medallions[printed on gold medallions] IORDANES SPYRIDON GOGOSjordan gogos, iordanes spyridon gogos, akira isogawa, 2023 afterpay australian fashion week, design, fashion, art, sustainability, innovation, trojan horse

The sport had its origins during the Depression of the 1930s when teams were formed to keep young women fit and healthy. The sport became more organised during the 1940s with a system of scoring developed to ensure teams could compete against one another. Points were deducted for lack of precisions, dressing, movement and length of pace. At its peak marching competitions drew large crowds of spectators. Teams marched not only in competitions but also frequently appeared in parades and social occasions. Jim Trewin trained Orbost's Marching Girls' team, the Waratahs, and served as vice president of the East Gippsland Marching Girls' zone. His wife, Doris, acted as chaperon Together with a trophy, a chaperone's blazer and photos this uniform forms part of the history of the Orbost Marching Girls group.An Orbost Marching Girls' uniform It has a white pleated skirt, a long-sleeved white blouse and a red velvet vest with 6 gold buttons. There is a badge on the left shoulder. A red ribbon is attached to the blouse as a bow tie. On the vest shoulders are white tabs with gold buttons. The skirt and blouse are made of cotton. A pair of short white gloves are included.On badge- Victorian Girls Marching Associationuniform marching-girls leisure clubs recreation

The dress was probably worn at a christening in one of the Kiewa Valley churches (denomination unknown). The importance of the event to family and friends is shown by the quality of the garment. These style Christening dresses were often worn buy several children of the one family , both boys and girls. Other items such as hand made bonnet may have been part of this out fit. "KVHS 0123" The quality of the garment and the fashion style it represents is both historical, not only the time of its manufacture but also of the fashion in that era. It has christian religious implications and values of the time frame of regional life in the early1900s. Girl's white dress (christening event), fine cotton with lace border "broderie anglaise" with a row of lace flowers mid skirt "battenberg".This lace is also inserted in centre front panel and sleeves. Scolloped cotton is also on sleeves, neck and front. Pin tucked skirt. Opening back with drawstring fastening at neck and waist. Short sleeves and machine stitched children clothing, lace-battenberg and broderie anglaise, female clothing, dress, cotton, christening, dressmaking

Photograph - black & white portrait of 2 women. The older women sitting on a wooden box, looks similar to woman in photo's 1332.16 and 1332.18 wearing a long skirt. The younger woman crouching next to her is wearing a 'v' neck jumper, dark coloured skirt. The younger woman could be Lydia. Check similar photo's of Lydia 1332.1, 1332.5, 1332.10.person, family, pethard family, photograph. pethard family. portrait 2 women and a cat.

Two piece suit consisting of a skirt and jacket. Aqua wool fabric. Both pieces lined in aqua rayon silk material. Skirt is straight with zip in centre back. Elastic at waist. Jacket is long sleeved with a stand up collar and three aqua and gold buttons down front. False pockets on each side of waist with a smaller button on each.0ZIBIZ AUSTRALIAcostume, female

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.Long, white cotton christening gown. The bodice includes a number of pieces of lace, most notably a panel of broderie anglais at the centre of the bodice. Bands of lace are also used at the neck and on the sleeves. The skirt is gathered below the waist allowing the fabric to form folds.The lower section of the skirt five pleated bands and a hem also created from broderie anglais.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

This is a photograph of the four daughters of Mrs George Thomas. L -R : Elleen Parsons, Julia Eaton, Eva Murray and Violet Gay. George Thomas and Gtranny Thomas lived at Newmerella on Grand View Road until the 1950's. In the Newmerella Koorie Community, there were about 15 families. The family was a very well-respected local Aboriginal family. . George was a stockman for Jas Stirling. From Colin Thomas "I learned that George Thomas was Kitty Johnson’s oldest son. As a young boy George had been found by the Reverend John Bulmer, in addition to other young Aboriginal children in the bush around the Lake Tyers area. He had gathered them all together and took them onto the reserve at the Mission. After quite a number of years had passed George had met and fallen in love with a young half-caste girl, known as Agnes Patterson. Agnes was of Monaro descent and came from New South Wales. George and Agnes got married at Lake Tyers. Because of the half-caste act George and Agnes had to leave the reserve along with their nine girls. They moved to Newmerella, situated outside the township of Orbost. This was the place that George and his wife and children came to call home. Soon after, George and Agnes would add to their family bringing the total of children to fourteen, the last five of whom were boys. At the time of the First World War George’s boy’s volunteered their services and joined the army. When in Europe one of the boys sustained an injury which caused the loss of an arm. Following the end of the war the boys came home, as men." The Thomas family was a well-respected family in Newmerell in the late 19th and first half of the 20th century. The daughter were well known for their needlework and craft skills.A black / white photograph of four women wearing log skirts / dresses and elaborate hats, two sitting on a log and two standing on either side.thomas-family newmerella koori-family

Nowa Nowa is located in Victoria on the Princes Highway between Lakes Entrance & Orbost. Tall eucalypts stand guard as you drive into this small village.The fresh waters of Boggy Creek and the tidal waters of Lake Tyers meet here. In the past its history was of logging. Black and white post card showing a lady in long skirt standing on the banks of a river with Australian eucalypts (gum tress) in the background and reflected in the water. nowa nowa, lake tyers, trees, river

Small portrait of a lady standing beside a stone fence. She is wearing a long, high neck dress with puff sleeves and a seven layer skirt.Paterson Brothers, 8 Bourke St. East Melbournephotograph, portrait, female, portrait of a lady, paterson brothers

Worn by patients at Sunbury AsylumPetticoat - skirt: light grey flannel (unbleached?) with blue stripe, pleated into bodice of unbleached calico.Bodice is sleeveless and fastens at back with three metal buttons."F5" "40in bust" written on bodice front in black ink.costume, sunbury asylum, george evans collection

Crepe fabric, hand made. Red and green Cumberbund around blue bodice, black skirt, side zipper. Very long for a tall lady. None

See Ref. No. NA4362Maroon cotton skirt. Flared with four inch hem and wide waistband 3.5 inches fastened with a button, and 6 inch placket with a press stud.costume, children's uniform, handcrafts, dressmaking

Red nylon, deep laced trimmed half slip or petticoat - elastic waist - straight skirt - 15cm red lace trim on hem line.Warniers 100% Nyloncostume, female underwear

One of a series of photographs and documents donated by Jean Woollard relating to her father, Wilfred Charles Woollard, (and to herself). Wilfred Charles Woollard (1892-1971) was the grandson of William Woollard (1834-1923) and Charlotte Woollard, nee Lott (1828-1902), early settlers in Kew. Wilfred's father and mother were Walter Herbert Woollard (1856-19) and Rosa Anna Woollard, nee Morgan, (1859-1936). Wilfred Woollard's siblings were Walter James Woollard (1882- ), and Arthur Reginald Woollard (1888-1973).Black and white photographic positive mounted on backing card of Wilfred Charles Woollard, posed in a variation of a sailor's outfit (with skirt) with a background of ship's rigging. woollard family, jean woollard, wilfred charles woollard

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.Grey coloured crepe dress with cream coloured collar and neckline to waist. The dress has three quarter length banded sleeve and a pleated skirtLabel: Nouvellenouvelle, women's clothing, day dresses, fashion - australia - melbourne (vic), fashion - melbourne - 1950s

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.A 1920s style short sleeve white cotton dress. The dress is gathered below the waist to allow for a two layered flared skirt with scalloped borders.Label: Malikamalika, australian fashion - 1980s, women's clothing, day dresses

Evening dress owned and donated by Kew architect, and Life Member of the Kew Historical Society, Dione McIntyre. The dress was created by the Sydney company Simona Couture, founded 1963 by Inge Fonagy. Inge Fonagy trained in Switzerland and migrated to Australia in 1950. The chief designer of the company from the late 1960s was her son, John Recek. The fashion house won a number of awards including: David Jones' Supreme Award for Fashion Excellence (1972); David Jones Award for High Grade Fashion (1972); and David Jones Award for Pret-a-porter (1973),The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Cream coloured long sleeve evening gown with cross-grain same colour trim and belt. The skirt features heat-treated sunray pleats.Label: Simona Couturemcintyre collection, evening wear, women's clothing, australian fashion - 1970s, simona couture

Turner Collection.Part of a collection of clothing donated by Monica Smith (nee Turner). Monica was related to the Hartnell family who were early residents of Kilmore and business owners.Brown silk damask, full length skirt, long sleeves, wide collar/hood. Fragile silk, some lateral tears and shattering, staining.kilmore, turner, smith

Machined nurses's apron - white cotton with bib. Long skirt. One pocket at side. Buttoned waist. Used during World War One.nurse, apron, world war i

Colour photograph of lady wearing dark skirt, white frill necked blouse, grey fitted jacket and hat, riding pony side-saddle."Jenny Kerr".ldhs activities, ldhs exhibition linton park 1983, jenny kerr

This dress was donated as having belonged to Annie Elizabeth McLean, who worked as a maid to the daughters of Samuel Renwick of Caulfield. Annie was born in Argyllshire, Scotland in 1853. This dress appears to have been originally made circa 1855 and then modified circa 1872. As Annie would only have been two years old in 1855, this indicates that the dress would most probably have been originally made for someone else and later acquired by Annie. Annie Elizabeth McLean arrived in the Colony of Victoria from Argyllshire, Scotland with her aunts and cousins in 1867, aged thirteen and a half. She had been educated in Scotland and eventually became a personal maid and then companion to the Renwick girl, daughters of Samuel Renwick of Caulfield, Victoria. The Renwicks' home, 'The Garrell' on Glen Eira Road, was one of Caulfield's earliest residences, having been built around 1854. Samuel was a business partner of William Kerr Thomson, a well-known Brighton resident and the original occupant of the North Road mansion 'Kamesburgh'. During her time with the Renwick family, Annie travelled with them to England, then to Scotland, then back to Victoria. She left the family upon the marriage of the youngest Renwick daughter, then went to the household of Sir William and Lady McCullough until she left to be married to Alfred John Ashfold in 1878.This c1872 grey and white silk pin stripe dress features a high round neckline with eleven decorative blue silk buttons and secured by a concealed line of fifteen hook and eyelet closure. The bodice (.1) has decorative blue and green braid over the shoulder and bust and across the base of the bodice. The dress features three darts shaping the dress to the body. The sleeve is cut high but relatively full and tapers to the elbow then flares again in Pagoda like style but ends at the wrist or hand. The skirt (.2) opens over the left hip and features a pocket over the right hip. The skirt at the front finishes at the ankle or just above the ground. At the back the bodice features panels shaping the dress into the body and pleated and flared from the waist. At the small of the back is a decorative bow with pinked edges and decorative braid. The skirt at the back is uncommon in shape most likely as the result of modification. It appears to have had panels removed reducing its original fullness. It has a tape inside the back of the skirt that would draw the skirt in creating a bustle like shape . It would appear that the dress had been modified in order to create a more fashionable silhouette most probably in circa 1872. There are three separate pieces of fabric. One is made up into a semi-circular over-skirt trimmed with blue braid and fringing (.3). Two pieces are unpicked skirt gores, one still has its cotton lining attached (.4 and .5).annie elizabeth mclean, samuel renwick, the garrell, caulfield

Camp 13, German POWs, Theatre Production.|Seven of the band; H.Doehmen; H.Walter (waiter); Hans Waegelein (black skirt). G.A.Pohlig (girl); W.Heyn (haughty lady);photograph, people

Colour photograph. Man in tartan waistcoat and tie. Woman in long black dress, coloured sash. Corrugated iron wall behind them with toilets boys sign on wall. Back of photo reads: Wedderburn Old Timers Marg Hogan Peter Ellis also Emu Creek.entertainment, dance, bush dance