This dress was worn by Brighton's first female mayor, Councillor Di Lopez, to a Mayoral Ball held at Brighton Technical School in 1977. Diane Margaret Lewis completed a law degree at the University of Melbourne, later marrying one of her classmates, criminal lawyer Ramon (Ray) Lopez. When she decided to run for the Brighton City Council in 1975, she was seen as an outside chance. Undeterred, she rallied a small group of friends and supporters and set out on an extensive door-knocking campaign that won voters to her side and successfully unseated former mayor Keith Devenport. She went on to serve two terms on council from 1975 to 1981. Di initiated many local projects, including the creation of a bike path along Nepean Highway and the first Brighton Festival, while balancing family life and a demanding ‘day job’ as personal assistant to Victorian Minister for Youth, Sport and Recreation Brian Dixon. She was a member of the Women’s Electoral Lobby and a champion for women’s representation, encouraging both Sally Allmand and Kate Harman to run for council (both were successfully elected). She advocated forcefully for an open, transparent local government in which ratepayers had the chance to participate and be heard. In 1976 Di became the first woman to hold the title of Mayor of Brighton, and she made it clear from the outset that she was going to do it her way. For the annual mayoral ball in 1977, ordinarily a staid traditional function, she chose a discotheque theme based on the Rod Stewart album Night on the Town, with a broad dress code of ‘black tie or jeans’: ‘You’ve got to get with the times,’ she said. ‘We want people to wear whatever they feel comfortable in.’ Di herself chose to attend in this knee-length chamois dress embellished with strings, ribbons, beads and feathers. It was both a fashion statement, exemplifying her colourful, flamboyant and forthright style, and a political one: a declaration of her intention to lead a progressive council, embracing the new and refusing to be hemmed in by dated traditions. In 2020 she was awarded an Order of Australia Medal for her service to local government and to the community of Brighton.This dress has local historical significance for its association with Brighton's first female mayor, Councillor Di Lopez, who wore it to a Mayoral Ball in 1976. The dress exemplifies her flamboyant reputation, modern outlook and willingness to break norms. At the time, the dress was a radical choice for a Mayoral Ball, where women typically wore formal evening gowns. With her choice of dress, Cr Lopez was making a public statement, breaking away from dated traditions and announcing her intention to bring the Mayor's office into the 1970s. In this way, the dress also points to the wider social and political changes taking place both in Brighton and across Australia during the mid-1970s.Three quarter length chamois dress circa 1974. Machine stitched with a v-neck and full length sleeves and an uneven raw hem, the dress is decorated with narrow thongs of chamois embellished with red beads and blue feathers. The open-fronted bodice is laced with red ribbon and the skirt is decorated with a large blue wool cross stitch and a combination of blue wool and purple ribbon cross stitch. Made in the style of an Indian 'Wild West Dress'.di lopez, chamois, brighton, brighton council, brighton technical school, mayoral ball, 1970s, feminism

This afternoon dress belonged to Clara Johnstone Miller (nee Bell, 1866-1910). Clara was the only daughter of Mr James Bell, a councillor of the Shire of Leigh (today a part of Golden Plains Shire) and owner of Woolbrook Homestead in Teesdale, near Geelong. In 1888, Clara married prominent businessman, racehorse owner, racing identity and pastoralist Septimus Miller (1854-1925). Septimus was the sixth of seven children born to Henry 'Money' Miller and Eliza Miller (nee Mattinson). 'Money' Miller was a well known financier and politician and reputedly one of Australia's wealthiest people in his time. In 1889, Clara and Septimus moved into the house 'Cantala' in Dandenong Road, Caulfield. They had one child, Gwendoline Stewart Miller, who died in 1902 at the age of thirteen of diabetes - a largely untreatable condition at the time (insulin would not be discovered until 1921). Clara died in 1910, aged only 44. Septimus subsequently married Helen (nee Henderson), with whom he had a son, Ronald (1915-1990). The Millers were buried in the Brighton General Cemetery in a large Gothic-style vault. Upon Clara's death, Septimus sent much of her clothing and Gwendoline's to her mother Mary Bell. Some of these items were passed down to two of Clara's nieces, Miss Mary Bell and Mrs Lois Lillies, who donated them to BHS around 1973.A salmon (pale orange pink) corded silk afternoon dress with orange beaded embellishments, consisting of a bodice (.1) and skirt (.2) from c.1890. The bodice features a high standing collar with triple pleated bone silk chiffon trim along the top line, under the chin. This same chiffon is also secured in two pieces gathered and secured under the collar and and at the waist adding volume over the bust line and partially obscuring the jacket closing. The chiffon is secured at the side into the main fabric of the bodice by the beaded embellishment. The pink seed beads are sewn in lines of five beads one after the other creating a diagonal design that tapers from the shoulder to the waist. The bodice is boned around the front and back and secured down the centre font by nineteen hook and eyes and additional cotton tapes. Further beading details the bottom centre front and base line of the bodice. The shoulders have been repaired with replacement fabric to match, from our records it appears that the repair work was performed in circa 1974 but no record exists of the original shoulder design and if the repair was an exact copy of the original. The repaired shoulders feature a small frill around the shoulder yoke and top of the arm. The sleeve is fitted and three quarter finishing just below the elbow. The base of the sleeve is also trimmed with the pink bead design and bone three pleat chiffon trim. The back of the bodice features shaped panels contouring the jacket neatly in at the waist and then splitting and splaying out over the fullness of the skirt. The skirt appears to have been floor or ankle length held at the waist by a wide waistband. The skirt openings have been altered from the original currently featuring two openings secured by press studs. The skirt is gathered to the waistband at front and back creating fullness. The lower part of the skirt features the same pink bead embellishment and additional beaded flowers and diagonal point edge detail.clara miller, woolbrook, septimus miller, henry 'money' miller, gwendoline miller, cantala, 1890s fashion, caulfield, brighton general cemetery

History unknown.This item is of aesthetic significance. The identity of the subject is unknown as yet but is likely to be a local woman.A large black / white studio photograph of a bride, sitting down, holding a large bouquet of flowers. She is wearing a long wedding dress with a close-fitting beaded cap. Her veil is long and ornately embroidered. bottom right - hand-written "Ruth Hollick"photograph-wedding

This dress is from the estate of James Cameron who was one of the first Snowy River councillors for the Tambo Shire. He selected land at Lochiel in 1892. From 1902-1920 he was the Assembly member for East Gippsland.Long black silk dress with long sleeves. It is hand-made - machine stitched. There is black beading around the neck and collar. The belt is also beaded. There are small black buttons on the belt and sleeves. It has a black underskirt.costum -female cameron

Worn by Mary Jane Schroder for her marriage to Ralph Pardy Rudd on 24th Nov 1886 in Ceylon.1886 cream kid with ribbon bow on front with apple blossom. Two beaded bows on elastic bands to hold shoe on foot. See also Wedding bodice NA3580, fan NA3582 and bridal headdress NA3489.costume, female footwear

Full length white kid or doeskin leather evening gloves. Pull-on style featuring wrist openings fastened with three artificial pearl beads. Three darts along back of hand and double stitched seams.costume accessories, glove accessories

Tilly Aston wearing both of the Coronation Medals for Distinguished Citizenry that she was awarded in 1935 and 1937. This photograph was possibly taken at the same time as the profile image used by John Balmain for his portrait of her. She wears a brocaded black top, with a pin in the lapel and a necklace holding a single bead.B/W photograph of woman wearing medalsGainsborough ... embossed on lower right cornertilly aston, medals, gainsborough studio

Small portrait of a lady standing beside a desk? She is wearing a long dress with a high frilled collar and has beads embroidered onto it. She has a small posy of flowers in her hands which are resting on the desk.Humphreys, Paternoster Buildings, Castle Square. Carnarvon.photograph, portrait, female, portrait of a lady

not knowncirca 2000 black chiffon evening full length waisted dress with short sleeves, round neck and front of a false waistcoat beaded with black flowers and tied at the back. Underskirt of fine black lawn. Back zipperDG Sport Classic Comfortcostume, female

Diggers & Mining. Diggers and miners. Walhalla - Gold Town. There were many of these sharp beads. Horseshoe Bend. Slide shows picture of Horseshoe Bend, with the railway and a train using it. Markings: 25 995 WAL. Used as a teaching aid.hanimounteducation, tertiary, goldfields

Purse belonged to Myrtle Grant, grandmother of the donorSmall silver metal purse with silver chain handle. Body of purse mesh with six metal beads at base. Chain handle attached to ring with which to hang onto belt or sash. - Marked as 'Silver Ch 2875 X46'L.W. Xmas 1914costume accessories, female

Piece of multi types of needlework mounted on cardboard. Green tapestry background including leaves. Inter woven into this are beads. predominantly white. Main feature is multi coloured flowers heavily raised in carpet like stitch. (Berlin Work)handcrafts, embroidery

The two-door nineteenth century cabinet was purpose built with a curved back to fit the proportions of the lantern room interior and is likely to date from 1888-89 when the new lighthouse was fitted out and provided with furnishings and fixtures. The Public Works Department provided a range of lightstation furnishings including office desks and cabinets, and domestic settings for keepers’ quarters, with nineteenth century items often stamped with a crown motif and the PWD monogram. The curved cabinets installed in lantern rooms however do not appear to display this small feature. The cabinet needed to be custom made to fit the proportions of the room, and for this reason it was possibly made on site or perhaps even supplied by Chance Bros as part of the entire lantern room installation. The company usually provided timber panelling for their lantern room interiors (since removed from Point Hicks), and a cabinet may have been included in the assemblage. It may not have originally been painted; today doors area grey/silver colour and the rest of the cabinet is emerald green. It is not known whether it is freestanding or fixed to the wall. A similar cabinet with panelled doors remains in the Gabo Island lighthouse and evidence of green paint on the wood indicates that the cabinet frame was also formerly painted green but later stripped to reveal the wood finish. The Cape Nelson lantern room has a curved cabinet with the same door type but has a drawer above each door. It too was formerly painted emerald green before it was stripped back to its present wood finish. Cape Schanck’s lantern room cabinet is unique for its curved front as well as curved back, and it stands on a skirting. The two doors are in the same style, although they open with a brass knob. Further research into these distinctive cabinets may resolve the interesting question of their construction. The Point Hicks cabinet is a unique, original feature of the lighthouse lantern room and has first level contributory significance for its historic values and provenance. The Point Hicks cabinet has two doors, each framed and beaded around a central panel, and there is a simple door knob. The back is curved and the front is straight and the doors are painted a grey/silver colour and the rest of the cabinet is emerald green.

exhibition, national gallery of victoria, ngv international, fashion, designer, dresses, silver, beaded

Textiles. Pale green coloured rectangular silk table runner backed with mid green silk twelve cm border on all sides of beaded vines, leaves and flowers. Three cm fringe on all edges of pale blue and silver threads.textiles, domestic, table runner

The dress was worn by Dorothy Hirst (nee Cust) who was married to Cedric Hirst of the Godfrey Hirst Woollen Mills. Dorothy was born in 1908 and passed away in 2010 aged 102. Sleeveless teal and blue gown with sash at the waist and tie at back. Clear, silver and blue beaded detail is featured on the front and bodice. There are pleats when centre lower back of skirt is parted, the back also features a zip and two hook and eyes.dorothy hirst, godfrey hirst & co. pty. ltd., gown, dress, melbourne, design, fashion, park avenue, style

This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Of all the items Di donated to the Society, this four-piece Easton Pearson outfit was her favourite. When she bought it around 1997-98, it was the first time she had spent a large amount of money on clothing, and she thought it only fitting to throw a suitably elegant party at which to wear it. James Cameron's hit movie 'Titanic' had just been released, and upon discovering the recipe book 'Last Dinner On the Titanic: Menus and Recipes from the Great Liner', Di was inspired to host a Titanic-themed party for her friends. Held at her home in Brighton in 1998, the event included a string quartet, an eleven-course meal prepared entirely by Di, and a life boat in the backyard swimming pool.A four piece outfit consisting of a blouse/cardigan, camisole, skirt and wrap. Double-layered silk wrap with an outer layer of silk chiffon. Both ends feature and embroidered band of brown and black cotton, copper wire, and copper glass beads. Camisole of black and copper shot polyester rayon with wide shoulder straps and small shoulder pads. Blouse of brown silk chiffon, with a v-neck and eleven silk-covered buttons and loops at centre front. Patch pockets over front hip and full length sleeves. The neckline and sleeve edges are trimmed with copper-coloured glass beads. Full-length double-layered straight skirt with black and copper shot polyester rayon lining and silk chiffon overskirt. The skirt secures centre back with a nylon zip and botton closure. The skirt features a centre front embroidered panel of brown and black cotton leaf and flower motifs, with copper wire and copper glass beads. manufacturer's label: "Oh! Easton Pearson", "Pure Silk", "Polyester Rayon", Care label, "M"costume party, titanic, easton pearson, pamela easton, lydia pearson, australian fashion, di reidie, 1990s

Wire-framed circlet. Frame covered in cotton netting. Frame has a scalloped design 3cms high. The over lapping scallops are covered in small pearl beads. Around the base of the head dress are attached net covered “lilies” each with a tear-drop shaped pearl bead at the centre. An elastic band is attached to hold the head dress firmly to the head. The head dress originally also held a veil. Cream in colour. Part of wedding dress collection 11400.528, 11400.53029, 11400.530, 11400.531 Wedding dress worn at marriage of Barbara Johnson to her first husband Ian Bulte.costume, female ceremonial, wedding head dress

Clothing. All-over beading means that this is quite a heavy little bag. Rectangular in shape with rounded corners on the bottom, and diagonally cut at the top corners, the bag has a zipper closure, a small 5 cm long beaded loop attaches to the zipper for ease of opening and closing. Lined with cream satin, there is an 11 cm long pocket in one side, containing a small mirror (7.5 x 5 cms). A small piece of confetti may indicate that this bag was used at Aileen and John's marriage. Beads cover the entire bag - on the front they are sewn in a swirling looped and floral design.costume accessories, female, pearl beaded clutch bag

Clothing. All-over beading, means that this is quite a heavy little bag.Rectangular in shape, with rounded corners on the bottom, and diagonally cut at the top corners. The bag has a zipper closure, a small 5 cm long beaded loop, attaches to the zipper for ease of opening and closing. Lined with cream satin, there is an 11 cm long pocket in one side, containing a small mirror (7.5 cm x 5 cms). A small piece of confetti inside may, indicate that this bag was used at Aileen and John's marriage. Beads cover the entire bag - on the front, they are sewn in a swirling looped and floral design.costume, female, pearl beaded clutch bag

This outfit was worn by Kate Dabb for her wedding to Alf Meyer on the 6th of June 1900 at the Maldon Wesleyan Church. Kate was the 3rd daughter of Samuel Dabb.This dress is in two parts, a bodice and a skirt. Made of cream satin, mostly machine sewn with some hand sewing. The bodice is finely worked with applique panels of scrolls, petals and leaves decorated with glass beads and sequins. The back panel and cuffs are trimmed with lace.wedding dress, samuel dabb, meyer, "dabb, catherine maud", "callow, phoebe"

Clothing. High stand-up embroidered net collar-close fitting to the neck, and fastening at the back with now 4 metal hooks and loops (one hook missing) and edged at top and bottom with tiny black beads. Five metal ''curved wires'' 7 cm long, are spaced around the up right ''collar'' (to hold in place). The embroidered net forms a V shaped panel at the centre front, and has 15 silk covered oval buttons .8 cm long, from throat to lower bodice. This panel is bordered by embroidered and beaded braid, 7 cm wide and giving a cross-over effect. Cotton tape inside waist 66 cm long fastens with two metal hooks and eyes.Under this lace cross-over, the bodice is shirred and pleated, to give fullness for movement. Pleats are ''caught-in'' at the waistline. An elbow length over-lay of sheer silk fabric, edged with the beaded braid. The sleeves are silk fabric to the elbow, and then narrow in to a three hook plackett at the wrist. This lower sleeve with a 2.5 cm lace frill, and a spotted tulle fabric, and ''dotted'' at the upper side with a double row of tiny black beads. A false tucked effect at opprox knee level at back of skirt. Back hemline extends to a small ''train''. Hemline is heavily weighted.costume, female, full length long sleeved black dress

exhibition, national gallery of victoria, ngv international, fashion, designer, dresses, black beaded dress, black, beaded

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.This outfit was donated by Netta Fuller.Two piece grey silk outfit comprising a tailored bodice and a very full skirt. The bodice has puffed leg-of-mutton sleeves and is heavily encrusted with large grey artificial pearls and steel beads of the period. The skirt is cut to allow for a long train at the back. Grey pearls and steel beads are similarly used on the right side of the front of the skirt. Metallic braid may have been added at a later date. The outfit has been much altered over time. There is evidence of shattered silk in parts of the garment. Printed on a strap at the waist is the label of Peter Robinson, Oxford Street/Regent Street.Peter Robinson. Oxford Street/Regents Streetwomen's clothing, women's fashion -- 1890s, peter robinson, international fashion, fashion -- united kingdom, fashion design, fashion -- 1890s

This Teak wood sample has been taken from a handrail on the wreck of the ship Otago. The fully rigged iron-hulled sailing ship Otago was built in Glasgow for the New Zealand Government as an immigrant ship, launched in 1869. One of the captains of the Otago was Joseph Conrad. He was one of the captains of the Otago and it was the only ship that he had ever commanded. Joseph Conrad (1857-1927) Joseph Conrad was Polish-born and became a British subject in 1886. He was a renowned marine fiction writer and also, for a short time, a mariner and Captain. As a boy of 13 years old, Joseph Conrad’s desire was to be a sailor. At 19, he joined the British merchant marine, working in several roles. He eventually qualified as a captain but only served in this role once, from 1888-89, when he commanded the barque Otago sailing from Sydney to Mauritius. In 1889 he also began writing his first novel, Almayer’s Folly. He retired from life as a mariner in 1894, aged 36. Conrad’s visits to Australia from 1878 to 1982, and his affection for Australia, were later commemorated by a plaque in Circular Quay, Sydney. Conrad continued as an author. It is said that many of the characters in his books were inspired by his maritime experiences and the people he had met. By the end of his life, he had completed many stories and essays, and 19 novels, plus one incomplete novel titled ‘Suspense’ that was finished and published posthumously. Shortly before he passed away, in 1924, Conrad was offered a Knighthood by Prime Minister Ramsay MacDonald for his work but declined. The Otago: - The 1869 iron-hulled barque Otago changed hands several times in the late 19th century. In 1903 the Melbourne shipping company Huddart, Parko & Co., purchased the ship and it was converted to a coal hulk for use in Sydney. The Otago was later sent to Hobart in Tasmania where it was in use there until 1931. The ship was eventually left to lay on the banks of the Derwent River until destroyed by fire in 1957. The wood sample is significant for its association with the ship Otago, the only ship that author Josep Conrad had command of as Captain. It was known as Joseph Conrad's Otago. The sample of teak is significant as an example of materials used in the construction of the 1869 iron hulled sailing ship, bult in Glasgow, Scotland. The association with the Otago is also significant for its use in building an immigrant ship for New Zealand.Wood sample; a rectangular section of a teak wood handrail that has a bead planed along one side. Two cards with the sample have inscriptions, one handwritten and one typed. The sample is from the wreck of the barque Otago, once under the command of Captain Joseph Conrad. Handwritten card: "PART OF TEAK HANDRAIL / from / Joseph CONRAD'S ship / OTAGO / (HULK at RISDON, DERWENT River, TASMANIA) Typed card: "PART OF THE TEAK HANDRAIL / FROM JOSEPH CONRAD'S SHIP / "OTAGO" / (HILK AT RISDON, DERWENT / RIVER, TASMANIA)"flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, joseph conrad, joseph conrad's ship, otago, ship's handrail, 1869 ship, migrant ship, immigrant ship, new zealand, sydney, newcastle, tasmania, iron hull, captain joseph conrad, author, mauritius

Textiles. Rectangular shaped tapestry piece dipping to V shape at lower edge. Piece is covered with bead work in floral pattern of white, grey, gold and green. Bright green lining piece of shantung fabric has been pinned to the tapestry piece. Work is unfinished.textiles, domestic, tapestry piece.

From the estate of Jenny Lang, 11 Pearcedale Grove, NunawadingHandmade from manufactured, embroidered braid. Braid is Jacobean style in browns, cream, orange shades. Braid manufactured in India. Cotton stitching design on beige cotton base. Glass and pearl beads on flower centres. Metal frame and chain handle, lined in cream satin.costume accessories, female