Hilda Hill Collection. A Combination of Sepia & Black & White Photos Total of 5. Jonah dressed in light coloured dress with geometric pattern holding a parasol in both hands, background right is a part of a large tent in striped material, to the left is a light post with a sign attached advertising fairy floss, there are a number of people to the left of the post on a sloped surface at Lake Weeroona Bendigo. Four young ladies leaning on a hand rail of a verandah, to the left is a verandah post with a large pot plant at its base, behind the girls at right is a window partly open with a lace curtain, a white piece of rope extends from the post at an angle to a rolled up blind, directly in front of the girls on the ground is a large plant in a garden, the old V.P.S. Girls Alma, Kitty, Lorna and Hilda Hill. Eileen and Claire standing on verandah with hands on the rail, Eileen is dressed in a pale coloured dress and Claire in a white dress with a line pattern longitudinal, Verandah post to their left and cord going to a rolled up blind, large pot plant at base of post, deck chair at far right, foreground shows shadow of the photographer and garden to the right. Oval photo of Nora on the rocks Feb 1921, dressed in white with material over her left shoulder, and small round topped hat. Elma and Jonah both dressed in light coloured dresses, Elma has sailor neck blouse and her dress has a horizontal line pattern, background right is an old car and behind the girls there are large trees,The Rock 1 January 1923.Hilda Hill Personal Collectionaustralia, history, victoria post war touring boom

Hilda Hill Collection. A Combination of Sepia & Black & White Photos Taken Between 1920 & 1921 Total 8. The First shows the flow of the Kyneton Weir in September 1920 and the surrounding countryside. Black and white photo of a man sitting on a window ledge in a white shirt jodhpurs and long boots, foreground is a garden with a number of plants, window has internal Venetian blind. Photo of family members relaxing at their Kilmuir property, three ladies all in white with large sun hats standing in a garden with large trees in the background. A group of five men and three ladies standing on a tennis court, one man holding a tennis racquet, two of the ladies wear white tennis apparel of the day at 'Kilmuir' December 19th 1920. Photo showing two ladies and a child in the foreground against a background of a large tree and house further back, there are more houses to the right of the tree and a dead tree. Photo of man sitting in cane chair and boy sitting on step, in front of house that is in the background, window has a round column on the left side, titled below as 'Vin' Durvol September 1920. Three ladies and one man, the ladies are dressed in white and the man in black coat and white shirt, all have their hands behind their backs 'Kilmuir' 1920. Seven young girls standing on the front stepson the house 'Kilmuir' , one girl is dressed in dark clothing all the rest are in full white, to the left is a sun blind pulled right down, ornate fretwork along verandah below guttering, to the right of girls is a window with lace curtains, garden in front foreground, December 19th 1920.Hilda Hill Personal Collectionaustralia, history, images 1920-1921

When Thomas Bent, politician and land speculator, was appointed Speaker of the Victorian Legislative Assembly in 1892, a number of local Brighton constituents and supporters raised money to present him with an oil portrait. Bent had been a member for Brighton for 21 years, and the painting was seen as a way of showing their appreciation of his services to the Brighton constituency, as well as congratulating him to his new position as Speaker. In June 1892, British/Australian landscape and portrait artist Charles E. Gordon-Frazer was given the commission to paint the portrait. Thomas Bent is depicted as standing in his Speaker's robe on the dais beneath the canopy in the Legislative Assembly Chamber in the act of addressing the House. He wears the traditional Speaker’s dress of a black silk and gold laced robe over a three-piece black suit, lace jabot and cuffs, buckled shoes and a ceremonial long wig. The top of the gold parliamentary mace sits on the right of the work near the frame's edge.sir thomas bent, thomas bent, speaker, mayor, premier, brighton, moorabbin, land speculator, local government, councillor, official, member of lower house, portrait, parliament, ceremonial robes, legislative assembly, jabot, wig, mace

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

The Fashion & 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

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.White cotton petticoat with bands of inserts of lace. Th petticoat was donated at the same time as a white cotton day dress. Probably of Tasmanian origin, and of a similar period to the dress, the petticoat was donated by a local Kew resident.women's clothing, petticoats, underwear, coralie coulston

This wedding dress was made for an unknown customer by a late 19th and early 20th century Richmond dressmaker known by her married name as Mrs Pamely. The dressmaker’s name is identified on Petersham ribbon on the bodice. (1877 was the first known use of a dressmaker’s name on a dress in Australia). The dress entered the Collection by donation. The donor, Netta Fuller, and her husband Alec, were long-term residents of Kew. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The core of the parade consisted of a collection of 19th Costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. Not satisfied with purchasing authentic costumes of the period, she also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century items of clothing to the Kew Historical Society. Some garments were parts of costumes such as bodices, while others were complete outfits. Many of the latter exhibit signs of old damage, however very few of the costumes have been modified to enable them to be worn in exhibitions. Known provenance is limited to donor information, although some of these donations may have originally formed part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance. This is the only 19th century costume in the Collection where the maker's name and address is known. To date, no other costumes by this dressmaker have been identified. The maker's business activity (1888-1905) allow one to, with an assessment of style, be relatively certain about its late Victorian construction. This adds to the item's significance even though its condition has been compromised by later removals and additions of decorative fabric on the bodice.Cream satin wedding dress comprised of a fitted bodice and a full skirt with a long wide train. Both the skirt and the bodice feature extensive use of ruched silk. Originally the bodice was covered with silk net embroidered with small white flowers. While sections of the net remain on the rear of the bodice (and on the sleeves), that on the front has been removed, probably due to damage. The name of the dressmaker is stamped on Petersham ribbon on the bodice."Madame Pamely, Costumiere, 41 Stanley St. Richmond"wedding dresses, australian fashion - 19th century, women's clothing, dressmakers - richmond (vic), netta fuller, fashion manufacturers - mrs pamely

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 lingerie dress is one of a number of items donated to the Fashion Collection by Rosemary-Vaughan Smith.While lingerie dresses were produced for and worn by women between 1900 and 1920, the main period in which they were worn was between 1900 and 1910. This elaborately detailed example is believed to date from the first years of the 20th century.Long white cotton muslin lingerie dress with inserted panels of white lace and additional white and black embroidery applied to the shoulders, waist and hem. australian fashion - 1900s, women's clothing, white muslin dresses, embroidery, tea dresses, lingerie dresses, rosemary vaughan-smith

One of a group of unprovenanced photographs donated to the Society by Betty Morgan.While its provenance is unclear, and it has suffered from fading, the photograph is a useful record of children's clothing in the first decade of the Twentieth Century. It is an example of Massingham's commercial photography at his studio in Bendigo. The clothing worn by the boys can be used to deconstruct social values in the period preceding the First World War.Faded sepia studio photograph of three unidentified boys, the oldest boy dressed in a quasi-military uniform; the two younger in berets and lace collars. The photographer is named as G.L. Massingham ( (George Leake, active 1866-1921) of View Street, Bendigo (and Geelong); active in View Street from 1901-c.1921.G. L. MASSINGHAM / VIEW STREET. BENDIGOaustralian photographers - g. l. massingham - view street - bendigo

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.Long lime green crepe evening dress with a silk lining of the same colour. At the neckline is a narrow band of pale brown/pink commercial lace. The very narrow shoulder straps are a similar shade of brown/pink. The dress features a closure at the back that is fastened with press-studs.australian fashion, evening dresses, evening wear, women's clothing

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 garment was created by Margeaux (Melbourne) which specialised in the production of "high-class cocktail and evening wear" (The Age, 17 March 1956).Knee length short sleeved grey silk and grey tulle cocktail dress with an attached outer covering of patterned lace of a lighter grey colour. The garment has the label of ‘Margeaux Regd. Imported fabric’. There is a zip at the back. There is some discoloration (due to sun damage?) to the lace at the shoulders. australian fashion - 1950s, margaux of melbourne, cocktail dresses, women's clothing

Robin Kelly was born Robin Vandersluys in Mary Street, Kew. As a child, she sang in backyard concerts run with her brother, Leslie. The family moved to Deepdene in 1949 and Robin joined church and school choirs. Later she was to study classical singing with Stella Power, modern singing with Jack White, TV Presentation with Natalie Raine of Crawford Productions and acting/singing with Jessie Matthews. Following her victory in a talent quest at the Orama Ballroom, she was invited to join the Orama Big Band with singers Harry Cox and Arlene Forrest. She also sang with the Kerm Jones Jazz Band at Power House and with Frank Johnson's Jazz Band at Jazz Junction. Robin became resident band vocalist at the historic Federal Hotel in Collins Street with the Rudi Laquer Trio. She also sang at The Savoy Plaza with the George Cadman Trio. A year later she became resident vocalist at the Ress Oriental Hotel with the Lennie Holmes Trio. Later, Robin married pianist Peter Jones, singing under the name 'Robin Vanser' in clubs in Sydney and regional New South Wales. She was booked for a Vietnam War tour and also sang in Tahiti. Returning to Melbourne, her agent booked her to appear in shows in Tasmania including West Point Casino and Melbourne country venues. Another agent, John Bishop, booked her to do floor shows in Melbourne, including Xmas Seasons at the Hampton Hotel where she entertained audiences with her comedy and audience participation routines. In 1971, Robin Kelly retired to run her Robin Hood Antiques business in Canterbury, during which time she was married to tenor Glenn Kelly. Later she joined Sing Australia Camberwell Choir, performing as a soloist at their Melbourne Town Hall Concert.The Vandersluys-Kelly Collection of photographs, costumes and musical performance memorabilia was donated to the Kew Historical Society by Robin Denise Kelly in 2018. The collection is an important record of stage and recorded performances in Australia in the second half of the 20th century. This new nationally-focused and artistically significant collection augments and contextualises the local performing arts materials in our collection. Royal blue sequinned lace with taffeta lining, halter neck, full-length sheath with blue chiffon drops from back to floor. The dress was worn by Robin Vanser (aka Robin Kelly nee Vandersluys) in live performances in the 1960s, including as Guest Artist, Wentworth Hotel Police Association Ball, Sydney, 1966.performing arts - australia - 1960s, robin vanser, performance costumes, floor show dresses

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.Shot silk purple ball gown, featuring a fitted silk bodice with puff sleeves and a wide full-length skirt. The dress has coloured guipure lace at the neck and the cuffs, which has been identified as being of the period. The brush braid on the hem has probably been replaced at a later date. Dated to 1899-1900. ball gowns - 1900s, australian fashion - 1900s, costume

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.Long black satin dress with black beading on the wide collar and neckline. The sleeves cuffs have black lace at the cuffs.women's clothing, australian fashion - 1920s, evening dresses

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 1930s evening dress is one of a number of items donated by Teresa Mayer.Deep rust coloured three-quarter length crepe dress featuring extensive ruching on the bodice and to the short sleeves. A bow of the same fabric with hanging laces (sic) is attached at the neck. The garment has been dated to the 1930s.women's clothing, australian fashion - 1930s, day wear, day dresses

Piece of very finely constructed coffee-coloured lace probably removed from the bodice of a dress.fashion and textiles collection - kew historical society, textiles - lace

The fashion and design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. The collection includes numerous fashion accessories including items of lace clothing.Machine embroidered broderie anglaise dress front with lace edging hanging from a shoulder to shoulder broderie anglaise panelwomen's clothing, lace, jabots

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 (part) wedding dress is one of a number of items donated to the Fashion Collection by Netta Fuller.Very full cream silk skirt with Brussels lace used on the front and hem of the garment. At the front there is a separate panel of the same fabric. The skirt is believed to date from the 1890s.The skirt suffers from shattered silk.wedding dresses - 1890s, netta fuller, women's clothing

The bridal coat was part of a wedding ensemble worn by Peg Young in 1939. The final two images in the carousel include a wedding photograph of Peg and her husband. A letter accompanying the donation on file describes the outfit as: "Rosemary [Peg] looked very nice indeed in a simple white satin dress that made her look very tall and slim. It had trimming round the neck, down the front and on the shoulders that looked like quilting, with a little gold in it, and she wore gold slippers and a lovely lace veil, lent by Auntie Nellie. She carried a large sheaf of bright red roses." Mrs Peg Young, a Kew resident was at one stage President of the Children's Book Council of Australia. She was also a member of the Kew Historical Society. The coat was donated by her daughter, Mrs Helen Tutt.Floor-length satin bridal coat with a buttoned full length opening at the front extending the length of the garment. The front of the coat is hand-quilted in an abstract design of arabesques. The buttons are covered with the same satin fabric as the coat. Accompanying the dress there is a photo of the couple on the steps of the unnamed church in London and a letter describing the event, including the coat.Transcript of accompanying letter: Red Cottage Mallory Road Hove 4 Sussex England July 21.39 Dear Faith I have been up to London today to Rosemary's (Peggy) wedding. Though you might like to hear about it. To my mind the one sad part was that your Uncle Bertie and your adopted sister could not be there. Daisy (Margaret) has been simply splendid in all she has done. Rosemary looks very nice indeed in a simple white satin dress that made her look very tall & slim. It had trimming round the neck down the front & on the shoulders that looked like quilting, with a little gold in it, & she wore gold slippers & a lovely lace veil lent by Auntie Nellie. She carried a large sheaf of bright red roses. Her two bridesmaids were Mary & Brenda. They wore the same bridesmaids dresses as they wore at their sister Peggy's wedding a few weeks ago. They were very pale blue satin, simply made, with long skirts & they had lovely little flat bouquets made of the heads of all sorts of flowers out in the gold holder which I am sending you & tied round the handle with gold ribbon. They had wreaths of the same flowers in their hair. Nevil gave Rosemary away."costumes, wedding dresses, wedding coats, peg young, helen tutt, fashion design, fashion -- united kingdom, fashion -- 1930s

One of a group of items including lace and crochet collars, a chid's dress and a wedding dress donated by KHS member, Kathryn (Kate) Gwynne Reeve (nee Marx) that belonged to members of her family. A jabot is a pleated frill of cloth or lace attached down the centre front of a woman's blouse or dress.Irish lace jabot. H 31.5 cm / W 35 cmjabots, lace

One of a group of items including lace and crochet collars, a jabot, a chid's dress and a wedding dress donated by KHS member, Kathryn (Kate) Gwynne Reeve (nee Marx) that belonged to members of her family. A pelerine is a woman's long narrow cape or tippet, with ends coming down to a point in front, usually of silk or lace, or of the material of the dress.Irish crochet pelerine. L 31 cm / W 31 cm / Circumference 94 cmcrochet, irish crochet, pelerines, accessories

One of a group of items including lace and crochet collars and pelerines, a jabot, a chid's dress and a wedding dress donated by KHS member, Kathryn (Kate) Gwynne Reeve (nee Marx) that belonged to members of her family. A pelerine is a woman's long narrow cape or tippet, with ends coming down to a point in front, usually of silk or lace, or of the material of the dress.Tape lace pelerine. L 41 cm / W 57 cm / Circumference 142 cmpelerines, accessories, tape lace

One of a group of items including lace and crochet collars and pelerines, a jabot, a chid's dress and a wedding dress donated by KHS member, Kathryn (Kate) Gwynne Reeve (nee Marx) that belonged to members of her family. Tape lace is either a hand made (with a bobbin) or a machine woven tape. The tape is folded into the required design and then fixed and embellished with connecting lace or embroidery stitches of various kinds.Tape lace collar. L 17 cm / W 39 cm / Circumference 98 cmaccessories, tape lace, lace collars

One of a group of items including lace and crochet collars and pelerines, a jabot, a chid's dress and a wedding dress donated by KHS member, Kathryn (Kate) Gwynne Reeve (nee Marx) that belonged to members of her family. Silk cap with lace inserts L 19 cm / W 27 cm / Circumference 57 cmaccessories, caps

This wedding gown was worn by Mary Ann Lawrence at 8.00am on 5 January 1842 at St John's Church, Launceston, when she married Francis Henty. The couple were to catch the tide on their way to Portland two hours later. Francis Henty was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Mary Ann Lawrence's grey silk wedding gown has a v-line waist and a partly smocked bodice. It is lined with muslin throughout. It has hand-tatted cotton lace and handmade piping around the neck and bodice and pleated short sleeves. There was originally trimming on the skirt which was removed at a later date. Orange blossom made of chamois and tiny coiled springs originally decorated the neckline. The outfit was complemented by a bonnet to which a Limerick lace veil was attached. Measurements (mm): Girth - Neck 914, Chest 812.8, Waist 660.4, Cuff 330.2, Hem circumference 3200.4. Vertical - Front neck to hem 1270, Front waist to hem 1016, Back neck to hem 1320.8, Back waist to hem 1041.4, Sleeve length 114.3. Horizontal - Neck to sleeve head 50.8, Chest back 406.4, Underarm to underarm 406.4.mary ann lawrence, francis henty, wedding dresses, fashion -- 1840s, women's clothing

This dress belonged to Alice Frances Henty (1852-1932) the youngest daughter of Francis Henty (1815-89) and his wife Mary Ann Henty [nee Lawrence] (1821-81). It is recorded that Alice wore the dress at the age of six. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Girl's two-tone, one-piece cotton voile dress from the 1850s has a high round neck and short sleeves has a lace insert on the front of the bodice and matching lace at the rear. The layered skirt is bordered with lace. Measurements (mm): Girth - Neck 609.6, Chest 635, Waist 558.8, Cuff 203.2, Hem circumference 2108.2. Vertical - Front neck to hem 685.8, Front waist to hem 508, Back neck to hem 723.9, Back waist to hem 534.4, Sleeve length 63.5. Horizontal - Neck to sleeve head 38.1, Cross back 304.8, Underarm to underarm 406.4.fashion -- 1850s, children's clothing, alice frances henty

This afternoon dress was owned and first worn in 1875 by Alice (Henty) Hindson, the daughter of Francis Henty and Mary Ann (Lawrence) Henty. The outfit was worn in the same year as Alice's marriage to John Hindson at Trinity Church, East Melbourne, and may have formed part of her trousseau. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Alice (Henty) Hindson's afternoon dress is a two-piece, two-toned pink ensemble made of silk taffeta. The detailing is done with fine knife-pleated trims piped in ivory satin and decorated with ivory silk moiré bows on the bodice and skirt. The panelled peplum jacket is boned and the front button closure has hand-embroidered buttonholes with handmade covered buttons. The gathered full buttoned skirt falls into a train. The skirt is decorated with rows of ivory tulle corded lace and the hemline is edged with crisp fluted organza and tatted lace. Measurements (mm): BODICE: Girth - Neck 355.6, Chest 863.6, Waist 685.8, Hip 787.4, Cuff 304.8, Hem circumference 1422.4. Vertical - From neck to hem 546.1, Front waist to hem 241.3, Back neck to hem 609.6, Back waist to hem 355.6, Sleeve length 330.2. Horizontal - Neck to sleeve head 60, Underarm to underarm 419.1. SKIRT Girth - Waist 558.8, Hip 1473.2, Hem circumference 3911.6. Vertical - Front waist to hem 1092.2, Back waist to hem 1524. fashion -- 1870s, afternoon dresses, alice (henty) hindson, women's clothing

This dress belonged to Mary Ann Henty [nee Lawrence] (1821-81), the wife of Francis Henty (1815-89). Her husband, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.A two-piece, moiré silk faille day dress, owned and worn by Mary Ann Henty, aged 59, while resident at Field Place, Kew. The fitted and panelled bodice on the day dress features wide velvet ribbon, hand sewn to form ‘V’ detailing at front and back. The front bodice hook and eye closure is decorated with handmade velvet covered buttons. The high round neckline is trimmed with pleated ivory fine tulle lace. The wide long sleeves of the bodice are also trimmed with velvet ribbon and buttons forming exquisite cuff detailing. The full length skirt and train are tucked into a fitted waistline band. The hemline is hand finished with wide velvet ribbon. A separate attached peplum is worn over the full bustle of the skirt. Measurements (mm): DRESS: Girth - Neck 355.6, Chest 889, Waist 673.1, Cuff 279.4, Hem circumference 4292.6. Vertical - Front neck to hem 1447.8, Front waist to hem 1117.6, Back neck to hem 1765.3, Back waist to hem 1346.2 , Sleeve length 590.55. Horizontal - Neck to sleeve head 196.85, Chest back 469.9, Underarm to underarm 457.2. PEPLUM Girth - Waist 711.2, Hem circumference 1066.8. Vertical - Back waist to hem 406.4.mary ann lawrence, francis henty, fashion -- 1880s, day dresses, women's clothing

This bodice was part of the wedding outfit worn by Grace Burland at her marriage to John Henty Hindson in 1912. Her husband's grandfather, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew.The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Silk crepe wedding bodice decorated with Mechlin lace, pearls and jet, which was worn by Grace Burland at her marriage to John Henty Hindson in 1912. A report in Punch [12 September 1912] described her outfit as “... white crepe de chene finished with Mechlin lace and pearl trimming; also pearl crescent brooch (gift of the bridegroom' s mother).” Mechlin lace or Point de Malines is an old bobbin lace, one of the best-known Flemish laces, originally produced in Mechelen, Belgium. Used for women's clothing, it was popular until the first decade of the twentieth century. The high silk net neckline is finished with pearls. These are repeated on the loose fitted diagonal ornamentation on the front and back which is finished with pearl and jet beading. Similar ornamentation finishes the elbow length sleeves. [The wedding skirt is not part of the donation]. wedding dresses, women's clothing, fashion -- 1910s, bodices, grace burland