Australian mens shirt from the formal uniform for the Sydney 2000 Olympic Games. Manufactured by Ganton Shirts.Green button down shirt with Olympic rings and SYDNEY 2000 on breast pocketSYDNEY 2000fashion, woolmark company ganton shirts, sport, the woolmark company 2000 australian olympic display - exhibition (21/12/2001 - 24/05/2002), sydney 2000 olympic games

Twenty four page knitting pattern book featuring eight colour pages. The front cover shows a man in profile wearing a stock hat and a knitted jumper.front: [printed] Cleckheaton / BOOK NO. 408 / Mens Collection 4knitting, pattern, fashion, knitwear, cleckheaton

Sixteen page knitting pattern book featuring black and white printed graphics and text. The black and white cover shows a man wearing a vest standing with a camera light.front: [printed] Hand Knitted / SLEEVELESS / SLIPONS / for men / LINCOLN / BOOK No. 680 / MODEL No. L 1313 / 6dknitting, pattern, fashion, knitwear, women

Twenty page knitting pattern book featuring black and white printed graphics and text. The black and white cover shows a young girl wearing knitting clothes.front: [printed] For / VERY YOUNG / LADIES / AND /GENTLE / MEN / 6' / LINCOLN / BOOK No 151 / MODEL No L1150knitting, pattern, fashion, knitwear, women

Tongs were used by women and girls to wave or curl their hair. They were heated either on a wood stove or later over the flame from a burner and the applied to the hair. Curl papers were applied to the hair to stop it scorching. The use of tongs or iron rods to curl hair including men's beards dates back for centuries. French hair stylist is credited the invention of the curling iron in 1890. It was at this time that using tongs became particularly fashionable, when women started wearing their hair waved on top of the head. Very few changes were made to this method of hair curling until the introduction of the electric hair curler in 1959.This item is significant because it is representative of long-lasting trend in women's fashion, including in Wodonga and was donated by a local resident.Metal tongs with a double handle grip. One side of the tongs has a roller and the other has is hollow to fit over the strand of hair to be curled. women's accessories, household items

Pattern book produced by Patons and Baldwins.Knitting book, 16pp. Front cover is printed in black and white with a photo of a man and a woman wearing knitted cardigans. Contains knitting patterns for men's and women's garments.No. / 416 / Patons KNITTING BOOK / No. / 416 / PATONS / DOUBLE QUICK / KNITTING / ALL PURE WOOL / P&B / WOOLS / 1'3d.handicrafts - history knitting, patons and baldwins (australia) ltd, handicrafts - history, knitting, design, style, fashion, wool

Navy blue pinstripe suit jacket and pants. Charcoal tie with a tan geometric print. Printed [inside jacket tag]: Flair / COOL / WOOL / WARM IRON / DRY CLEAN ONLY / PURE NEW WOOL Printed [tie label]: Country Road Australia / Made in Italy Printed [pants label] No. 9722fashion, wool, men's suit, clothing, fabric, australian made, tie, pants, jackets, design, textile

The design of the corkscrew may have been derived from the gun worm, which was a device from at least the early 1630s, used by men to remove unspent charges from a musket's barrel in a similar fashion. The corkscrew is possibly an English invention, due to the tradition of beer and cider, and the 'Treatise on Cider' by John Worlidge in 1676 describes "binning of tightly corked cider bottles on their sides", although the earliest reference to a corkscrew is, "steel worm used for the drawing of Corks out of Bottles" from 1681. In 1795, the first corkscrew patent was granted to the Reverend Samuel Henshall, in England. The clergyman affixed a simple disc, now known as the Henshall Button, between the worm and the shank. The disc prevents the worm from going too deep into the cork, forces the cork to turn with the turning of the crosspiece, and thus breaks the adhesion between the cork and the neck of the bottle. The disc is designed and manufactured slightly concave on the underside, which compresses the top of the cork and helps keep it from breaking apart. The winged corkscrew, sometimes called a cork extractor, butterfly corkscrew, owl corkscrew, Indian corkscrew, or angel corkscrew, has two levers, one on either side of the worm. As the worm is twisted into the cork, the levers are raised. Pushing down the levers draws the cork from the bottle in one smooth motion. The most common design has a rack and pinion connecting the levers to the body. The head of the central shaft is frequently modified to form a bottle opener, or foil cutter, increasing the utility of the device. Corkscrews of this design are particularly popular in household use. In 1880, William Burton Baker was issued British Patent No. 2950 for his double lever corkscrew, with both levers sliding onto the upper end of the shank. The first American patent was in 1930 granted to the Italian Domenico Rosati who emigrated to Chicago, Illinois, to work as bartender before prohibition. Rosati's design had an exposed rack and pinion mechanism. Such design was adapted by other brands as the wine-market grew in popularity. The winged owl version, with two side-plates covering the rack and pinion mechanism, was first designed and manufactured in 1932 by the Spanish industrial designer David Olañeta for his brand BOJ and was later adopted by others, such as the 1936 US Patent No. 98,968 by Richard Smythe marked HOOTCH-OWL https://en.wikipedia.org/wiki/CorkscrewThis object is significant as an example of an item in common use in the 19th and early 20th centuries, and that was developed further in the 1930s.Winged corkscrew with a T-shaped wooden handle, metal spring and worm-wheel screw section.None.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, corkscrew, beverages, kitchen equipment, bottle opener

The design of the corkscrew may have been derived from the gun worm, which was a device from at least the early 1630s, used by men to remove unspent charges from a musket's barrel in a similar fashion. The corkscrew is possibly an English invention, due to the tradition of beer and cider, and the 'Treatise on Cider' by John Worlidge in 1676 describes "binning of tightly corked cider bottles on their sides", although the earliest reference to a corkscrew is, "steel worm used for the drawing of Corks out of Bottles" from 1681. In 1795, the first corkscrew patent was granted to the Reverend Samuel Henshall, in England. The clergyman affixed a simple disc, now known as the Henshall Button, between the worm and the shank. The disc prevents the worm from going too deep into the cork, forces the cork to turn with the turning of the crosspiece, and thus breaks the adhesion between the cork and the neck of the bottle. The disc is designed and manufactured slightly concave on the underside, which compresses the top of the cork and helps keep it from breaking apart. In its traditional form, a corkscrew is simply a steel screw attached to a perpendicular handle, made of wood or some other material. The user grips the handle and screws the metal point into the cork, until the helix is firmly embedded, then a vertical pull on the corkscrew extracts the cork from the bottle. The handle of the corkscrew allows for a commanding grip to ease removal of the cork. https://en.wikipedia.org/wiki/CorkscrewThis object is significant as an example of an item in common use since the late 17th century.Metal corkscrew with wooden handle that is partly broken. Has metal steel spike to create a starting point for the use of the corkscrew. Very rusty. None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, corkscrew, beverages, kitchen equipment, bottle opener

BHS CollectionJohn Brown Fashion News Letter Vol 1, No 2.: A paper newsletter on a white back ground printed in black and tan colour box at the top, 20 x 5.2cm with fashion repeated three times filling the area on the right side. A stylized figure appears on the left hand side with its left leg pointed upwards. Underneath is Vol 1, No.2, Published by John Brown Industries Ltd. 110 Trennery Crescent Abbotsford, Vic. 3067. April 1968, (underlined). Page 1. The article is headed *Admiral Club Afloat* which is a new trade name for knit shirts, that has 300 colours and style combinations. Tricel is a new fibre introduced for the first time in Australia. On the right hand side is a black and white photo of two men wearing Tetoron and Polycott in a contemporary design wearing Bermuda shorts standing on a boat. On the left of the photo is a girl in a bikini top. On page 2 is a report on the increase on imports of knitted garments against local production. Also an article on quality control in Bendigo and a photo showing Mr Frank Harris viewing a fabric through an industrial magnifying glass. Page 3 shows knitwear from *The Admiral Club Range* Second item on page 2 is of The successful Kyneton Mill being established in 1921 bringing employment from the extended district. A photo of an original employee Mr Jim Roberts is at the bottom. Last page is an article top left side is The Welmar Men's Dress Shirt proved very popular and sold out before Christmas. Under that is a photo of the busy pressing room in Bendigo. Bottom left : *Sales Network Expanded* an article on sales covering Brisbane and a new office in Townsville. Top right is an article about Anne Hine an employee of John Brown, runner up of the Miss Victoria Quest enjoying herself in Queensland on the Gold Coast which was part of her prize. A photo of Anne with a dolphin is included. Other topics include *Ten pin Bowling trophy to Victoria* and New President announced*, Mrs Molly Lapsley Retires. Box 116AAssociated World Public Relations Pty Ltd. Printed by Aldine Press.bendigo, industry, john brown knitting mills, john brown industries. mr frank harris. mr jim roberts. michael robinson. welmar plant bendigo. norma gardner. mrs molly lapsley

Four page fold out knitting pattern booklet featuring a colour image on the cover of two men wearing knitted jumpers and pants. Both men are holding umbrellas.front: [printed] Cleckheaton / Spectra / Cleckheaton 8 ply / Design 0141 / Sizes: 86-102 cm / Tempo / Clekheaton 8 plyknitting, pattern, fashion, knitwear, cleckheaton

Spare wicks were required for pocket lighters which used lighter fluid and had in built wicks.A set of 5 cotton wicks encased in a paper wrapper. The top of the wicks are visible over the paper wrapper. The wrapper is cream coloured with red lettering on it.1 Doz. / Pocket Lighter Wicks / Australia Madesmoking, cigarettes, wicks, accessories, men's fashion, portland, glenelg shire

A black and white photograph of Bendigo Teachers' College students on a visit to Ballarat Teachers' College in 1927. The unnamed staff and students are seated at a main entrance with formal iron fence and pillars. In the foreground on the right is a garden and trees which are along the iron fence which runs up a hill to a fence and more garden the background. Also in the background is a building with ornate features. The men are all in suits with white collar and tie and some wear formal hats. The women are also in formal attire and most wear fashionable hats. See 3320.100bendigo, education, bendigo teachers' college, la trobe university bendigo collection, collection, bendigo, education, tertiary education, teacher training, photo, photograph, photographs, photography, ballarat teachers' college, bendigo teachers' college, costume, fashion, attire, clothing, history, miss j.c. burnett, mr. geoff. pryor, place

A black and white photograph of staff and students at Bendigo Teachers' College located at Long Gully Primary School. Names unknown. 1926. The formal clothing of the day is evident here. The men all wear suits with white collar and tie. Many wear a waistcoat. The women all wear frocks or skirts with stockings. One lady wears a hat. Long Gully Primary School is in the background. See 3320.100bendigo, education, bendigo teachers' college, la trobe university bendigo collection, collection, bendigo, education, long gully primary school, state schools, primary schools, bendigo teachers' college, students, tertiary education, teacher training, photo, photograph, photographs, photography, clothing, attire, fashion, costume, miss j.c. burnett, mr. geoff. pryor

A black and white photograph of unnamed Bendigo Teachers' College students in 1946. The men are dressed in suits with ties and the women are in suits, skirts with twin sets or dresses with jackets. The women are all wearing stockings or socks. See 3320.100bendigo, education, bendigo teachers' college students, la trobe university bendigo collection, collection, bendigo, education, tertiary education, teacher training, students, bendigo teachers' college, costume, fashion, attire, clothing, photo, photographs, photograph, photography, ms. j.c. burnett, mr. geoff pryor

Cigarette cases were first used during the 19th century. At first they were basic, utilitarian items but during the Victorian era manufacturers began to decorate them, some very ornately. Materials such as sterling silver was used and the cigarette case became a fashion accessory.This cigarette case highlights the time when cigarettes were a common item for many people, especially men, to use. They are part of the history of functional items designed to be a fashion accessory.Silver coloured cigarette case. Opens in a clam shell design. The metal is tarnished and discoloured. It is a simple design with a vertical indented line running vertically from the top to the bottom of the case on the right and left side. This is on both the front and back o the case.cigarette, cigarette case, smoking, accessory, fashion, male accessory, portland, glenelg shire

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the nineteenth and twentieth centuries.These were produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. The McIntyre Collection forms one of the largest single donations to our Fashion & Design collection. It includes clothing worn by women in the Cohen and McIntyre families. The collection is significant historically and aesthetically, demonstrating changing tastes in fashion over an 80-year period. It includes the work of a large number of Melbourne designers from the 1950s to the 1980s. Dark green coloured taffeta and organza short evening culottes with separate black velvet evening jacket. The outfit, confidently dated to 1985, is from one of the earliest ready-to-wear collections by Martin Grant, who began his career in Melbourne at the age of 16.A note by Dione McIntyre, describing the outfit, of which this item is a part reads: "Martin Grant outfit, including black satin and velvet shoes. Martin Grant was originally from Melbourne, now internationally and renowned and designing and living in Paris. The outfit was worn by Annie McIntyre on her 21st birthday, 1985"martin grant, women's clothing, australian fashion -- 1980s

The design of the corkscrew may have been derived from the gun worm, which was a device from at least the early 1630s, used by men to remove unspent charges from a musket's barrel in a similar fashion. The corkscrew is possibly an English invention, due to the tradition of beer and cider, and the 'Treatise on Cider' by John Worlidge in 1676 describes "binning of tightly corked cider bottles on their sides", although the earliest reference to a corkscrew is, "steel worm used for the drawing of Corks out of Bottles" from 1681. In 1795, the first corkscrew patent was granted to the Reverend Samuel Henshall, in England. The clergyman affixed a simple disc, now known as the Henshall Button, between the worm and the shank. The disc prevents the worm from going too deep into the cork, forces the cork to turn with the turning of the crosspiece, and thus breaks the adhesion between the cork and the neck of the bottle. The disc is designed and manufactured slightly concave on the underside, which compresses the top of the cork and helps keep it from breaking apart. In its traditional form, a corkscrew is simply a steel screw attached to a perpendicular handle, made of wood or some other material. The user grips the handle and screws the metal point into the cork, until the helix is firmly embedded, then a vertical pull on the corkscrew extracts the cork from the bottle. The handle of the corkscrew allows for a commanding grip to ease removal of the cork. https://en.wikipedia.org/wiki/CorkscrewMetal corkscrew with wooden handle. Has metal steel spike to create a starting point for the use of the corkscrew. Very rusty.corkscrew, kitchen equipment, bottle opener

Paired with image 03731.1 for display in 150 years Lakes Entrance 1858 to 2008 held in October 2008Sepia toned postcard west side of Red Bluff showing a group of eight men and five women and a child. Sand washed away exposing vast rocky beach, short vegetation on rocky bluff. Women wearing full length skirts and wide brim hats with veils, men in three piece suits dark in colour on ninety mile beach Lake Tyers VictoriaThe Bluff Lakes Entrancetopography, fashion

Group appear to be on a Sunday excursion as all in best clothesBlack and white photograph of group of men, women and children posed for the camera in a bush setting in East Gippsland Victoriacelebrations, clothing

253 p.; 25 cmnon-fictionThere is no other store like David Jones... and there is no other consultant like Sheila Scotter! Known variously as the Kangaroo editor (by Diana Vreeland), the black and white lady from Albert Park, and the Silver Duchess, this is the autobiography, scrapbook-style, of one of Australia's doyennes of style. For Sheila Scotter's seventeenth birthday her parents put on a 'coming out ball' in the United Services Club in Calcutta, where they lived at the time. The teenager wore a pale turquoise silk taffeta ball gown. Sheila no longer remembers what happened to that dress, but she does know that it is responsible for the black-and-white wardrobe that has been her hallmark ever since, with the exception of one occasion and one occasion only. For her seventieth birthday party, close friend John Truscott conned her into wearing red, insisting that the theme for the event was all red. And what did the guests all wear? Black and white! This anecdote lite, stylish, idiosyncratic is typical of the many that make up Sheila Scotter's autobiographical assortment. Most Australian women know Sheila Scotter through her Women's Weekly column 'Sheila Scotter Suggests' which ran between 1975 and 1980 and totalled some 235 instalments. The fact that this column is still vividly remembered 17 years later attests to the sacred place it held in every Australian household. A feminist before the word was invented, Sheila has had a formidable career. Two chapters are devoted to her career in fashion, including her time as the editor-in-chief of Vogue and founding editor of Vogue Living. The art of fundraising is also treated in some depth. In snippets, we hear of her love of cricket (which she once played); we find out how she came to live in Australia in the first place and why she has made Melbourne her home. Not surprisingly, the book reflects the personal contradictoriness of its author/subject on the one hand an aristocrat, on the other a rogue who does not respect rank; blithely mixing innate feminism with blatant coquettishness; outrageous yet scrupulously stylish; in the know yet discrete; courting notoriety while at the same time needing solitude a Like all celebrity autobiographers Sheila reserves her right to privacy while basking in the limelight. But she has used this book to set the record straight on a number of issues, including why she left Vogue, her many romantic involvements, her much-publicised spat with socialite Lillian Frank, and what was wrong with David Jones, to whom she consulted during 1994-95. The book contains the expected wining, dining and partying, as well as the inside story on some recent scandals. Sheila Scotter is glamorous and alluring, a forthright mover and shaker who inspires fear in some, awe and respect in others, and admiration and loyalty in most. No matter what you think of her, you simply cannot ignore her. Friends and enemies alike are awaiting this book with bated breath for one reason: when Sheila Scotter speaks, people listen. Contents Foreword (by Ruth Cracknell, a personal friend) Before I Begin a (explaining the rationale for the book) 1 Thursday's Child (birthdays) 2 Christmases to Remember 3 In Fashion (career in fashion) 4 A Matter of Style (Vogue Living and its influence) 5 Marriage and Other Liaisons 6 A Mixed Salad of Letters (letters, personal and business, from prominent people) 7 Fundraising: Are Committees Really Necessary? 8 Loved Ones Departed (or Why I Envy the Angels) 9 Disappointments and Other Disasters (scandals and inside stories) 10 London, Paris, Sydney, Melbourne (the places she has lived) 11 Not the Last Instalment (a look ahead) Postscript (a tribute to some special men read between the lines) Source: Publishersheila scotter, fashion

Also enlargement copy 16 x 25 cm|The house to the left was purchased by Mrs Hehir as extension to boarding house. On back - left Drapery? Mitchelson (Alvene's parents) and later double storeyBlack and white photograph of Kiora House, showing a weatherboard building with iron roof. House to left. Balcony over the veranda four men standing on balcony, accessed via external narrow stairway. Twelve people in front of Kiora House, women in 1920 fashion. Sandy shore and lake in foreground. Lakes Entrance Victoria guesthouses, tourism, waterfront, fashion

Copied from photographic copy purchaed from East Gippsland Historical SocietyBlack and white photograph of the Esplanade, showing Maranui House, a double storied weatherboard building with hipped roof, balcony over veranda at front. Picket fence across front, men and women in winter fashion on footpath. Other buildings in photo are Police Station and Bellevue Guest House. Lakes Entrance VictoriaThe Esplanade and Maranui Houseguesthouses, township, architecture, clothing, fences

Fashion by Oggi, as the sign above the door proclaimed, was located at the Paris End of Collins Street, on the south side, virtually opposite Lilian Weightman’s Le Louvre boutique. Janet Brock, who at the time was working in the Central Business District of Melbourne, had stopped to admire a mauve version of the dress that was displayed in the window, and, on making inquiries from the proprietress, ordered a made-to-measure cream-coloured copy. Her marriage occurred shortly after the death of her father, and took place on 18 December 1971 at the Kew Presbyterian Church in Cotham Road, where the Rev. Peter Mackie was the celebrant. 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.Wedding dress, purchased by Janet Elizabeth Brock in December 1971 from Oggi of Collins Street. The wedding dress, reaching just below the knee, is lined in silk with a double outer layer of organza. The striking decoration of the monochromatic cream dress is achieved through the use of wide ruffled organza frills at the neck, on the sleeves and at the flared hem of the dress. The dress has a discrete v-neckline with small, self-covered buttons at centre front. At the back, the dress is closed with a nylon zip. In addition to the elaborate stiffened frills, the dress features a wide fabric belt with a double bow, worn at the front. oggi - 103-105 collins street - melbourne (vic), women's clothing, wedding dresses, janet (brock) walker, australian fashion - 1970s

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. Golda Whelan, a designer with Hartnell of Melbourne designed this wedding dress for her daughter Liane Whelan. Liane married John Merry at St John's Anglican Church in Toorak in 1969.The dress was manufactured in the 'house' of Hartnell of Melbourne, a leading Melbourne Fashion House in the 1950s and the 1960s.White slim line lace wedding dress, featuring eleven self-covered buttons down centre back Off centre rear opening done up by metal press studs. The dress has a silk satin lining and netting underskirt.hartnell of melbourne, golda whelan, wedding dresses, lace 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 dress is one of a number donated to the collection by Dione McIntyre.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. Long white raw silk dress with beading and sequins applied to a high neck and short sleeves.women's clothing, australian fashion - 1960s, evening wear, mcintyre collection, dione mcintyre

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.Three quarter length dress of ecru needle-run lace with pearl buttons at front to waist and green under slip.women's clothing, australian fashion - 1930s, cocktail dresses, lace 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 wedding dress was worn by the grandmother of Val Warren.Raw silk wedding dress. The full length dress has lace on the bodice and long sleeves. Other decorative elements include finely pleated silk panels on the bodice, an insert on the skirt and on the cuffs of the sleeves The dress features extensive use of both utilitarian and decorative buttons that are covered in the same silk fabric as the dress. The final photograph shows two early repairs to the dress. Lydia Edwards in 'How to Read A Dress (Bloomsbury Academic, 2017), when describing a 1912 dress in the McCord Museum notes that: 'In 1911-12 the use of buttons for both fastening and decoration was extremely popular, the American women's magazine The Delineator declaring at the end of 1911 that "one cannot use buttons to liberally in the present mode".' (p.132)costumes, wedding dresses, women's fashion - 1910s, fashion design, fashion -- 1910s

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 wedding dress was worn by Marjorie Don who married Algernon Garlick, 1928Cream coloured crepe-de-chine wedding dress with a dropped waist comprised of a wide band of ribbon. The bodice is gathered at the top in narrow bands. Rows of pearl buttons extend to the waist from the neckline. The front of the skirt below the waist is made of a contrasting self patterned striped fabric.fashion - melbourne - 1920s, flapper dresses, wedding dresses, marjorie don, algernon garlick