Showing 642 items
matching bodice
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Whitehorse Historical Society Inc.
Accessory - Fan, 1886
Fan was made for Mary Jane Schroder for her marriage to Ralph Pardy Rudd on 24th Nov 1886 in Ceylon. Later carried by three family members at weddings during 1941 by Mrs Kathleen Hubbert then Mrs Mary Barry in 1947 and finally by Sharlene Barry, now Mrs Ron Draeger.1886 bamboo fan mounted with white feathers. Spray of artificial flowers and cream satin ribbon tied in bows and wound round the bamboo handle. Back of fan has circle of boa to conceal joins of white feathers. See also Bodice NA3580, shoes NA3578 and bridal headdress NA3489.costume accessories, female -
Whitehorse Historical Society Inc.
Wedding dress, 1963
Wedding dress worn by donor in 1963. In Supplementary File, photocopy of house at 3 Buxton Road, Mitcham where bride and groom lived after wedding. Photos, invitation and marriage certificate also in Supplementary File1963 Wedding dress of cream satin; floor length, short sleeves, round neckline, fitted at waist. Cream Giupure lace motifs down down front of skirt, on bodice and sleeves. A detached triangular organdie and satin train held with bow to attach to waist of dress. See Veil NA3473costume, female ceremonial -
Brighton Historical Society
Dress, Evening dress, 1920s
Long sleeveless beaded evening dress with V-front and back neckline. Black tulle base embellished with black, grey and purple beads and sequins with a design of a purple sunburst radiating from the right proper hip and mirrored on the back. Bodice sides split to waist and skirt sides split to hip. 1920s fashion, evening dress, beading, flapper dress -
Bendigo Historical Society Inc.
Clothing - HELEN MUSK COLLECTION: CREAM SILK BODICE AND SKIRT
Ivory coloured silk bodice. Part of wedding ensemble with matching skirt with train. (11400.513B). The silk fabric has an all over pattern of scattered leaves. The bodice has long sleeves and is fully lined with cotton fabric with a front opening. The cotton lining at the front forms a separate bodice with a front opening fastened with fifteen hooks and eyes from throat to waist. The lining is edged at centre front on both sides with a border of the silk fabric. The border narrows from 7 cm at the throat to 3 cm at the waist. In the lining of the bodice are two casings on either side of the front opening containing boned segments. Across the lining of the back are seven casings containing boned segments. The front LHS of the bodice has an outer layer of silk fabric with a squared neckline. The RHS of the bodice overlaps the centre opening of the bordered lining to attach across the left shoulder. From the left shoulder the front tapers diagonally to the waistline 4cm to the left of centre. This cross over section is fastened with ten hooks and eyes – seven of the eyes are attached to the bodice lining and three are on the LHS outer silk fabric layer. This section crosses full width to the edge of the LH sleeve, across the top of the shoulder to the neckline. The LHS outer section crosses back over the edge of the centre section. There is a third layer on the RHS with a squared neckline to form a symmetrical appearance. The two side sections are edged with ruffles of fine silk ribbon. The centre section of the crossover part has vertical pintucks extending from the throat for 9 cm. The fullness created by the pintucks is gathered to centre front where the waist dips to a shallow V shape. The back of the bodice has vertical pintucks extending 12 cm from across the shoulders, narrowing to a single vertical strip of pintucks (4 cm) ending at centre waist. The waist is edged with a border of silk ribbon with a horizontal tuck. Inside the back of the bodice above the waist cotton tape ties are attached. These ties extend to the front of the bodice and the ends are fastened with a metal buckle. On this cotton tape at centre back there are to metal hooks for attaching the skirt. Attached to the neckline of the front section of the bodice is a 7 cm stand up collar. The collar extends from the RH shoulder in front of the neck and across the LH shoulder and continues unattached around the back of the neck to attach to the edge of the collar at the RH shoulder. The edges of the collar are fastened with three hooks and eyes. The collar has three full width horizontal pleats and the top edge is trimmed with a frill of fine gathered silk ribbon. On the waistline at centre front and centre back are decorative buttons (3.5 cm) of pearl coloured beads. The buttons have a centre pearl bead bordered by small glass beads surrounded by 9 smaller pearl beads and nine small pearl beads. Each button is edged with a row of tiny class beads with 18 points. The long sleeves are fully lined and made of two sections. The underneath section of the sleeve is ungathered and shaped at the elbow. The upper section of each sleeve is gathered at the shoulders and attached to the underneath section with a series of small pleats down to the elbow creating fullness. There is a small cap sleeve at each shoulder over the top of the gathered sleeve. The cap sleeves are edged with a frill of gathered silk ribbon with a decorative row of gathered silk ribbon parallel to the edge. At each wrist is a gathered frill of silk fabric edged with silk ribbon. Each sleeve has an 8 cm split at the wrist on the back seam. Full length ivory coloured silk skirt. The silk fabric has an all over pattern of scattered leaves. The skirt is fully lined with cotton fabric. The skirt is made of 5 pieces. The centre front panel has two darts at the waistline. The two side panels are cut on the bias and wrap around to form a centre back seam gathered into the waistband and finishing 44 cm below the waist line. Two triangular pieces of fabric are inserted at the back below the centre seam to complete the full circle of the skirt. There is 30 cm back opening. The waistband is made of cotton tape (3cm) fastened with two hooks and eyes with a 2 cm crossover. There is another hook and eye fastener halfway along the opening split. There is one upward facing hook on either side of the centre back opening to attach the matching bodice. The LHS of the back opening has a cotton fabric pocket inserted along the seam. The hem of the skirt is edged with two 5 cm frills of gathered silk fabric.costume, female daywear, silk bodice -
Federation University Historical Collection
Costume, Dressmaking samples, 1947-49
These samples were made by Beverley Lette who was a student of Dressmaking at the Ballarat Technical Arts School.Four samples of garment construction using calico .1) sample partial bodice with a neckline made with an outside facing finish turned at the edge and machine stitched, french seams at shoulder and darts from shoulder. .2) sample sleeve with two different cuffed ends. .3) sample sleeve with turned under bias facing and split at cuff end and four darts at shoulder. .4) sample of three pocket finishes, four covered buttonhole finishes, pintucks and seams with three different methods of finishing the raw edges, all on a sample bound by using two different methods and with one edge scalloped. .5) sample of a partial bodice with shoulder french seams, pintucks and a collar with a placket opening. garment construction, needlework, costume, dressmaking, textiles, ballarat technical art school, beverley lette, beverley mcbride, samples -
Bendigo Historical Society Inc.
Clothing - MAGGIE BARBER COLLECTION: SILK AND NET BLOUSE, Late 1800's early 1900's
Clothing. Cream cotton net, woven with a goemetric pattern of filligree diamonds and tiny squares. The garment is fully lined with the most delicate, and sheer cream silk. A peplum ettect 7 cms deep, is finished with 9.5 cm deep peak at the centre front. Two metal hooks, and stitched eyes are the only fasteners, and are located at the waistline on the peplum seam. The curved front bodice is edged with a 3.5 cm deep frill of cream net, which is finished at the outer edge with two rows of stitching in a heavier weight thread. The front bodices are gathered at the centre front to the peplum. The long sleeves are finished at the wrist, with a double frill of plain tulle, also edged with a double row of stitching, in a heavier thread.costume, female, silk and net blouse -
Bendigo Historical Society Inc.
Leisure object - DOLL COLLECTION: LARGE PLASTIC DOLL
Large 75cm tall plastic doll with curly blonde hair. Her eyes close when she is laid on her back. She is dressed in a cream muslin dress with vertical inserts of white braid. It is also trimmed with wide cream cotton lace on the bodice and hem and burgundy insert on the bodice. A burgundy sash is around her waist. Underneath the dress is a cream cotton pintucked petticoat trimmed with various cream laces and cream cotton bloomers trimmed with cotton lace and white satin bows. She is wearing black socks and brown canvas shoes with plastic soles. There is also a cream muslin bonnet, heavily trimmed to match her dress with a burgundy bow and a white muslin bow.toys, dolls, plastic -
Kew Historical Society Inc
Clothing - Pink silk evening dress, c.1842
This dress is believed to have 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 one-piece, lustrous silk taffeta evening dress, lined with polished cotton, probably owned by Mary Ann Henty, and later by her daughter, Alice. The V-waist line of the dress and the dimensions of the skirt are comparable to Mary Ann’s wedding dress. The bodice in contrast is less structured. At a later stage, the sleeves were removed. Measurements (mm): BODICE: Girth - Neck 914.4, Chest 863.6, Waist 685.8, Hip 863.6, Hem circumference 3302. Vertical - Front neck to hem 1371.6, Front waist to hem 1092.2, Back neck to hem 1384.3, Back waist to hem 1079.5 Horizontal - Neck to sleeve head 44.45, Chest back 431.8, Underarm to underarm 431.8.mary ann lawrence, francis henty, evening dresses, henty collection, fashion -- 1840s -
Flagstaff Hill Maritime Museum and Village
Clothing - Combination Undergarment, Late 1800s
This handmade women’s combination undergarment features hand-worked lace panels and trim, and fine pintucks. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The design of this combination undergarment, or ‘combination’, includes a chemise attached to a pair of drawers or bloomers. The combination is divided, or bifurcated, from the waist to the crutch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women’s white cotton and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has a front button closure and is trimmed with hand-worked lace panels on the bodice and lace edging around armholes, the neck, and the bottom of the legs. The left and right sides are divided from the waist to the crutch.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, combination undergarment, all-in-one underwear, combination, ‘combinations’, one-piece underwear, one-piece undergarment, chemise and bloomers, combination chemise and bloomers, divided, bifurcated, split, chemise and drawers, women’s underwear, ladies’ underwear, undergarment, women’s clothing, women’s fashion, lingerie, under-structure, 1900s undergarments, 19th-century undergarment, 20th century, handmade clothing, handmade lace, hand-worked lace, paton family, trefnant, yangery, lady's combinations, ladies combinations -
Whitehorse Historical Society Inc.
Clothing - Apron, C1930's
Cream cotton apron bound with blue bias binding. Two pockets and waist ties and also blue bias binding. Floral embroiderie on bodice has yellow flowers and green leaves. Below the waist is another floral display of hand embroiderie with purple,blue,yellow and red flowers and green leaves.costume accessories, female -
Whitehorse Historical Society Inc.
Clothing - Christening Gown
Laundered 30/10/1999Long white Christening robe with Ayrshire embroidery on a vee shaped bodice front coming to a point at the waist with a small opening under the point. If the baby was a boy the point was left showing an if a girl it was tucked into the opening. Tucking across the front panel. Drawstring at neck.lace and pin tucking down front. Drawstring neckcostume, infants' -
Brighton Historical Society
Dress, Wedding dress, 1921
Worn by Elizabeth Goodwin of Liverpool, England, who married Horace Book at St Andrew's Church, Brighton in 1921. The fabric was purchased by her father, a ship's captain, when he was in China. The bride had her dress made in Liverpool and made to a Butterick's pattern. Elizabeth was very active in public life and a well-known member of the Book family. Wedding dress made from cream silk purchased in China. The bodice is made of fine silk embroidered tulle with a vest of cream silk that floats over the top. The skirt has been permanently pleated, has has floating side panels of tulle and features a large butterfly-shaped bow at the back.wedding dress, silk, 1920s, elizabeth goodwin, horace book, st andrew's church brighton, brighton -
Bendigo Historical Society Inc.
Clothing - FAVALORO COLLECTION: WEDDING DRESS, 1900 - 1920
Clothing. Cream coloured lace silk wedding dress. Dress made from fine silk fabric with self stripe, fully lined with cream coloured linen. High round neckline with stand up lace collar(6cm). Bodice at front has crossover from shoulder to waist, forming deep Vshape at centre front with net insert below the collar. Net insert has vertical pin tucks. Bodice front and back has cream coloured lace overlay that extends over the shoulders to halfway down the 3/4 length sleeves. Hem of sleeves trimmed with embroidered lace with geometric pattern. Cummer bund of pleated silk fabric (7cm) is attached around waistband. Floor length skirt is gathered into the waistband.Front of skirt has straight lace panelsoverlay (37cmX 90 cm) including 20 cm flounce at lower edge, attached at waistline. Back of skirt has gathered lace overlay attached at waistline extending across side seams and over the edge of front lace panel. Centre back opening fastened with eighteen metal hooks and eyes from collar to waist and six metal press-studs below the waist. Cummerbund fastened with three metal hooks and eyes. A fabric insert at centre back fastened with press-studs. Collar has five pieces of stiffening plastic. Bodice has three bone casings across front above waistline, and four across the back. Cotton tape band (66 cm X 3cm) attached inside bodice at front with hook and eye fasteing.Printed on inside waistband, ''AMALIA SALXANO FARRONE'' NAPOLI ''MODE +CON----'' VIA EGIZIACA A PIZZO FALCONE 93''. Printed inside LHS sleeve at arm pit ''SAXONIA 48X''.costume, female, cream coloured wedding dress -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Clothing, Lady's Beige Bloomers c1950, c1950
Gertrude Augusta "Gussy" Moran was an American tennis player who was active in the late 1940s and 1950s. Dress designer Ted Tinling created a daring ensemble for the lanky American tennis player. The white dress offered a sculpted bodice, a tight waist and an unusually short skirt. Moran asked him what would happen if the breeze blew her skirt around Tinling then gave her a pair of silk lace underwear. Women around the world were very impressed and made copies of these bloomers commonly known as 'Gorgeous Gussys'A good example of the fashion c1950 when fancy underwear became popular after tennis player Gertrude Moran wore frilly pants under her tennis skirt.A lady's beige satin bloomers with lace and elastic . Known as 'Gorgeous Gussys' clothing ,underwear, dressmaking, early settlers, market gardeners, post world war 2 estates, moorabbin, bentleigh , ormond, moran gertrude, gorgweous gussy, tinling teddy, tennis, reed gladys, -
Stawell Historical Society Inc
Photograph, Giles Family Late 1890's -- Studio Portrait
Joshua born 1848 dressed in suit with right hand in coat. Agnes or Emily with short curly hair and Leg of Mutton sleeves dress. Arthur wearing three piece suit with Fob watch on chain. Front row Walter sitting down arms folded wearing three piece suit. Anne (mother) hat on head holding card, dress puffed sleeves with tie around waist. Agnes or Emily hair is pulled back, frilled collar and puffed sleeves with embroidered bodice. Both Giles women married Heal Brothers.Writing on back of photo -
Vision Australia
Photograph - Image, Photograph of May Harrison
Sephia-toned photograph of May D. Harrison from the shoulders upwards. Nameplate at base of photograph reads 'May D. Harrison / First / Hon. Secretary & Librarian / 1894-1912'. Mrs Harrison looks to the right of the frame, and is wearing a dress with gathered bodice, puffed sleeves and lace neckline. Her small drop earrings are visible, as her hair is swept up, with two brooches on the bodice and neckline. A length of chain is worn around her neck, although its base remains out of shot. May Harrison was one of the first Braille transcribers trained by Tilly Aston and undertook the position of Honorary Secretary at the formation of the Victorian Association of Braille Writers (VABW) in 1894. Offering use of a room in her home in St Kilda for the storage of Braille books, she became the first librarian for the VABW. Mrs Harrison also taught Braille to other participants and her house became a meeting point for readers and transcribers alike. Her death in 1912 was greatly mourned, and a Memorial Fund set up in her honour, as well as a grave marker and tablet at the Braille library. Her niece Minnie Crabbe, who assisted her work, assumed the role of librarian after Mrs Harrison's death. Inscribed in the lower right 'J O'S & Co, Melbourne'.Photograph in frame of woman in 19th century dressvictorian association of braille writers, may harrison -
Bendigo Historical Society Inc.
Clothing - CAMISOLE
White cotton camisole with short sleeves edged with 3cm cotton embroidered and cut work lace. Square neckline edged with two bands of embroidered and cut work lace. Bodice gathered onto a 9 cm deep peplum with rounded fronts. Three hand stitched button holes and two pearl buttons.costume, female, underwear -
Kew Historical Society Inc
Clothing - Silk & Lace Lingerie Dress, 1900s
An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in the mansion originally named Illapa, 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937) and his wife Edith Mary Weir (1867-1948). George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.This garment is part of a collection of women’s clothing, owned and worn by Edith Mary Weir (nee Betteridge) - born in Clare, South Australia 1867, died Kew 1948 - and also by her daughter. The garments date from the 1880s to the 1930s. The collection includes day dresses, evening dresses, evening coats, capes, and undergarments. As the wife and daughter of a mine manager, the collection includes representative examples of clothing worn by upper middle class Australian women in domestic circumstances, and at social and civic events. A number of the costumes from the 1920s to the 1930s are of a particularly fine quality, being both rare, representative and intact examples of Australian fashion of the period. The garments in the Weir Collection were donated to the Kew Historical Society by a granddaughter of Edith Weir in 2017.Cream silk lingerie dress featuring wide inset panels of lace of the same colour. The bands of lace are of varying widths and appear on the bodice, the skirt and the sleeves. The dress is loose fitting but held at the waist by a silk cord. The lace yoke has a high neck. An initial assessment suggested that the buttons might be a later addition.edith mary weir (nee betteridge), 84 princess street - kew (vic), women's clothing, costumes, dresses - lingerie dresses, fashion - broken hill - 1900s -
Brighton Historical Society
Dress and vest, Dress and tunic vest, circa late 1960s
This dress belonged to Nola Jennings, a long-time Brighton resident. Bindi of Melbourne was the youth label of Australian commercial fashion house Len Vogue.Long-sleeved crimplene dress (.1) with white bodice and short purple skirt. High collar, cuffs and waist have a purple and yellow checkerboard-patterned trim. Four self-covered buttons down the centre front of skirt. Zip at back. Long purple tunic vest (.2) worn over the top.Label in both dress and vest, white with black text: "Fashioned for / Bindi / of MELBOURNE" Two smaller labels at bottom: "SIZE 10 / TO FIT / BUST 32" / HIP 34"" and "CRIMP TERY. / C 145 4".nola jennings, 1960s, bindi of melbourne, len vogue -
Bendigo Historical Society Inc.
Clothing - BARBARA GALLAGHER COLLECTION: WEDDING DRESS, 20/08/1960
BHS CollectionIvory delustered satin wedding dress, long lily pointed sleeves - five covered buttons and loops at wrist.Boat shaped neckline at front, dipping to a ''V'' at the back. A pleated panel from the back neckline extends into a long cathedral trim rounded at the end hemline - 2.40 meters long. Empire line with two small pleats on each side of bodice. A flat satin bow sits across the train, on the bodice empire-line. Zip, with hook and eye fasteners on left side of bodice. Worn with veil 11400.328. Wedding dress owned by Barbara Gallagher (nee Filcock) of Bendigo. The dress was made by Mrs Clarke of Havlin Street, Bendigo, and is an example of home made fashion of the 1960's. The dress and veil were worn by Barbara Filcock at her marriage to Kevin Gallagher on 20/08/1960, at the Sacred Heart Cathedral Bendigo. Wedding dress 11400.327; Wedding Veil 11400.328; Fur Stole 11400.329. Donated by Regina Marr, items owned by Barbara Gallagher (nee Filcock), Husband Frank Gallagher of McKean's Real Estate note says other items have been donated by Barbara Gallagher (McKean's).costume, female, ivory satin wedding dress -
Bendigo Historical Society Inc.
Clothing - ROYAL BLUE SILK DRESS, 1850's
BHS CollectionFull length royal blue silk embroidered fabric dress with bodice and long sleeves, fully lined with ivory cotton fabric. Hand made. Front of bodice has round neck and dips to a deep V at waistline. Twelve decorative fabric covered buttons from neckline to lower V that taper to stitched down pleats at waistline. Fabric bow at centre front of neckline lined with blue satin. Long sleeves have short capped layer over a flared layer underneath. Top section edged with one row of royal blue cotton fringeing. Lower flared section edged with two rows of royal blue cotton fringeing. Large royal blue fabric bow attached at each elbow. Back of bodice made of six panels to waistline. Centre panel on each side is edged with cotton fringeing. Centre back opening to waist with nineteen hooks and eyes, only one eye remaining. Piping around waistline. Full skirt knife pleats at front below waist. Hemline edged with blue ribbed cotton ribbon. Card inside box with ''Wedding Gown Circa 1850's".costume, female, royal blue silk dress -
Bendigo Historical Society Inc.
Clothing - FRIEDA KAHLAND COLLECTION: WEDDING DRESS
Clothing. Bright green cotton wedding dress with small lined pattern on fabric. Long sleeves. Floor length skirt.Fitted bodice with front opening with eleven hooks and eyes. Front opening on skirt with three hooks and eyes. Gathers at centre back of skirt. Large decorative bow at centre back of skirt. Sleeves and bodice have black velvet ribbon and black lace trim at back and front. Black velvet ribbon trim around hemline. Broiderie lace edge around neckline.Estate of Frieda Kahland, born 1891 died 1988 in Bendigo. Parents --Johann Detlef and Elizabeth Sarah Fly. Johann was a well known wine and cordial maker. See also records: 11400.363, 11400.364, 11400.365, 11400.366.costume, female, dress -
Kew Historical Society Inc
Clothing - Cream Tussar Silk Wedding Dress, c.1912
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 -
Wodonga & District Historical Society Inc
Costume - Wedding dress- Elaine Mann nee Milnes 1957
Elaine Margaret Milnes of Tallangatta married David Ernest Mann of Wodonga on 30 March 1957. At the time of their first meeting, Elaine was living in Tallangatta where her father had moved as a bank manager. She was a member of the Drama Club. She and David met at the Rutherglen Town Hall whilst attending an Arts Festival. David was attending as a member of the Wodonga Music Club. David Mann was the son of Ernest and Evelyn Mann of Wodonga who had operated the family business since 1921. David joined the business in 1945 and became the managing director of Mann Wodonga from 1965. Under his management and leadership, it expanded to become one of Australia’s largest regional shopping centres, with a Supermarket, Hardware Store, Steel Store, Plumbing and Industrial supplies store, at one stage employing over 100 people. He continued to head the business until it was sold in 2006. He was a leader in many other fields in the Wodonga community, from leading the Wodonga Chamber of Commerce to scouting, Apex and Rotary and was a prime mover in establishing Aware Industries for people with disabilities. He chaired the Wodonga Chamber of Commerce on several occasions. David was a man of vision who was involved in many charitable and community organisations. These included membership of the hospital board and President of the Wodonga High School Council. was a prime mover in establishing Aware Industries for people with disabilities. Elaine also played an active role in the business. She developed and managed a quality giftware department from 1969 to 1987. Some of her local involvements included the School Mothers’ Club and Kindergarten, Girl Guides, the Quota and Penguin Clubs and Meals on Wheels. David also advocated passionately for the development of a university and TAFE to be established in Wodonga. In 1993 he inaugurated the Jonathan Mann lectures series at La Trobe University in honour of his grandfather. The university honoured Mr Mann in two significant ways, giving him an honorary degree of Doctorate of Law in 1998 and in 2002 named its new library the David Mann Library. David Mann died in Albury in June 2012. Elaine now (2024) lives in Melbourne. “The little I have done for Wodonga and district is only in return for what Wodonga and district has done for me.” David MannThis dress was worn by Elaine Milnes at her marriage to David Mann who became a prominent businessman and contributor to many aspects of the Wodonga community.A wedding dress dating from 30 March 1957. The dress consists of a fitted bodice with tulle frills around the body. The bodice has a square neckline decorated with tiny seeded pearls and blue stones. The long sleeves are made of sheer tulle with lace and a frill at the wrist. The skirt is made of two layers of white tulle with five lace and tulle frills around the body. Under the tulle is a pale blue satin slip with two more layers of white tulle underneath it. It was worn with a fingertip length veil held in place by a lace coronet. The bridal bouquet consisted of red and white roses. The bride also wore a single string of pearls. The dress was made by Olive Ferris Wedding Dresses of Sydney.mann wodonga, david mann, elaine mann, wodonga businesses -
Warrnambool and District Historical Society Inc.
Clothing - Baby's Christening Gown, 1890
This Christening gown belonged to William Edward Housden who was born in Castlemaine in 1890 and died in Warrnambool in 1972. He served in World War One and married Lucy Knowles in 1921. It was on occasions, and still is, a common practice to make a special dress for a baby's Christening or to use a gown that has been handed down over the generations. This is a fine example of a Christening gown made for a baby 130 years ago.This is a Christening gown made of cream cotton. It is high waisted with a gathered skirt and a pintucked bodice with hand embroidered leaves and fine drawn thread work. The draw string waist opens at the back. It has long sleeves with lace and embroidered cuffs. There is lace and draw string tape around the neck. The seams have been machined.william edward housden, christening gowns -
Flagstaff Hill Maritime Museum and Village
Clothing - Combination Undergarment, late 19th or early 20th century
This item of underclothing, called a "combination" is one of several linen and clothing items belonging to the deceased estate of Susan Henry OAM (nee Vedmore 1944 - 2021) that was donated to Flagstaff Hill Maritime Museum and Village. Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up in 2010 to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community. Combination undergarments combined the chemise and drawers into one garment. The combination is divided, or bifurcated, from the waist to the crotch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. Their primary use was to protect clothing from perspiration and because they were made with cotton or linen, were easy to wash. This particular item is made with lawn (a very lightweight fabric) and is sleeveless, making it suitable for hot weather. Although they were worn under the corset next to the skin (and therefore not meant to be seen), they were often decorated with lace or embroidery. This item is an example of the needlework skills of women in the late 19th century - using machine stitching and lace to personalise and embellish a practical item of clothing. It is also significant as an example of a practical solution to the difficulties that women of this era faced with regard to the washing of clothes and household linens.Lady’s white lawn and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has four buttons in the front and is trimmed with lace on the neckline, armholes, bodice (in a diagonal design) and legs. The left and right sides are divided from the waist to the crutch. The back of the garment is plain with a gathered section at the lower back.flagstaff hill maritime museum and village, great ocean road, combinations, lady's combinations, undergarment, lingerie, handsewn, underwear, clothing, victorian era undergarments, lady's garment, susan henry oam, vedmore foundation -
Bendigo Historical Society Inc.
Photograph - PORTRAIT OF A LADY
Small full length portrait of a lady standing next to a fence leaning against it with her arm resting on it. Long sleeves, high neck and buttoned down to the waist. The skirt has a pocket at the side with gloves in it. She is wearing earrings and has a blue ribbon in her hair. The bodice has dark ribbon and a feather trim.Alfred Wren, Mitchell Street, near Railway Station, Sandhurstphotograph, portrait, female, portrait of a lady, alfred wren -
Stawell Historical Society Inc
Photograph, E. Strawbridge, Henderson Family Album Photograph c1880-1890 -- Studio Portrait
From the Chapman family photograph albumPhotograph on Card Backing Seated Woman with girl standing her hand resting on the woman's arm. Woman has fascinator and dark dress with puff sleeves, lace down bodice and dark tie around neck. Girls dress is purloined velvet with lace collar wide brimmed and ribband hat tied onto head "GRAM" Henderson and Mary -
Brighton Historical Society
Dress, Evening dress, mid-late 1930s
Full-length pink satin evening dress with beaded shoulder straps and plaited fabric trim decorating low back. Two fabric bows on front bodice and diamond-shaped centre front panel. Separate wide pink satin cumerband made of plaited fabric with bow at back. .1 - dress .2 - cumberbandevening dress, 1930s fashion -
Kew Historical Society Inc
Book, V & A Publishing, V&A Gallery of Fashion, 2016
EXHIBITION CATALOGUES & SPECIFIC COLLECTIONS. Spanning four centuries, the V&A's Fashion Collection is the most comprehensive in the world, housing unrivaled collections of dress,accessories, shoes and hats from the 17th century to the present day. This thoroughly revised and redesigned edition shows the collection, from rare eighteenth-century gowns and exquisite bodices to 1930s evening wear, post-war couture, and showstopping ensembles by contemporary designers. Among the designers featured are Charles Frederick Worth, Madeleine Vionnet, Coco Chanel, Cristobal Balenciaga, Christian Dior, Mary Quant, Stephen Jones, Vivienne Westwood, and Alexander McQueen.176 pages : illustrations (chiefly colour) ; 27 cm.non-fictionEXHIBITION CATALOGUES & SPECIFIC COLLECTIONS. Spanning four centuries, the V&A's Fashion Collection is the most comprehensive in the world, housing unrivaled collections of dress,accessories, shoes and hats from the 17th century to the present day. This thoroughly revised and redesigned edition shows the collection, from rare eighteenth-century gowns and exquisite bodices to 1930s evening wear, post-war couture, and showstopping ensembles by contemporary designers. Among the designers featured are Charles Frederick Worth, Madeleine Vionnet, Coco Chanel, Cristobal Balenciaga, Christian Dior, Mary Quant, Stephen Jones, Vivienne Westwood, and Alexander McQueen.fashion design - history - exhibitions., fashion - history - pictorial works., victoria and albert museum -- catalogs.