White cotton bust bodice with deep edging of crochet lace at neck and on short sleeves. Blue ribbon threaded through eyelets at neck. Buttoned at waist.costume, female underwear

A bridesmaid's frock worn by Mrs. Dorrie Brown 0f Frances Street Vermont for her sister's wedding. Donated by her niece.1945 Pale green satin brocade bridesmaid's frock. Puff sleeves, heart shaped neck line, long waisted with gathered skirt. Long length.costume, female ceremonial, costume, female

Long white cotton nightdress with cotton mesh lace forming neck and shoulder. Pin-tucking at edge of lace. Diamond shaped pin-tucking at waist. costume female nightware

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. 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 collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century 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. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been 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 as well a their age.Long-waisted black fitted silk and lace bodice with black wooden buttons. The lace at the edge of the bodice may have been added at a later period.day dresses, women's clothing, mourning wear, fashion -- 1880s, netta fuller

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, made by Bow+Arrow, and donated by Annie McIntyre, is part of the McIntyre Collection.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 sleeve brown crepe day dress with matching belt of a contrasting colour. The round necked dress has a high waist and soft pleated skirtLabel: BOW + ARROWbow + arrow, evening wear, evening dresses, australian fashion - 1970s, mcintyre collection, annie 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.Dark blue green rayon dress self patterned with small flowers of a lighter colour. The short sleeved high waisted dress is fastened with a zip at back.Label: Cann’s, Swanston Street, Melbournecann's, georgina cann, women's clothing, day dresses, australian fashion - 1950s

This dress belonged to Bernice Overend, a longtime Brighton resident. Bernice Adelaide Emily Lawn was born in Ballarat in 1911. In 1938 she married Acheson Best Overend (1909-1977), an early modernist architect in Melbourne whose notable designs include the heritage-listed Cairo Flats apartment building in Fitzroy. Bernice and Best made a home together in Brighton, raising their family at 80 Were Street. Their son Darren followed in Best's footsteps, becoming an architect, and in 1979 he and his wife Jenny bought a property just down the road from his childhood home - the heritage-listed 1881 Victorian mansion 'Chevy Chase' at 203 Were Street. Bernice lived in the house with with Darren, Jenny and their three children.White cotton high-waisted maxi dress printed with black spots and trimmed with red rickrack. Elbow length sleeves. Fastens with centre back zip.Label, printed black on white acetate, centre back: JILLIAN / OF / MELBOURNE1970s fashion, maxi dress, bernice overend, overend family, chevy chase, brighton, melbourne designers, jillian of melbourne

'N. Batten' name tag on the inside of the back opening.A long white cotton and lace child's nightgown with lace trimmed sleeves. It has long cotton ties at the waist, an open placket at the back with a cotton tie.'N. Batten' name tag on the inside of the back opening.nightdresses, nightwear

A long white cotton and lace child's nightgown with sleeves with lace trim. It has long cotton ties at the waist and an open placket at the back with cotton ties.nightdresses, nightwear

White short sleeved dress, with pink velvet ribbon around the waist. Has pink/white embroidered flowers. Chiffon overlay with white cotton lining.dresses, girls clothing

Christening dress donated by Kilmore familyWhite cotton, short sleeves with drawstrings, gathered waist, broderie anglaise triangular shaped bodice detail, broderie anglaise trim to skirt. Excellent conditition.child, christening

FALLS CREEK ROPE TOWS Toni St Elmo brought back plans for a Hamilton rope tow from New Zealand. He had a rope tow built in the summer of 1950-51 and it went into operation the following winter. Skiers were charged 10/- per day to use it. Skiers held onto the rope with a locking device called a ‘nutcracker” attached to a webbing belt. This tow, known as the Nissen Tow, continued to operate until 1960. Bob Hymans installed a shorter portable rope tow for his guests at Skyline from 1954. Other tows included the Village Tow and the Nursery Tow. Eventually most of the tows were taken over by Alpine Developments. From 1960 onwards they were gradually replaced by T-bars and then later on by chairlifts. This belt is from the original rope tow used between 1951 and 1960 in the Falls Creek ski lifts. These items are significant because were part of the earliest rope tows constructed at Falls Creek.A canvas waist belt with leg hoops and metal joining and hook used to attach skier to the rope tow. The wheel is also a damaged component of the Rope Tow.falls creek, nissen alpine club, rope tows, toni st elmo

Jean Maddock married Arthur Victor Burgess in 1923.Sepia photograph of a young woman wearing long wedding gown, pearl necklace and long veil, seated with right hand at waist left hand by side.On card mount, handwritten beneath photograph "Best wishes from Jean". On reverse: "Jean Maddock, post master's daughter".jean maddock, arthur victor burgess, weddings

Blackened waist webbing belt with brass clasp fittings and brass adjustment keepers. On the inside of the belt there are sewn in inserts for length adjustment and for the attachment of additional webbing."L.F. Crosswell, 5716029". There are very faint production markings.passchendaele barracks trust, webbing belt, blackened

Part of S E Surman collection (album) Page 5 upper right.Sepia photograph of a man wearing long garment and clerical collar, standing with right arm resting on pillar, left arm across waist holding a book."Rev. Walker"rev john walker, surman collection

Small khaki compass pouch, lined on the inside for item protection. There is a brass press lock and rear attachments for webbing, or can be fitted onto a waist belt.On inside of the top flat "ZL & TLD 1943"passchendaele barracks trust, compass pouch

Uniform issued to "LOCKYER" 114493.Jacket - khaki colour wool serge fabric, Battle dress style, belted at waist with metal buckle. Dark green plastic buttons. Collar, shoulder epaulettes, two front pockets with concealed button down flap and sleeve cuffs. Shoulder epaulettes - rank three pips, red, cream and brown embroidery for Captain. Shoulder sleeve insignia, red fabric with dark blue embroidered lettering. "ROYAL AUSTRALIAN ARMY/ ORDNANCE CORPS". Green colour cotton twill fabric pocket and waist lining, manufacturers white cor=tton label inside pocket lining. 2. Trousers - khaki colour wool serge fabric, Battle Dress style, with fob pocket, two side pockets, one back pocket with concealed button down flap. Green colour polyester fabric lining with manufacturers white cotton label inside on back pocket, 6 button fly. Manufacturers information on labels - black ink print. 1. "A.G.C.F./ VIC 1977/^ /8405.66.025.6423/ SIZE OF CHEST/ SIZE 109/ 112PR/ YARRA FALLS 69/ BATCH, 21657/ DRY CLEAN ONLY/ CREASE UPPER/ HALF OF LAPELS ONLY/ NO./ NAME" Handwritten - blue ink pen - "LOCKYER/ 114493". 2. CONWAY BROS. PTY LTD/ ADELAIDE ^ 1968/ CLASS 8405-66-025-6199/ Y.F. PP2/ SIZE & WAIST 41PR/ MATCHING JACKET 43/44 P.R. / Dry Clean only/ Repress on original seams/ Creases set by Si-ro-set./ mending patch attached/ NAME/ ARMY NO." Handwritten black ink pen "LOCKYER/ 114493"uniform, army, battle dress, lockyer

Heavy white cotton lace dress. High round neckline with cotton drawstring ties. 6cm lace collar with scalloped edged. 7cm cap lace sleeves with fine scalloped edges. Casing at the waist with cotton ties to back. Back opening from neck line to 9cm below waist. Cotton tie at neckline at back. Two x 1cm white buttons spaced at 6cm and 12cm below neck. Hemmed edges of lace form the edges of the back opening. Two machine stitched button holes on RHS with 4.5cm layer of lace covering the button holes. LHS of opening is plain. Lace skirt made of single piece of lace fabric gathered at the waist. Seam at centre back. Skirt 31 cm. Scalloped edges dipping to V shapes. 5mm cotton ties at waist and neck go through metal ties. Machine stitched.costume, children's, infant boy's dress

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

Summer dress uniform, dress, jacket and slacks. Fabric - light green colour, wool/polyester. 1. Dress - with wide collar, front opening with five button holes, no buttons, short sleeves with self cuff. Two inset front pockets and pair of box pleats. Manufacturer's label back below collar - white cotton label. 2. Jacket - with wide collar, front opening has button holes, no buttons, short sleeves with self cuff, two inset front pockets. Two manufacturer's labels - back below collar and exterior of left pocket. 3. Slacks - full length slacks - no belt loops. Front metal and nylon zipper fly, green colour plastic button at waist. No pockets. Two manufacturer's labels, inside back of waistband, exterior back of waistband (to be removed when worn). White cotton/polyester fabric. 4. Belt - with keeper and gold colour plastic buckle.Manufacturer's labels - black ink print. 1. "A.G.C.F./ VICTORIA/ 1978/ ^/ 8410-66-097-0796/ size 18 AV HEIGHT/ AV HIP/ 100 CM BUST/ 80 CM WAIST/ 105 HIPS/ FABRIC/ WOOL/POLYESTER/ NAME/ SERVICE NO." with "LAUNDRY INSTRUCTIONS" 2. Inside collar "A.G.C.F./ VICTORIA/ 1980/ 6/ 8410-66-097-0841/ SIZE 14 AVE HEIGHT/ FULL HIP/ 90 CM BUST/ 70 CM WAIST/ 100 CM HIPS/ FABRIC/ WOOL/POLYESTER/ NAME/ SERVICE NO." Pocket - THIS TAG IS FOR IDENTIFICATION ONLY/ PLEASE REMOVE BEFORE WASHING" with printed and handwritten information. 3. Inside back of waistband - same as 2. Inside collar label. Exterior back of waistband - same as 2. exterior of left pocket. uniform, summer service dress, army, browne, passchendaele barracks trust

Tobacco farming began circa 1960 in the Kiewa Valley and consequently became one of its major industries. Many of the Italian families were involved in tobacco farming.Historical: This equipment was used on one of the first tobacco farms in the Kiewa Valley at Mongans Bridge. The picking apron was home-made showing the resourcefulness of farmers living in the Kiewa Valley. Picking machines replaced the picking apron. Provenance: This tobacco farmer came from Italy and was sponsored to visit a tobacco farmer in Myrtleford to learn how to grow tobacco so that he could transfer those skills to his own farm in the Kiewa Valley.The apron was used to gather green leaf before picking machines were made. Thick cotton cream apron, hemmed around the outside. Widest at the waist which has 2 rings each side where string is attached with a knot to tie around the waist. From the ring, material tapers inwards to form a bib. The corners of the bib have rings from which white rope is attached to hang around the neck. Similariy material tapers to the bottom where rings in the corners have rope attached - also to hang around the neck. Half way between the waist and neck, the material is double stitched and overlapped. grubbytobacco. mongans bridge, kiewa valley, parmesan, rossaro . picking apron.

Clothing ,white cotton christening gown. Low round neckline with casing and cotton tape ties. Bodice at front and back.Casing at waist with cotton tape ties to back. Back opening 31 cm. Long sleeves trimmed with 3 cm broderie lace and vertical pintucks. Front of christening gown has inverted V section from waist to hem of broderie lace (9 cm at waist to 51 cm at hem). Centre panel edged with 3 cm lace from neckline to hem. Hem at back and sides has 4 cm border of broderie lace below three tucks. Old box 524.costume, children's, christening long gown

Clothing. Infant's white cotton gown with long sleeves. Round neck with casing for cotton tape ties. 2cm lace trim around neck. Back opening (18cm). Gathered at back from neckline. Front has pintucks from neckline to broiderie lace band at waist (15cm X 2.8cm). Gathered below band. Cotton fabric ties (66cm) attached to either side of waist band.Centre front of bodice has vertical lace insert (10cm X 2.8cm) from neck to waist. Ties and sleeves trimmed with 1cm lace. French seams. Machine stitched. Old box 230.costume, children's, infant's gown

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 corset cover is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. This corset cover is an excellent example of an everyday clothing item with the decorative trim favoured by women in the late Victorian era. Eliza Towns has added pintucks, embroidered feather stitch and a highly decorative hand crocheted lace trim to the neckline, sleeves and front of the bodice. Corset covers (sometimes called camisoles) began to appear in women's fashion around 1840 and continued through the late Victorian decades into the Edwardian era. The long chemise was considered too bulky to cover the corset and so the corset cover was developed to be short and light and was worn over the corset and under the bodice of the outer garment. A woman would dress into her chemise and drawers first, followed by her corset and finally her corset cover as a final layer under her dress. Corset covers served several purposes. They provided protection against sweat (and the need to regularly wash the corset), helped smooth the lines of the corset and increased a woman's modesty.This item is an example of the needlework skills of women in the late 19th century - combining machine stitching with hand embroidery and crochet to embellish an item of personal underclothing. It is also significant as an example of a practical solution to the difficulty of hand washing a corset in the Victorian era.A short (waist length) corset cover of fine cotton. Short sleeves fall from a square neckline and are gathered into a wide crocheted lace trim with a band of embroidered feather stitch. The same crocheted lace design and feather stitching are also on the square neckline which is finished with a drawstring ribbon. The bodice has a front opening with five buttons and is bordered on each side with four pintucks. It has a drawstring ribbon at the waist and an extra layer of fine cotton lining has been added to strengthen the corset cover under the arms. The back has two bands of three pintucks running vertically from the neckline to the waist.flagstaff hill, flagstaff hill maritime museum & village, warrnambool, great ocean road, shipwreck coast, nhill, wimmera, eliza towns, underclothing, corset cover, camisole, machine sewing, hand sewing, crocheted lace, pintucks, feather stitch, embroidery, underwear, victorian era underclothing, victorian era corset cover

Part of the Reverend Chaplain Major Thomas Bruce Williams, No 556101, Collection.Two pairs of polyester and viscose service dress trousers. Each pair has two side pockets, a button down hip pocket and a fob pocket. Each has sewn belt loops and a zipper fly. The waist band is closed with a metal hook. A calico manufacturer's label is sewn onto the hip pocket lining. The washing instruction label is sewn onto the inside of the waist band.army chaplain, uniform, major thomas b. williams

Clothing. Women's straight black wool crepe skirt. Fold over waist band lined with stiffened fabric (4cm). Centre back opening. Lining at waist fastened with two metal hooks and eyes. Back opening (19cm) fastened with five press-studs. Inverted pleats (28cm) on RHS front and LHS back above the hem. Skirt is unlined. Two hanging loops.costume, female, women's straight black wool skirt