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 silk and lace evening dress was made for Lily Clara Wishart (Mayoress of Kew 1906-7) by her niece, Mary Clara Cresswell (nee Skewes), who according to the donor, Lily's great niece, was a 'high class dressmaker'. It is one of two items in the Fashion Collection owned and by Clara Wishart.Long black fine lace evening dress buttoned to the waist at rear. The machine made lace on net fabric features a leaf pattern. Long black silk taffeta shift matching the lace evening dress.women's clothing, evening dresses, evening wear, australian fashion, lily clara wishart

This beaded dress collar is of a style from the mid 20th century - possibly even as early as the 1930's. It is designed to be easily removed and worn with different outfits - e.g. a dress, knitted top or blouse. Articles from Australian newspapers (particularly the Women's fashion pages) in the decades from the 1930's through to the 1950's often mentioned society ladies wearing "beaded collars" when describing their fashions and in the 1950's "beaded collars" were being made and imported from Japan however this particular collar appears to have been handmade. Unfortunately the maker of this collar is unknown.This item is an example of how women in the mid 20th century used their needlework skills to personalise and embellish an item of clothing (a collar) designed in a practical way to be able to be used with different items of clothing. Lady's beaded collar with a decorative floral design of flowers made with blue beads, outlined with bronze beads on a white beaded background. Bronze beads have also been used to "draw" leaf shapes and tendrils and outline a border all around the collar. A hook and eye are attached to a fine cotton bias band at the top of the collar and the beading is sewn onto a fine net lining.flagstaff hill maritime museum and village, warrnambool, great ocean road, fashion, beaded collar, beading, decorative fashion, collar, lady's fashion

This aluminium kettle was manufactured between 1940 to 1960's and replaced the heavier caste iron "open fire" stove ones (in doors or in the bush). A cast iron flat base between the open fires and the kettle was required. This kettle was used extensively with indoor open fire places. It was part of the evolution in "tea" making kettles. These were the only method of making hot beverages before introduction of electric kettles. For the Kiewa Valley the connection to the major electricity grid was post 1950's.This kettle is significant demonstrating the type of kitchen utensils required before electrical home connections became a reality. The aluminium structure of the kettle was an advancement over the heavier caste iron kettles. This type of kettle is still in use for bush and mountain hikers/climbers due to the light weight. This kettle was used by the Tawonga C.W.A. Branch. The C.W.A. motto "Honour our God, Loyalty to the throne, Service to the country, Through country women, For country women, By country women."This 99% aluminium hot plate kettle with lid (bakelite handle) is Australian made for flat stoves (cooking or room heating). It has a "tea style" spout and a bakelite hand grip(knob) on the top of the lid. The lid has nine ridges (for strength) radiating from the central hand grip. The two handle prongs are bop riveted onto the the body of the kettle. The bakelite hand grip has been fashioned to fit the natural contours of a clutching hand.On both sides of the aluminium handle "HOT PLATE WARE" and covering an oblique shaped triangle "99% PURE ALUMINIUM" and below that "MADE IN AUSTRALIA".Within the triangle "DURALIFE"cwa, homeware aluminium kitchen utensils, made in australia cook ware

A yellow catalogue published by the Royal Historical Society of Victoria Bendigo & District Branch. It is presenting the ' Golden Days Historical Exhibition ' at the R.S.L. Memorial Hall, Pall Mall, Bendigo 12th to 17th August 1960. The categories of exhibits are antiques, bush ranging, coins and tokens, documents, fashions, firearms, geology, gold mining, pioneers, postal history, prints and photography, shipping and sport. Within the catalogue are Bendigo Advertiser July and August cuttings relating to the exhibition.history, australian, exhibition, lydia chancellor collection, collection, bendigo, australia, royal historical society of victoria, exhibits, bendigo city council

1946 White crepe frock fashioned with long sleeves and a round neckline with double collar, the bodice is buttoned through to a curved waistline. A wide belt of the same fabric accentuates the waistline, with a long full skirt extended into a graceful train and matching long gloves. The triple layered veil of tulle, with the longest layer draping down the back of the gown, with an embroidered edge and motif, the top layer of the veil covering the face has the same embroidered motif and on the edge.embroidered motif on the points of the veil, as well as the edge.

Cufflinks were worn to fasten the sleeves of dress shirts worn as part of the formal suit for men in City of Moorabbin c 1960. These cufflinks are typical of the fashion c1960 and are stored in a brown velvet spring lock hinged box These Cufflinks are typical of the fashion worn with formal wear by men in City of Moorabbin c1960 2 pair of Cufflinks in a brown velvet spring loaded hinged box. a) pewter b) silver gold with glass a) Jorge Jenson / Danish Pewter clothing, formal wear, dress shirt, tuxedo, waistcoat, drees scarf, cufflinks, bow ties maynard dennis, city of moorabbin, freemasons lodge, city of moorabbin historical society, early settlers, market gardeners, bentleigh, cheltenham, moorabbin,

Lady's silk short nighties with shoulder straps, button crutch, crochet edging and needlework flowers is typical of the fashion c1930 and is an example of the dressmaking skills of the women of the early settlers families in Moorabbin Shire in the early 20th C These lady’s silk nighties are an example of the dressmaking skills of the women of the early settlers families in Moorabbin Shire in the early 20th C 2x Lady's silk short nighties,with shoulder straps, 2 mother of pearl buttons at crutch, crochet edging,and needlework flowers clothing, , crochet, brighton, moorabbin, pioneers, dressmaking, needlework, market gardeners, early settlers, craftwork , bentleigh, lacework, moorabbin shire, hunt ailsa, dairy farms, fruit orchards

Presented to Jean Inglis as a prize for winning the textile competition at the 1988 Royal Melbourne Sheep Show. Her entry was a hand spun, woven and dyed wool suit for the Fashions for the Eighties parade competition. Earliest Date: 1988Dark blue felted wool sash with yellow text attached. Test reads "THE AUSTRALIAN SHEEP BREEDERS ASSOCIATION INC. / 1988 WEEKLY TIMES MELBOURNE SHEEP & WOOLCRAFT SHOW / WOOLCRAFT COMPETITION"

An old fashioned car can be seen pulling away from a bend on the new CRB Road at Wallaby Gully (now Mt Dandenong Tourist Road). Wallaby Gully is near the Mt Dandenong kindergarten. The year is c1926.Black and white photograph showing a car rounding a bend on a road surrounded by bush and fenced with a wooden rail fence.crb road, kindergarten, car, mt dandenong tourist road, wallaby gully

1870s women's fashion placed an emphasis on the back of the skirt, with long trains and fabric draped up into bustles with an abundance of flounces and ruching. The waist was lower in the 1870s than the 1860s, with an elongated and tight bodice and a flat fronted skirt. Beige coloured silk top with narrow mauve stripes. The top has a piped mandarin collar. The top has satin trimming. women's clothing, fashion - melbourne - 1870s, bodices

Ballarat School of Mines Students' Magazine, 1958, School Council, Members of Staff, A Balanced Education, Principal's Page, Prominent Personalities, Sports Awards, Sports, Italian Coachwork Sets the Fashion, The "White Australia Policy", Roll CallYellow front page soft cover with green inscriptions on front cover, 56 pagesballarat school of mines students' magazine, staff, sports, peter robinson, r. w. richards, lansell groat, elizabeth scott, patrick collier, nelson hails, biruta mellins, william widdop, frank pomeroy, alan clarke, kaspars bitans, walter reimann, gladys hocking, keith alexander, anthony yeung chai shing, yep kwok ming, archari kasibhrimi sarikananda, teddy gan ben chiang, richard tann, somsack satapuntu, chermsak tanskul, charles tai, chit cheng foo, bob skewes, john mckenzie, keith crouch, murray gillin, john skuja, mr ken scull

Laura and Bernard Ashley began printing fabric in their London kitchen in 1953. Commencing with head scarves and place-mats they gradually developed table-ware and bed sheets. In 1960 they entered the Fashion world with blouses and smocks . The ‘swinging sixties’ saw them in great demand for the feminine florals and flounces of the ‘maxi’ fashions and they opened in smart South Kensington, London. In 1970 they opened franchises in Australia, Canada, Japan, San Francisco that sold their range of fabrics, dresses and accessories. In 1980 home furnishings were added to the range. Laura died in an accident 1985, Bernard retired in1993 and the company is now Public Listed on Stock Exchange.‘Laura Ashley’ clothing, fabric and accessories were very popular in Melbourne in 1970’s.A lady’s white cotton half petticoat with crocheted flounce, Laura Ashley Pty Ltdclothing, brighton, moorabbin, dressmaking, market gardeners, early settlers, craftwork, textiles, laura ashley

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.The V&A's history of fashion describes 1930s dresses as characterised by '... a slinky femininity... Parisian couturiers introduced the bias-cut into their designs, which caused the fabric to skim over the body's curves. Long, simple and clinging evening gowns, made of satin were popular. Often the dresses had low scooping backs'.Full length floral crepe evening dress with squared neck and short puffed sleeves.australian fashion - 1930s, women's clothing, evening dresses

.1) & .2) The items were issued to Cpl H BACON VX103705 2nd AIF, Naval Bombardment Group..1) Hat, slouch, Kahki fur felt, cotton pugaree, Rising Sun badge, chin strap leather, leather lining. .2) Coat, Battle Dress, Kahki, Cpl stripes on one sleeve, 2 x Rising Sun Lapel badges, 2 x Australia shoulder badges, 2 x Colour patches red over blue in wave fashion with grey surround, metal buttons, 4 pockets. .3) Belt, webbing, light Kahki, brass buckles and keepers..1) “D & D ../30 size 7 1945” uniform, army, webbing, slouch hat

This extract from an advertisement in the Sydney Morning Herald newspaper of 1/12/1959 places the era in which this water bag was prolific throughout rural Australia. " ABERDEEN CANVAS GOODS for the man on the land here is Australia's most useful, convenient and hygienic water bag. Its special unbreakable plastic nozzle is fitted with a perforated filter strainer. Made from long flax canvas, its universal handle enables it to be hung on bumper bar, wire fence or on hook or nail" The availability of clean cool drinking water in remote rural locations was essential for survival under the blistering Australian summer sun. This was in a pioneer era when transport, roads and convenience stores were ,in a lot of "outback" Australia, in short supply and survival was dependent upon what could be carried by vehicle or pack horse.When the Kiewa Hydro Electricity Scheme became a reality, the use of the water bag was one of the essential personal items of survival given to each person working in the forests and on and in the high plains environment. Even in an outside stationary work place the availability of cool clean water was a prerequisite. The canvas water bag allowed any wind or airflow to cool down the water, even on very hot days, to provide a refreshing and throat quenching supply of water. These bags could be fastened onto the front of vehicles or hanging from shady tree branches thereby permitting air flow around the bag. During the "wearing in" period the residual taste from the canvas was fairly strong, this became considerably less as time and a half moved on. This "Aberdeen" long flax canvas water bag is held together on two sides and the top by strong heavy cotton stitching. The iron fashioned carrying handle has, protruding from its top elevation ,a very strong hook (well in excess of the bags' weight requirement). At the top, of the bag, and on one side only, is a brown coloured bakelite spout (with an inbuilt filter) protruding upwards. This spout has its matching , screw on, lid complete with attachment chain (not fixed at the handle end)On the front of the bad and stenciled in bold lettering, "ABERDEEN" and directly below "Travellers" and below this "FILTER BAG". Below this are two parallel black lines enclosing an ochre coloured band(12mm wide) running around the bottom section of the bag. Below this band is stenciled the number 14 in black (25mm high) figures. The spout lid has stamped on the top surface and within the outline of Australia, "ABERDEEN FILTER WATER BAG". Above this and close to the edge of the lid is pressed "PAT. No 9149/32 and down at the bottom rim is stamped "RD. No. 9870". canvas, water bag, water container, camping equipment, survival pack

Pale green three fold card with the names, addresses, phone numbers, and goods which can be purchased at the businesses. Businesses named are: Fletchers International Food Store, T. Chamberlin, Northern Terrazzo Co, Suttons Pty. Ltd., Bus Time Table, Ashmans, Reg. V. Brock, Gillies Bros., Miller Bros., The Bendigo Fashion House, Quarry Hill Bus Service, Mamouney's. Printed by Arthur Hocking, Print, Bendigo. Bus Time Table effective March 1960.commerce, advertising, w. babidge collection - where to shop in bendigo and suburbs, fletchers international food store, t. chamberlin, northern terrazzo co, suttons pty. ltd., bus time table, ashmans, reg. v. brock, gillies bros., miller bros., the bendigo fashion house, quarry hill bus service, mamouney's. arthur hocking, print, bendigo, .

Green album with a narrow gold border on the front. White sticker with: Inner Wheel Club of Bendigo South History 2005 - 2006 printed on it. In the bottom left corner is another white sticker with 5. 2005 - 2006 written on it. Album contains photos from a Mystery Trip on Wednesday 26th October, November 2005, Melbourne Cup Fashions, December 2005 Birthday Celebrations, February 2006, March 2006, Friendship Day at the Dragon Museum and Lake Weeroona, and April 2006.bendigo, clubs, inner wheel club south bendigo, inner wheel club south bendigo: green album 2005 - 2006, golden dragon museum

‘The Art of the Japanese Package’ was an exhibition that toured to 10 Australian and 11 New Zealand public galleries in 1979 and 1980. The touring exhibition comprised 221 objects of traditional Japanese packaging which extended from ceramics, wood and paper to woven fibre containers. At the conclusion of the tour, The Japan Foundation and the Crafts Board of the Australia Council donated the vast majority of the exhibition to the Ararat Gallery for its permanent collection. Combining the natural qualities of bamboo, paper and straw with delicate craftsmanship, these unique objects express Japanese aesthetics as applied through fibre crafts. In Japan, the qualities and traits of natural materials are exploited rather than hidden. The texture of straw, the septa of bamboo are not concealed but lovingly incorporated into the whole. In 1979 Hideyuki Oka, curator of ‘The Art of the Japanese Package’ wrote: “In no way self-conscious or assertive, these wrappings have an artless and obedient air that greatly moves the modern viewer. They are whispered evidence of the Japanese ability to create beauty from the simplest products of nature. They also teach us that wisdom and feeling are especially important in packaging because these qualities, or the lack of them, are almost immediately apparent. What is the use of a package if it shows no feeling?” The descriptions of the featured objects were written by Hideyuki Oka, curator of ‘The Art of the Japanese Package’, 1979. Gift of the Japan-Australia Foundation and the Crafts Board of the Australia Council, 1981An elegant wooden box, fashioned in the style of boxes used for gifts to the emperor some eight or nine centuries ago, is filled with a Kyoto confection called Gion Chigo Mochi. The Gion is one of Kyoto's entertainment districts, chigo are children dressed in ceremonial Buddhist costume for one of the city's numerous festivals, and mochi are cakes of steamed and pounded rice. The name of the confection derives from the style of the bamboo-sheath wrapping, which suggests the figure of a chigo. - Professor Hideyuki Oka, curator.japanese art, japanese packaging, tsutsumi, gift giving

This photo is part of a collection of Wodonga Town Photos donated by Elaine Mann. Elaine was married to David Mann, a successful Wodonga businessman and community leader who passed away in Wodonga in June 2012. David was a member of the Mann family who began their business in Wodonga in 1920. Elaine was a teacher in Wodonga for many years and an active member of the community. The Terminus Hotel In 1873, James Thompson Hatch built the two-storeyed Terminus Hotel at 79 Sydney Road (later known as High Street), then sold it to George Day and Kenneth McLennan for £1,230. It was first licensed to J. G. Morton in January 1874. In 1879, Annie Allen, from Ireland, took over as licensee of the hotel containing 14 rooms, after she and her husband, George James Allen, purchased it. He became licensee in 1883. Under the Allens, the Terminus became, ‘a principal rendezvous for visitors to the town.’ September 1888 saw additions to the building that included a billiard room, a dining room, and 18 other rooms. Following the death of her husband in 1889, Annie Allen continued to run the Terminus Hotel. She later married John Haldon and was licensee of the hotel until 1893 when the licence was transferred to William Carkeek. In the early 1900s the Hotel was thoroughly renovated. The Terminus Hotel was for sale by auction on 5th March 1909. It comprised about 50 rooms, a two-storey building built of brick and iron with hot and cold water service and acetylene gas throughout. The principal hotel in Wodonga, was let from 1st January 1909 on a seven years’ lease at a rental of £9 per week. 1935 saw extensive improvements by proprietor W. P. Kinney, while in 1941 further extensive improvements were carried out to make a good hotel better. A pall of shock and disbelief descended over Wodonga’s historic Terminus Hotel on 1st June 1998 when it was destroyed by fire then demolished in 1999. The site was sold for almost $1 million and redeveloped for a medical clinic.This photo collection is of significance as it documents how the businesses and buildings in Wodonga have evolved and contributed to community throughout the late 20th century.Terminus Hotel; Gippsland & Northern Co-operative Pty. Ltd.; Graham Bradbury Men's Hairdresser; Patricia Anne Fashions; Australian Mercantile Land and Finance Company (A.M.L. & F). on the west side of High Street. The Terminus Hotel was built C. 1873. and was destroyed by fire in 1998, The Gippsland and Northern Co-operative Co. Ltd was formed in 1905, but the date of its establishment in Wodonga is not confirmed, but they were holding fortnightly sales at the Wodonga sale yards by early 1919.wodonga businesses, high st wodonga, terminus hotel, gippsland & northern

This item is a souvenir booklet that would have been purchased by a tourist in the Warrnambool district in the mid 20th century. The photographs are representative of the tourist attractions of the area – Hopkins Falls, the mouth of the Hopkins River, Shelly Beach, the Breakwater, the Botanical Gardens etc. Tourism in Warrnambool began to be important towards the end of the 19th century when the coastal scenery, the beaches and the Sea Water Baths were advertised to promote Warrnambool as a spa resort town. Today tourism is a major industry in the city. This item is of minor interest as a souvenir of the type of postcard purchased by tourists in the mid 20th century. This is a piece of blue paper folded in two with black and blue printing on the front and back covers and an image of two kookaburras on the front cover. In the back of the front cover is pasted a strip of paper containing 13 black and white photographs folded in concertina fashion to form a booklet. The front cover has an extension that fits into a slot on the back cover to enclose the photographs. There is space for a stamp and an address on the front cover and space for the name of the sender on the back cover. There is pencil writing on the space for the stamp.Warrnambool Photographic Booklet 9d. (ninepence) warrnambool souvenir, warrnambool tourist attractions

Enid Beatrice Gilchrist (1917-2007) was a fashion designer best know for her development of self-drafting dressmaking patterns. Her patterns were first printed in "The Argus" in Melbourne in 1946 and were soon collected into books for the home sewer.A small cardboard box containing various two books and various baby wear transfers. The books are: "Clothes for your baby, designing, cutting and making" by Enid Gilchrist and "Baby book for mother, baby and child" Also in the box ten transfers, some in folders, some loose. Aileen and john Ellison Collection."Transfers" on lid of the boxbaby clothes, dressmaking, transfers

The Hanro company was established in Switzerland in 1884. In 1926 a site in Hargreaves Street Bendigo, behind the School of Mines, was purchased to establish the Bendigo Knitting Mills, a subsidiary of Hanro. The managing director was Charles Handerchin who came from Switzerland. The company was delisted from the Australian Stock Exchange in 1963 when it was taken over by John Brown Industries.Hanro Autumn-Winter Catalogue 1962: The cover is of card with a white background with a large H in blue to the right. Sketched in black pen is a lady with a cardigan buttoned up with six buttons, long sleeves and a collar. To the right in white is *Hanro* under that in black print is *Catalogue Autumn-Winter 1962 Swiss Inspired Knitwear* Inside the cover is advertising. Attached with cello tape is a green sheet of paper with a sketch of a lady wearing a sweater with long sleeves and collar and bow. To the right is a medal, circular in shape with *Fashion Award Australian wool bureau* under that is Hanro, Gold Medal Winner 1962 Wool Fashion Awards*, a description of the garment, size and colour. Look better in a Hanro Sweater!* The catalogue is on gloss paper with sketched so ladies modelling Pullovers, cardigans, twin sets and jackets. Each item has its garment number description, sizes and colour. The back page is white with a large H to the left with *Hanro* in white and (Aust) Knitting Mills Limited* to the right is a box with a black border with the Sales offices addresses and phone numbers. At the bottom is *The Quality Is A Proud Tradition*.book, magazine, catalogue, hanro. catalogue.

THE HOUSE OF YOUTH label was founded c.1935) by Mr. Samuel Stein. By 1955 Mrs. Stein, his son, Philip, and his daughter, Elizabeth, all played an active part in the business. The connection with Dior came to them without seeking. Dior, that man of fashion genius, had come to the conclusion that the Australian market offered a scope he could not afford to ignore. He questioned many visitors to Paris and decided that the House of Youth was the obvious channel through which his designs should flow to the Australian woman. Completely versatile, this firm is capable of covering every phase of fashion production, from impeccably tailored suits and coats to softly draped, intricately cut dresses and evening gowns. Mr. Philip Stein was modest when asked what Dior thought of their copies, but confessed that Dior, had been "very flattering". Dior had-been greatly impressed with the standard of Australian craftsmanship, and, as a result of the success of this joint Parisian-Australian fashion venture, it is whispered that the great man himself is seriously contemplating a visit to Australia. (Source: The Argus 22 Feb 1955)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 flared cream coloured silk cape caught at the neck and waist with two large buttons covered with the same coloured fabric.Label: House of Youthwomen's clothing, house of youth, evening coats, australian fashion - 1960s

THE HOUSE OF YOUTH label was founded c.1935) by Mr. Samuel Stein. By 1955 Mrs. Stein, his son, Philip, and his daughter, Elizabeth, all played an active part in the business. The connection with Dior came to them without seeking. Dior, that man of fashion genius, had come to the conclusion that the Australian market offered a scope he could not afford to ignore. He questioned many visitors to Paris and decided that the House of Youth was the obvious channel through which his designs should flow to the Australian woman. Completely versatile, this firm is capable of covering every phase of fashion production, from impeccably tailored suits and coats to softly draped, intricately cut dresses and evening gowns. Mr. Philip Stein was modest when asked what Dior thought of their copies, but confessed that Dior, had been "very flattering". Dior had-been greatly impressed with the standard of Australian craftsmanship, and, as a result of the success of this joint Parisian-Australian fashion venture, it is whispered that the great man himself is seriously contemplating a visit to Australia. (Source: The Argus 22 Feb 1955)Unlined pale grey linen two-piece suit with a fabric belt attached. The suit has the label "House of Youth Model" which may indicate that it is a licensed copy of a French original.Label: "House of Youth Model"women's clothing, australian fashion - 1950s, dresses, house of youth

This mid 1900's ice "bucket" was used during the first major "American" (fashion invasion) of merchandise for the "new " social set. This was a form of release, coming after the tight money restrictions during the "Great Depression" and from World War II.This item is an example of the change of direction in regards to household cutlery and crockery which the Australian rural environment slowly progressed through. This progression was due to a closer alliance with the USA after World War II and and increase push in marketing by USA manufacturers of their Australian partners and the closer alliance between the two nations. The American service men and women on recreational leave during the "South Pacific war" front brought both nations closer together and the requirement of American industries to find new markets resulted in "cheaper" mass produced silverware onto the Australian scene, which at that time were mainly sourced from the UK and Europe. This silver plated "ice bucket" with lid and handle has "pot belly" shape. A smaller circumference top, bulging center and smaller bottom. The lower inside shape of the "bucket" allows for a "grate" to be placed 40mm from the bottom (this grate would separate the "solid" ice cubes from the melted ice water). There is a "U" shaped "swiveled" handle with "art deco" type leaves(grape) reinforcing the cross section. There are two bands of "grape leaf" motifs, one smaller one at the top rim and a larger one on the bottom at the point of furthest bulge.At the outside base is the manufacturers logo "K" and encircled in small print are "KNICKERBOCKER MFG CO. QUADRUPLE PLATE"silver plated ice "bucket", bottle cooler

The scarf became a real fashion accessory by the early 19th century for both men and women. By the middle of the 20th century, scarves became one of the most versatile clothing accessories for both men and women. Men often wore them as an evening accessory.This item reflects the type of clothing worn by men as evening accessories in the late 19th to early 20th century. It also has aesthetic appeal as a handcrafted item.A hand knitted man's silk scarf. It is knitted in moss stitch and is fringed at both ends.silk handcraft men's-accessory scarf

Queen Alexandra and Queen Mary were photographed holding these fans.|In 'Feather Fans - Collectors Guide to Fans' by Susan Nayer - 'In1880 feather fans returned to fashion -- remained in use until 1930s at court presentations. Also known as Japanese Fans.`Women's fan. Blue and green peacock feathers in circle. Handle wrapped in blue ribbon. Used indoors beside the fire to protect a ladies complexions against the heat.costume accessories, female

This photograph shows the debutantes dancing at the 1973 Presidential Ball at the Memorial Hall held on 11 May 1973.A black and white photograph of dancing in the Memorial Hall. Mounted on card.presidential balls, debutante balls, fashions, dances, shire of bulla, councillors, memorial hall, sorrighan, w.j, george evans collection