Provenance unknownWoman's bust-bodice in white cotton. Fastens at back with ten pairs of hooks and eyes. Has metal hook on elastic hanging from left back.Satin ribbon label printed with blue ink "Venus Maiden Shape" next to fastening. Stamped inside left back in black ink "12548".costume, george evans collection

Most likely worn at Wilby and balls around the districtVery pale pink satin skirt overplayed with tulle and net. Round neck, sleeveless bodice with lacy net overlay. Decorated by hand with sequins, diamentes and beads. Zipper at back. Hand made. None

Worn by Jessie Allan for her marriage to William Thomas Kenny on 13 May 1945 at St Stephens Church, Richmond. They lived in 19 Baldwin Road, Blackburn from 1965. Jessie deceased 1.4.2010. Funeral at St Alfred's Anglican Church, Blackburn South.1945 Cream satin wedding dress with a rouched bodice to a centre panel, high neckline and pointed collar. Bead work on centre panel and edge of bodice, long sleeves to a pointed wrist and beading. Thirty covered buttons down centre back. Skirt cut on cross and three metre train at back.|.2|Champagne coloured Wedding Veil - (approx 6ft in length) - complete with orange blossom 3 1/4' headdress. Headdress is handmade, attached to a wire frame|.3|Cream satin slipper. Machine stitched half in rows. Bow with satin loop and spray of wax orange blossom attached.|.4|Horse shoe shaped wedding item to hang over bride's arm. Rouched satin with ornamental - artificial (wax) orange blossom and buds with 2 mm ribbon to hang over arm. Cream coloured to match wedding dress.|.5|Satin horse shoe, rouched, with satin ribbon handle.|.6|Cream braided horse shoe with gilded wishbone and wax orange spray attached. A bow with long loop to hang on the arm.|.7|Satin Horseshoe Good Luck charm with 'petal' flowers surrounding it, made of cut material - ribbon bow with pearls in centre.|.8|Doll in taxi - Rosy-cheeked, dark hair, blue eyes, dressed in bridal dress with veil, with pearls and 'flowers' decorating the doll. The doll stood across the back seat, under the window. Lavender in base of stand.|.9|Bridal Ring Box - 'Good Luck' horseshoe charm box - in the shape of a prayer book. Cream box with silver motifs printed on.|.10|Groom's Buttonhole of spray of wax orange blossom - 4 flowers and 3 leaves. Cream flowers with yellow stamens - green leaves. 10 Items in total..7 'Wishing you all The Best' 'Good Luckcostume, female ceremonial

Formally Miss Sharlene Barry now Mrs Ron Drager, the great grand daughter of the girl for whom the dress was originally made in England. The wedding was in Ceylon, and later the dress travelled with the happy couple to Australia. In total the dress has been worn four times. It missed one generation and then was sent to Adelaide for the wartime wedding of Sharlene's aunt, Mrs Hubbard. It returned to Melbourne for the wedding of Sharlene's mother Mrs Barry. The elaborately rouched dress with tight bodice and slight bustle effect was altered for the 1941 wedding.Used in 1950's for fourth wedding. Dress altered from the original dress made in 1886. Lace taken from draped overskirt and remade to square neck and long sleeve. Bodice pointed front and 22 satin covered buttons on back. Satin skirt and train edged with lace. Lace and cotton overskirt stiffened and draped and caught to the left side. Brussels lace mounted on satin.costume, female ceremonial

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

George Harold Merrett married Dorothy Lorna James at Christ Church, Horsham 14/08/1954. wedding gown and accessories were donated by family members. Photo of wedding couple.Cream lace dress and train overlaying pink satin with attached cream taffeta half slip trimmed with 4 cm cream lace inserted with blue ribbon. Design is scalloped sweetheart neck, dropped waist line and 34 pink satin covered buttons down centre back of the bodice. Sleeves are crossover cap sleeves and 180 cm train from centre back waist line. Pair of elbow length cream kid gloves, three pearl buttons at wrist and cream net horseshoe with apple blossom and pink rayon horse shoe. Full length cream veil attached to pearl and blossom headdress. See also NA4231 Mauve Bridesmaid's dress, NA4138 Mauve hat for bridesmaid's dress and NA3949 Mauve fingerless gloves for bridesmaid's dress.costume, female ceremonial

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

Wedding dress donated by local resident, Mrs Dorothy Williams. Worn by her on her wedding day in 1958 and the dress worn again by her daughter 07/05/1983 as per photographs.1958 Cream embroidered Nylon wedding dress. Fitted long sleeves to a point at waist, fastened with thirteen self covered buttons. Boat neckline trimmed with frill. Long waisted to a point at centre back. Full gathered skirt to a long train. Bodice lined to waist over a cream satin underskirt. Wedding shoes NA4122costume, female

George Harold Merrett married Dorothy Lorna James at Christ Church Horsham 14/08/1954. Wedding Gown & all accessories were donated by family, plus wedding photo.Mauve Damask satin full length gown. Shaped bodice with pin tuck detail over bust line, pin tuck shawl collar across back. Zip closing down back, full flared skirt. Bodice lined with rayon.|Refer to 3985.1-5, 3949.1-2, 4138, 3999.1-2, 4000.1-2costume, female ceremonial

Dress purchased by Mary Schwerkolt in 1910 on voyage to America via German and the Suez Canal in India. Mary was on the passenger ship Seydlitz. Her future husband Emil Jackschowsky was a crew member. They were married in the Orphan's Court of Allegheny County, Pennsylvania by Minister J.L. Fischer on April 15, 1912. Mary had delayed her departure to travel back on this voyage with Emil.Cream silk wedding dress. High neck with a stand up shaped collar in the Queen Mary style. Collar has cream silk embroidery of flower centre front and leaves either side and edged in crocheted silk finely. Front bodice has 2 pintuck pleats either side of embroidered central panel and pleats are edged by embroidered panels to bustline. Bodice is gathered into high waistband. Skirt is pintucked into waistband. Embroidery is a band around hemline. The embroidery design is Indian "mango" design. The back bodice has pintucks into collar and opened to below waistband with metal hooks & eyes. Box pleat at base of placket opening. 3.4 length sleeve has a panel at hem on front with embroidered 4 petal cross flower & leaves either side. Waistband lined with cotton & neckband lined with cotton. Hem is faced with satined cotton.whalen, rosalie, schwerkolt, mary, jackschowsky, emil, jarosz, bettie, seydlitz, pennsylvania, fischer, j.l., minister, wedding dress, weddings, dress, india

This light woollen evening dress is made from Peppinella, a new fabric Norma Tullo introduced into her range in 1973. The fabric was used exclusively by Tullo, and came from the wool of Peppin Merino (first introduced into Australia in 1858 by the Peppin brothers). According to the papers of the day Tullo’s 1973 winter collection featured ‘St. Trinian’s styles to garments dripping lace, in bold plain colours to floral prints.” Shirley Lyle designed the floral fabric. Norma Tullo (1935-2019) was one of the leading fashion designers of her time, establishing her label in 1956. After establishing a business the Old Metropole Arcade in Melbourne in 1956, with three sewing machines, Tullo's ready to wear fashions for young women became sought after, and her business flourished. In 1966 the Japanese department store chain Isetan Co Ltd began to mass-produce her garments for their stores across Japan. Tullo closed her label in 1977, and later worked for Fletcher Jones. Ann Carew, 2020The dress is historically significant as a dress designed by Norma Tullo, a leading fashion designer of the 1960s and 1970s. During this period the Australian Wool Industry strove to promote wool, and to develop light woollen fabrics to compete with new synthetic fibres such as rayon. The garment is historically significant for the use of a merino wool showcasing its versatility for dress fabrics. Full length woman's dress with full skirt and long sleeves, collared with open neck and pleat work on bodice. Material is predominately red with a repeated pattern featuring posie of blue and mauve flowers.Inscribed, black label on back neck left of zip, 'TULLO/IN/PEPPINELLA/AUSTRALIA MERINO WOOL'; Inscribed, white satin label on back neck right of zip, 'DRY CLEAN ONLY'; Inscribed, white satin label underneath above label, 'SIZE 12/To Fit Bust 34"/To Fit Waistwool, rmit design archives, rmit university, woman's dress, textile design, australian fashion

Black and white photograph of Margaret nee Darcy and Colin Campbell taken after their marriage 9 July 1955. Brides frock lace over satin, long sleeves, pointed collar and tiny buttons centre of bodice, long train, small head dress holding veil.genealogy

Wedding dress of Isabella Margaret Fitzgerald (nee Colliver) married 11 April 1934 to Robert Frederick Fitzgerald. Reception held at Young's Café, Hogan Street, Tatura.Satin & Lace gown, cream colour, Round neckline with lace bodice and sleeves with satin insert. Floor lengthwedding dress, isabella margaret fitzgerald, robert frederick fitzgerald, isabella margaret colliver, young's cafe tatura, tatura weddings

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

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. Phil Bacon was one of a number of Melbourne fashion manufacturers who emerged in Melbourne following the Second World War. The cocktail dress was once owned and worn by a resident of East Kew.Gold satin cocktail dress, gathered at the waist with beading on the bodice. The zipped opening is at the back.women's clothing, australian fashion - melbourne - 1950s, cocktail dresses, phil bacon

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

At 5pm on 2 May 1975 at Christ Church, Hawthorn, the wedding took place between Kathryn Gwynn Marx of Mason Street, Hawthorn, and William Peter Reeve of Mountain Grove, Kew. The bride's dress was purchased from the 'House of Franke, Stuart', 612 Glenferrie Road, Hawthorn, a very popular place in the 1970s for brides. Kathryn was educated at Ruyton Girls' School with Margaret Franke so it was a nice connection. Margaret's family business had been in operation since 1926. I loved my wedding dress. It was soft and comfortable to wear and kept me warm on the May evening. It was elegant and I knew I would never get the chance to wear something with a long train again. Walking down the staircase at the Windsor Hotel in Melbourne felt very grand; a memory I still hold today. (Kate Reeve, 2022) [Note: Two photos and a newspaper article which are viewable in the image carousel are held in the donation file]Strong local provenance to Hawthorn, Kew and Boroondara due to owner and retailer. It is a representative example of wedding dresses sold in the 1970s. The wedding dress is made of fine soft white jersey with guipure lace around the neckline, wrists and bodice. The long train has three small discreet loops along the hemline which can be slipped onto a finger for a draped effect giving ease of movement for dancing etc. A satin trimmed veil covered the length of the train and was secured on the head with a satin coronet. White leather shoes were worn. The bouquet Phalaenopsis orchids. (Note: the veil and shoes were not part of the donation)Label: Franke Stuart / Hawthornfashion & design - 1970s, wedding dresses, kate reeve, peter reeve, franke stuart, retailers - glenferrie road - hawthorn (vic.)

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.Black-coloured fitted jacket made of silk and lace with added satin ribbons.women's clothing, fashion - melbournesne - 1880s, bodices, jackets, netta fuller

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

The Fashion & Textiles collections of Kew Historical Society include a number of textiles, as well as women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Textiles include items manufactured or created in the United Kingdom as well as in Australia. As other cultures opened to Australian travellers in the 20th century, members began collecting and donating textiles produced in a number of other countries. Fashion (or clothing/costumes) in the collection was essentially produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, This cocktail dress is one of a number of items donated to the Fashion Collection by Rosemary-Vaughan Smith.Medium length silver satin evening dress. The weave of the silk fabric includes small pink flowers. The bodice is gathered to give the impression of a bow. The dress has strapped shoulders.women's clothing, cocktail dresses, evening wear, rosemary vaughan-smith, australian fashion - 1950s

The donor's husband's grandmother was Bertha Michaelis who lived at 'Linden', St Kilda. She married David Jacob Baruch (known as Dalbert) in Hamburg on 9 November 1881. Bertha was born in Melbourne. The couple lived in Germany. Bertha returned to Melbourne with their two children, Ernest and May, after Dalbert died in 1893. May married Rabbi Jacob Danglow in 1909 and they had one son, Frank, who was the donor's husband.Cream satin princess line wedding dress with dark cream lace trim. Fastens centre front with 17 satin covered buttons. Nine extant bones are placed on the interior seams and darts. Three-quarter length fitted sleeves. Bodice backed with cream cotton. The back trained panels of the skirt have been cut to extend into a pleated swathe of satin that wraps around the hips to the centre front. A square padded bustle pad is attached to the interior back of the skirt. The hem of the skirt is decorated with kilted and swathed satin and lace. Label, interior waist tape, woven silk stamped in dark green: H. L. HEYNEMANN / Hannover / Seilwinderstr. 6a., Bose; In monogrammed ("HLH") circles either side: (Left) BAARZAHLUNGS SYSTEM; (Right) ERSTE PREISE. Stitched in thick cotton thread on interior waist tape: *9097wedding dress, germany, hannover, linden, st kilda, bertha michaelis, david jacob baruch

This wedding dress and headpiece were worn by Emily Elizabeth (Betty) Cock (1907-2001) when she married Euston Murray Nutchey at St Andrew's Church, Brighton, on 28 April 1938. The bride's great-grandmother, Emily Cock (nee Smith), was married in the same church 69 years earlier; Emily's dress is also in the Brighton Historical Society collection. The dress was made by Melbourne dressmaker Beatrice Cook, with distinctive blue beaded panels worked by Betty's younger sister Margaret (1915-2006) to match the wedding's blue-and-pink colour scheme. The dress was accessorised with a pale blue tulle veil and a bouquet of blue hydrangeas, delphiniums and pale pink roses.Satin dress cut on the bias, originally ice-blue, now faded to cream. The dress features a long train and broad v-neck. The bodice and waist are softly ruched and gathered on either side of a finely beaded centre panel running from the neckline to the hem. The beadwork features a design of small cream-coloured leaves winding between large stylised blue flowers and leaves, all bordered with silver beads. Full-length sleeves are slightly puffed at the shoulder, narrowing to a close fit, with beaded cuffs matching the centre panel. The dress is accompanied by a matching blue, cream and silver beaded coronet or headpiece; this was originally worn with a pale blue tulle bridal veil.Label, woven mauve on beige silk, centre back: Beatrice Cookbetty cock, betty nutchey, emily elizabeth cock, emily elizabeth nutchey, euston murray nutchey, beatrice cook, wedding dress, st andrew's church brighton, 1930s, frances margaret cock, frances margaret ward

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

This dress and bag belonged to Mrs Edith "Dot" Paroissien (nee Jackson, born 1916), who lived in Brighton with her husband David William Paroissien. The dress was purchased from Croyde, a Melbourne designer who had a small boutique shop in Collins Street near the Block Arcade, and the bag was bought for her in London by David. Dot recalled wearing the dress in the 1950s, in particular to a ball at the Royal Exhibition Buildings for Wesley College. She wore it with suede shoes with a medium heel with straps across the instep and long white kid gloves, and accessorised with a baguette choker and drop earrings.Black silk satin sleeveless full-length evening dress. The attached bodice floats over the top of the under-dress. Asymmetrical opening on bodice which features five large flat self-covered buttons. The black suede bag has chrome fittings and buttery cream coloured satin interior. .1 dress - Label, woven black on white acetate centre back: CROYDE / MELBOURNE .2 - bag - Label, printed, black on cream acetate, interior pocket: Susan / HANDBAGS / LONDON; Label, printed, copper on black metal, interior pocket: MADE IN ITALY / FOR SUSANevening dress, croyde, melbourne fashion, melbourne designers, handbag, royal exhibition building, 1950s, edith violetta paroissien, edith violetta jackson

This gown was the winning entry in the Mannequins and Models Guild's Gown of the Year competition, held at the Chevron Hilton Hotel, Melbourne in November 1963 in aid of the Torch Bearers for Legacy. Designed by Lorna White for Hartnell of Melbourne and modelled by Marien Brindley, the dress’s construction is reputed to have consumed 300 hours, with the finished dress weighing 6 kilograms and costing around 3000 pounds. Evening gown made of cream ribbon lace and a rich latte-colured satin; applied beading. Cut with a high waist, short sleeves and deep V at centre back. Boned interior bodice. Centre back zip and train. gown of the year, hartnell of melbourne, lace, beading, ralph samuel, lorna white, marien brindley

Underwear & 1 item of nightwear belonging to Mary Monica Fleck Turner (Smith). Turner Collection.Items of clothing belonging to an early Kilmore family making up part of the Turner Collection.Eight camisoles, one underskirt, one bottom half negligee, one nightgown case. Generally in very good condition. TEX-0055.1 Underskirt, cotton & lace with blue satin ribbon. TEX-0055.3 Embroidered nightgown case TEX-0055.4 Camisole, lace & cotton, circular design on front, cap sleeves, prev. repair L front, cap sleeves with rust stains L sleeve. TEX-0055.5 Camisole, lawn & lace, white ribbon threaded through neckline, small holes throughout. TEX-0055.6 Camisole, white broderie anglaise, narrow fabric shoulder straps, drawstring neckline. Small holes throughout. TEX-0055.7 Camisole, cotton & lace, twisted gold ribbon at neckline, small holesthroughout. TEX-0055.8 Camisole, broderie anglaise, wide lace shoulder straps, blue ribbon at neckline, drawstring waist. 2 buttons missing, tear to lace mid upper back. TEX-0055.9 Camisole, white cotton, embroidered, pink ribbon through neckline, pintucks & drawstring at waist, 3 buttons missing. TEX-0055.10 Camisole, muslin, softlace shoulder straps, blue ribbon at neckline, hook & eye at waist, buttons missing. TEX-0055.11 Camisole, cotton & lace, pink ribbon at neckline, some holes/tears, 2 missing buttons, previous repair under R arm.TEX-0055.11 - Label outside R bodice edge 'Melbourne/Robertson & Moffatt Pty Ltd/Bourke Street'.underwear, nightwear, turner collection, smith

This outfit was worn by Kate Dabb for her wedding to Alf Meyer on the 6th of June 1900 at the Maldon Wesleyan Church. Kate was the 3rd daughter of Samuel Dabb.This dress is in two parts, a bodice and a skirt. Made of cream satin, mostly machine sewn with some hand sewing. The bodice is finely worked with applique panels of scrolls, petals and leaves decorated with glass beads and sequins. The back panel and cuffs are trimmed with lace.wedding dress, samuel dabb, meyer, "dabb, catherine maud", "callow, phoebe"

A tea gown or tea-gown is a woman's dress for informal entertaining at home. These dresses, which became popular around the mid-19th century, are characterized by unstructured lines and light fabrics. Belonged to Louisa Hoadley, (Mrs. Thomas Carlyle Adamson) - daughter of Abel Hoadley. Black two piece satin ensemble - Tea gown. Long skirt with short fitted style jacket, with black lace trim on skirt and bodice.tea gowns, dresses

This wedding dress was worn by Grace Hamilton-Smith (née Ellwood) at her marriage ceremony. Grace married John Hamilton-Smith on the 31st May 1941 at the Presbyterian St David's Church in Albury. The wedding breakfast that followed was held at the Albury Hotel in Kiewa Street.This item has well documented provenance and a known owner and represents the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.A white slipper satin wedding dress with structured shoulders and bodice, embroidered with cornelli lace and studded with diamante. wedding, marriage, dress, wedding dress, satin, 1940s, christianity, wodonga, albury, albury wodonga

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