Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.A ‘Wattle Day for Children’ badge, which appropriates national symbols of fauna and flora: a kookaburra and wattle. The circular pressed metal fundraising badge was produced to support the war effort."Wattle Day for Children"wattle day for children, wattle day, francis rigg, badge

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.A ‘Wattle Day’ button featuring the head of a young girl surrounded by sprays of wattle. In the design for this fundraising button the purpose of the fundraising – ‘for Children’s Charities’ is emphasised.Wattle Day / For Children’s Charitieswattle day, patriotic buttons, badges

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.A ‘Wattle Day’ badge featuring the head of a young girl surrounded by sprays of wattle. In the design for this fundraising button the purpose of the fundraising – ‘for Children’s Charities’ is emphasised."Wattle Day: For Children’s Charities"wattle day, patriotic buttons, first world war (1914-18), badges

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.A pressed metal fundraising button released in 1919 to support the Royal Women’s and Queen Victoria Hospitals. In June 1919, The Argus reported that a ‘A well attended public meeting was held at the Town Hall yesterday afternoon to complete arrangements for the Button Day on June 27 in aid of the Women’s and the Queen Victoria Hospital. The Button Fund committee desires it to be known that several busy city sections are still vacant and that further offers of help in the sale of buttons will be welcomed’. It would appear that different buttons were released on the same day to support different hospitals in various urban and rural locations in Victoria."Women’s Day / Women’s Hospital 27th June 1919 [&] Queen Victoria Hospital"patriotic buttons, first world war (1914-18), royal womens hospital, queen victoria hospital, button fund

Frances Rigg was a local business identity in Kew, at one stage managing the local branch of the English, Scottish and Australian (ES&A) Bank at 175 High Street from c. 1920 until the 1940s. After Francis Rigg’s death, the collection of buttons and medallions was inherited by his son, Ken Rigg (1922-2014). The collection was subsequently donated to the Kew Historical Society in 2015 by Francis' grandson, Adrian Rigg, at the time of the Gallipoli & Beyond Commemoration in 2015. The collection covers a period of almost 40 years. The majority of the buttons are patriotic buttons, issued and sold during and immediately after the First World World War (1914-1918) to raise funds for national and overseas causes. The collection also includes a number of locally significant sporting event buttons and sporting club medallions, issued in the 1920s and 1930s.Patriotic and other pressed tin buttons and badges were produced in large numbers in the first decades of the twentieth century. By nature, insubstantial and ephemeral, they have not always survived. The collections of badges, buttons and medallions in the Kew Historical Society collection is homogenous and yet diverse, ranging from buttons sold to raise funds for the war efforts in 1914-18 and 1939-45, to those used at festivals and sporting events. Because of the manufacturing process, many surviving buttons and badges have been affected by inadequate storage, suffering from oxidisation and physical damage. These survivors are now historically and socially significant artefacts, revealing much about the attitudes and values of the period in which they were produced. Their widespread distribution means that they are frequently significant at a local, state, national and international level.A postwar fundraising button featuring a simple design using white text in a red boarder with and central blue cross. In February when the buttons were sold, The Argus reported that: ‘Each suburban municipality has formed a committee under its mayoress, to assist in the button distribution, and local committees in the country are also working for the success of the appeal. Kiosks are prohibited in the city streets, but many suburban councils have granted permission for their erection. In addition to buttons, many kinds of saleable articles will be obtainable at the kiosks.’"Women’s Hospital Appeal 1923"royal womens hospital, fundraising buttons, badges

Joseph Butterworth COOMBS (1842-1901), was an accountant who founded a successful mercantile trading company. At the time of his marriage to Caroline Mary MICHEL in 1969, Coombs had already purchased 10 acres of Studley Park. The acreage included land on the west of Fenwick Street that extended along lower Stawell Street to the corner of Yarra Street, all of it connected directly to the Yarra environs. A right of way to Studley Park Road was on the title, though Coombs went on to purchase more land, some of which faced Studley Park Road. In addition to owning the Studley Park acreage, Coombs later acquired 1,201 acres of land abutting the Acheron River. While retaining the Kew property he became a Taggerty Councillor and was Shire President for a time. J.B. Coombs died at Acheron Station in 1901 (aged 59 years). A few months after, tenders were called to repair the Kew dwelling, the Fenwick Street property now appearing in records with the name ‘Hope Mansell’. Caroline Coombs remained at Hope Mansell until she died in 1924, survived by three sons and five daughters. Not long after her death, advertisements appeared for the sale of the Studley Park land. The sale seems to have been a mechanism for distribution of the Estate, as the following year the original 10 acre holding was transferred to members of the family. The eldest daughter Mabel married William Younger who, with his brother Alexander, developed Younger and Mackie Courts, both south of Studley Park Road. [Research: Kerry Fairbank]In 1961, the granddaughter of Joseph and Caroline Coombs, Mabel Isola (Younger) Grattan, donated ten 19th century dresses and parasols to the Kew Historical Society. The costumes, now known as the 'Coombs Collection', are the earliest recorded items of clothing to enter the Society's collection. Each of the items in the Coombs Collection, of which this item forms a part, is historically, aesthetically and socially significant. As a collection, the costumes includes outstanding examples of morning wear, day dresses, wedding dresses, and clothing accessories, providing evidence of outstanding dressmaker skills in Victoria during the mid to late Victorian period. Periwinkle blue afternoon dress made of finely woven wool with silk quilting to the yoke and cuffs. The one-piece outfit is fastened at front with large mother of pearl buttons. The dress includes a very long train. At one stage, the buttoning at the waist has been modified, presumably due to changes in the owner's waistline. women's clothing, australian fashion, costumes, dresses

The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Wide brimmed straw woman’s hat banded at the crown and on the rim with black ribbon. Highlighting the lower part of the crown are regularly spaced black plastic buttons. Attached to the bow is a posy of crimson poppies.Nilwomen's clothing -- hats, sun hats, straw hats

The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Black velvet and net woman’s hat with small diamanté buttons. The mushroom shape highlights the wide brim.Nilwomen's clothing -- hats, headwear, australian fashion, mushroom style hats

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 outfit is one of a number of items donated to the Fashion Collection by Annie McIntyre, who purchased the outfit in the later 1980s.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. Black wool striped jacket with square neck and buttons in the same fabric at front. Other items in the outfit include a grey skirt and a white blouse. Gary Theodore and Fiona Scanlan started their fashion house in 1987.Label: Theodore and Scanlanfiona scanlan, women's clothing, australian fashion - 1980s, day wear, mcintyre collection, gary theodore

This Item was owned, worn and donated by Annie McIntyre, a resident of Kew. It is one of a number of items owned by Annie McIntyre that were designed by Vivienne Westwood and donated to the 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. Dark navy women's jacket with fine pale stripes. The silk lined jacket has three external pockets with flaps and one breast pocket. The metal buttons on a pocket and for fastening at the front are a gold colourLabel: Vivienne Westwoodvivienne westwood, fashion designers, international fashion -- british designers -- vivienne westwood, fashion -- 1980s

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 pantsuit was owned, worn and donated by Annie McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Brown satin pantsuit comprising jacket and separate pants. The jacket has four buttons made of the same fabric. The matching pants of the same fabric and colour are tapered at the ankle.Label: Scanlan Theodorescanlan theodore, women's clothing, australian fashion - 1980s, day wear, pantsuits

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.Sleeveless three quarter length, short-sleeved turquoise coloured lace evening dress. Above the high waistline a fold crosses the bodice and is held by three crystal buttonswomen's clothing, cocktail dresses, fashion and textiles collection - kew historical society, australian fashion -1950s, evening dresses

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Full length long sleeved dark green silk velvet evening coat buttoned to three quarter length at the front with buttons of the same colour and fabricwomen's clothing, australian fashion - 1930s, evening wear, coat dresses

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This dress is one of a number of items donated to the Fashion Collection by Annie McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Long sleeved olive green silk shirt buttoned at the front with buttons of the same fabric and colour. Label: Scanlan & Theodorescanlan & theodore, women's clothing, australian fashion - 1980s, mcintyre collection, day wear, blouses

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 outfit was owned, worn and donated to the collection by Dione McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s.Brightly coloured, long sleeve floral cotton coat dress which has regular pink plastic buttons to waist.Label: Kenneth Pirriekenneth pirrie, women's clothing, australian fashion - 1970s, mcintyre collection, day wear, coat dresses

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Three quarter length dress of ecru needle-run lace with pearl buttons at front to waist and green under slip.women's clothing, australian fashion - 1930s, cocktail dresses, lace dresses

THE 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 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 outfit was donated to the Fashion Collection by Val Goldsworthy.Brown wool coat with large silver buttons and fur trim to neck and sleeves. Matching brown dress.Label: Merco Davronmerco davron, australian fashion - 1960s, melbourne fashion designers

Joseph Butterworth COOMBS (1842-1901), was an accountant who founded a successful mercantile trading company. At the time of his marriage to Caroline Mary MICHEL in 1869, Coombs had already purchased ten acres of Studley Park. The acreage included land on the west of Fenwick Street that extended along lower Stawell Street to the corner of Yarra Street, all of it connected directly to the Yarra environs. A right of way to Studley Park Road was on the title, though Coombs went on to purchase more land, some of which faced Studley Park Road. In addition to owning the Studley Park acreage, Coombs later acquired 1,201 acres of land abutting the Acheron River. While retaining the Kew property he became a Taggerty Councillor and was Shire President for a time. J.B. Coombs died at Acheron Station in 1901 (aged 59 years). A few months after, tenders were called to repair the Kew dwelling, the Fenwick Street property now appearing in records with the name ‘Hope Mansell’. Caroline Coombs remained at Hope Mansell until she died in 1924, survived by three sons and five daughters. Not long after her death, advertisements appeared for the sale of the Studley Park land. The sale seems to have been a mechanism for distribution of the Estate, as the following year the original ten acre holding was transferred to members of the family. The eldest daughter Mabel married William Younger who, with his brother Alexander, developed Younger and Mackie Courts, both south of Studley Park Road. [Research: Kerry Fairbank]In 1961, the granddaughter of Joseph and Caroline Coombs, Mabel Isola (Younger) Grattan, donated ten 19th century dresses and parasols to the Kew Historical Society. The costumes, now known as the 'Coombs Collection', are the earliest recorded items of clothing to enter the Society's collection. Each of the items in the Coombs Collection, of which this item forms a part, is historically, aesthetically and socially significant. As a collection, the costumes includes outstanding examples of morning wear, day dresses, wedding dresses, and clothing accessories, providing evidence of outstanding dressmaker skills in Victoria during the mid to late Victorian period. Two-piece royal blue heavy silk dress comprised of a tightly waisted top that extends below the waist at the front and the back, and a floor-length skirt. The full skirt and the sculpted fabric that is part of the top are designed to cover a bustle. The elaborately styled bodice is joined with fabric-covered buttons at centre front. The bodice is distinctively styled with the use silk velvet banding and tassles that extend the woven silk webbing. The outfit is in excellent condition apart from some wear on the velvet and the buttons.women's clothing, australian fashion, dresses, costumes, fashion & design, outerware

Joseph Butterworth COOMBS (1842-1901), was an accountant who founded a successful mercantile trading company. At the time of his marriage to Caroline Mary MICHEL in 1869, Coombs had already purchased ten acres of Studley Park. The acreage included land on the west of Fenwick Street that extended along lower Stawell Street to the corner of Yarra Street, all of it connected directly to the Yarra environs. A right of way to Studley Park Road was on the title, though Coombs went on to purchase more land, some of which faced Studley Park Road. In addition to owning the Studley Park acreage, Coombs later acquired 1,201 acres of land abutting the Acheron River. While retaining the Kew property he became a Taggerty Councillor and was Shire President for a time. J.B. Coombs died at Acheron Station in 1901 (aged 59 years). A few months after, tenders were called to repair the Kew dwelling, the Fenwick Street property now appearing in records with the name ‘Hope Mansell’. Caroline Coombs remained at Hope Mansell until she died in 1924, survived by three sons and five daughters. Not long after her death, advertisements appeared for the sale of the Studley Park land. The sale seems to have been a mechanism for distribution of the Estate, as the following year the original ten acre holding was transferred to members of the family. The eldest daughter Mabel married William Younger who, with his brother Alexander, developed Younger and Mackie Courts, both south of Studley Park Road. [Research: Kerry Fairbank]In 1961, the granddaughter of Joseph and Caroline Coombs, Mabel Isola (Younger) Grattan, donated ten 19th century dresses and parasols to the Kew Historical Society. The costumes, now known as the 'Coombs Collection', are the earliest recorded items of clothing to enter the Society's collection. Each of the items in the Coombs Collection, of which this item forms a part, is historically, aesthetically and socially significant. As a collection, the costumes includes outstanding examples of morning wear, day dresses, wedding dresses, and clothing accessories, providing evidence of outstanding dressmaker skills in Victoria during the mid to late Victorian period. Blue silk, floor length day dress comprised of a tightly fitted, long, waisted jacket joined by hooks and eyes at centre front. The bodice features large ornamental buttons from neck to waist, covered in a figured silk fabric of the same colour as the dress. The gown has extensive pin tucking on the sleeves, on the flounce of the skirt, and on the long train. The line of the outfit is emphasised by the flattened front, which is typical of the period. Its cut and lack of adornment emphasises the tailored effect.australian fashion, fashion & design, costumes, dresses, women's clothing, fashion - 1860s, fashion - 1870s

Lieutenant Colonel Douglas Hunter joined 8/13 Victorian Mounted Rifles from 20 National Service Battalion November 1956. He transferred to Papua New Guinea Volunteer Rifles in 1967, returning to VMR in 1977. He commanded A Squadron 8/13 VMR 1978-1980. He was Staff Officer Grade 1 Headquarters 3 Division 1983-1985. Following retirement he was active in the regimental museum and wrote the book "My Corps Cavalry: a history of the 13th Australian Light Horse AIF". He was awarded the Medal of the Order of Australia 2009 for services to military history.Representative of a period in 1980s when chain mail epaulettes was worn by officers of 8/13 Victorian Mounted Rifles.Open-necked officer's 'Blues' jacket with chain mail epaulettes; lieutenant colonels' badges of rank and 'R' denoting Reserve of Officers status; Silver 8/13 VMR buttons and collar badges. Worn by Lieutenant Colonel Douglas Hunter who served in the regiment between 1956 and 1987.uniform, hunter douglas, vmr, oam, 3 division, pngvr, chain mail

This tunic and cap were worn by Major General H H (Tack) Hammer CBE DSO & Bar, ED when Honorary Colonel 8th/13th Victorian Mounted Rifles Regiment 1959-1960 Hammer had pre-WWII service with 8th Battalion and 17th Light Horse (Machine Gun) Regiment. He served with the 6th Division in North Africa and Greece before becoming Commanding Officer of 2nd/48th Battalion. On return from the Middle East, Hammer commanded the 15th Brigade throughout two years of fighting in New Guinea and Bougainville. After the war, Hammer became Commissioner for Repatriation in Victoria and continued his military career in the Citizens Military Forces, commanding the 2nd Armoured Brigade and later 3rd Division. Open-neck officer's 'Blues' tunic with gold braided general's epaulettes and Major General's embroidered badges of rank; gilt general's buttons; red and gold braided aiguillette and white gloves. Uniform worn by Major General H H (Tack) Hammer when appointed as Honorary colonel of 8th/13th Victorian Mounted Rifles. Medals awarded to Major General Hammer are Commander of the British Empire (CBE), Distinguished Service Order (DSO), Mentioned in Despatches (MID), 1939-45 Star, Africa Star, Pacific Star, Defence Medal 1939-45, British War Medal, Australian Service Medal 39-45, Queen Elizabeth Coronation Medal, Efficiency Decoration (ED). General's peak cap with gold bullion hat badge and double row of oak leaves on peak. Medals on display are replica.8/13 vmr, military, hammer, honorary, colonel, general, world war two, wwii, cmf

Hyams, Frederick. Pte 17982 4th F.TroopWorld War I Red Cross fund-raising badge. According to contemporary newspaper articles the Commonwealth Button Fund issued buttons of this design for a Victorian Red Cross appeal in July 1915. All funds raised during the appeal were to be used for the support of the Australian Red Cross and the servicmen in their care. Between 300,000-400,000 of the buttons were distributed. Pezikian & Anderson (2017: 14) identify the badge's maker as the Victorian Christian Endeavour UnionCircular pressed metal badge with a plastic coated obverse, metal back and attached pin. In the centre of the obverse, a printed illustration of a Red Cross flag and printed text appears on a red ink background surrounded by a white border. The badge is discoloured. The metal back of the badge is soiled and tarnished.

The use of these buttons as a means of raising revenue through patriotic sentiment occurred soon after Australia pledged allegiance to Empire. Buttons reflected ‘public sentiment, courage, patriotism, generosity and several [un- named] virtues’ such as the martyred mother of a ‘fallen’ hero. Attention was paid to attractiveness of design, encoded symbolism and high quality of production. Expressing ‘loyalty’, they were tokens to be kept for perpetuity. Female labour was used to operate the die that compressed the tin backing, photographic print and celluloid cover together. The pin was applied by hand. Women, of all ages, entered into the spirit of voluntary sales. Often they were sold at the entry and exit points of major pedestrian thoroughfares. The women of Kew set up a kiosk in front of the Post Office and the Railway Station to solicit their round, oval and square shaped wares. Pride in salesmanship was affected by publishing the name of the woman and her fiscal achievement in the major newspapers of the dayWorld War I-era pressed tin fundraising button. The button features the French flag and a red cross over a starburst, against a gold background. Encircling the image is a white ring with the text ‘French Red Cross’ in blueFrench Red Cross

The use of these buttons as a means of raising revenue through patriotic sentiment occurred soon after Australia pledged allegiance to Empire. Buttons reflected ‘public sentiment, courage, patriotism, generosity and several [un- named] virtues’ such as the martyred mother of a ‘fallen’ hero. Attention was paid to attractiveness of design, encoded symbolism and high quality of production. Expressing ‘loyalty’, they were tokens to be kept for perpetuity. Female labour was used to operate the die that compressed the tin backing, photographic print and celluloid cover together. The pin was applied by hand. Women, of all ages, entered into the spirit of voluntary sales. Often they were sold at the entry and exit points of major pedestrian thoroughfares. . Pride in salesmanship was affected by publishing the name of the woman and her fiscal achievement in the major newspapers of the day.Small circular pressed tinplate button featuring a white map of Australia on a dark blue ground with the stars of the Southern Cross surrounding, all within a gold border. The phrase ‘I Will Help Until the War is Won’ is printed in red across the mapI will Help until the war is won

Lieutenant Des Martin was a member of the Wodonga Troop of the pre-WWII 8th Light Horse (Indi) regiment. He volunteered for the AIF, 12/6/1940 (VX31564) and served with the 2/2nd Pioneer Battalion in Syria and New Guinea. He was discharged 11/2/1944 with the rank of lieutenant. He was a horseman of considerable repute and was the author of the book “Australia Astride”. He provided valuable assistance to the 8/13 VMR Heritage Troop when it was raised. Wearing this uniform, he rode with a group of former light horsemen leading ANZAC Day marches in Melbourne for many years.Half mannequin dress in service dress tunic with 8th Light Horse lapel badges, silver buttons, badges of rank and colour patches. Complemented with slouch hat with 8th Light Horse hat badge and emu plumes, and Sam Browne belt.military, anzac day, melbourne, martin, pioneer, vmr, light horse, world war two, wwii

Upon mechanisation in December 1941, 20th Light Horse (Victorian Mounted Rifles) was re-titled 20th Motor Regiment (Victorian Mounted Rifles). It was equipped with Bren Gun Carriers and deployed to airfield defence in Northern Territory. In 1943, the Regiment was deployed to Merauke, Dutch New Guinea, where it conducted patrols along the coast and up rivers using barges and canoes. Returning to Australia in April 1945, the Regiment was redesignated 20th Pioneer Battalion then disbanded several months later at the end of the war. Good quality reproduction.Khaki woollen tunic with colour patches of 20th Motor Regiment. Metal 'Australia' shoulder titles, metal Rising Sun collar badges and metal buttons.20th motor regiment, uniform

The 13th (Gippsland) Light Horse, a Citizen Military Forces unit was raised following WWI, and trained as a cavalry regiment till August 1940, when it converted from horse to mechanised initially as 13th Motor Regiment then 13th Armoured Regiment. It trained in Victoria and, as the Japanese threat to the mainland declined, was disbanded in October 1943 with men going to other units.Khaki woolen tunic with colour patches of 13th Armoured Regiment, metal buttons, Rising Sun collar badges and metal 'Australia' titles; fabric ribbon bar and overseas service chevrons.military, wwii, world war two, tank, gippsland