Brown and gold coloured silk dress. 3/4 sleeve, gold cuffs fastened with two buttons. Cross over bodice to waist, tie gold belt, six gore skirt.Folli Folli Paris stylecostume, female

Sapper James W Dowson was a National serviceman who served with the Royal Australian Engineers, 1st Field Squadron, in Vietnam 1967-68. Upon his return, he brought each of his nieces and nephews a piece of Vietnamese clothing. This dress was given to his niece, Diane, who donated it to our museum in 2017.Aqua silk ao dai top, trimmed with cream, decorated with pink zig zag trim and four green hand-made silk closuers, six press stud closuresgirl, vietnamese, dress, ao dai, dowson

This dress was purchased in Saigon by National Serviceman Gary Elliott before he returned home in 1969 for his then girlfriend, (later to be his wife). Gary served as a Craftsman in 102 Field Workshop, RAEME, in Vietnam 1968-69.Aqua silk traditional Vietnamese (dress) AO DAI. The dress has a peter pan collar with front opening secured by four covered buttons. A zipper runs along the side seam. The garment is lined with white silk. elliott, 3793300, craftsman, royal corps of australian electrical and mechanical engineers., saigon, ao dai, dress, silk, national dress, costume, vietnamese dress, vietnamese women

Originally belonged to the wife of William Pitt, first Earl of Chatham, 1708-78, and has been handed down from generation to generation and was the property of the donor.William Pitt, 1st Earl of Chatham (15 November 1708 – 11 May 1778) was a British Whig statesman who served as Prime Minister of Great Britain from 1766 to 1768.Large silk shawl with 130 mm black silk fringe. Black centre with colourful, dense floral or paisley (Jal) patterned border on 4 sides.embroidery, weaving, shawls, mid 18th century, france?

Child's christening ensemble worn by Philip ('Pip') Smith at his christening. Grandson of Stephen Robinson & Elizabeth Jane Hartnell of 'The Dene' & 'Overdale', Kilmore East. Three daughters - Elsie, Esme & Monica. Their daughter Monica Fleck Turner (1899-1990) m. Albert Smith (1890- 1951) in 1926. Phillip born 1928, d. 2006 at Seymour. Buried Fawkner Cemetery. Clothing from early Kilmore families.Child's christening dress, coat & Bonnet, silk, embroidered. All in very good condition, despite yellowing. TEX-51.1 Dress TEX-51.2 Coat TEX-51.3 Bonnetchild, christening, turner collection

Possibly belonged to Elizabeth Jane Hartnell (1855-1922) whose descendants donated the Turner Collection. Slip found with clothing 'Grandmother Hartnell's shawl". Turner Collection.Clothing belonging to early Kilmore families.Yellow silk shawl, self-fringed on all four sides, floral embroidered borders, some staining present, approx. 1.2m sq. Two stitched "tucks" horizontal 15cm from edge of opposite sides approx. midway. Appears to cover stain /ink. A few small holes otherwise ood condition. hartnell, turner collection

Wedding dress worn by Mary Monica Fleck Turner on her marriage to Albert Smith in 1926. Turner CollectionClothing associated with early Kilmore families.Cream silk "Flapper" knee length sleeveless dress with plain scooped neck. Neck & armholes bound with same fabric. Curved low waist seam. Hem finished with same bias binding. Evidence of machine stitching on both sides altering bodice from underarm for 26cm. Formerly had sash with bow - both missing. Small faint stain on back of skirt and ?watermarks on bodice. In excellent condition otherwise.wedding dress, turner collection, smith

Christening ensemble first worn in 1858 by William Thomas (Tom) Poulter, eldest living child of James & Mary Poulter. Ensemble comprises a short underskirt, long underskirt, robe, 'shawl' & silk bonnet. The robe is reliably dated to 1858, however, the underskirts, shawl & bonnet may have been added to the ensemble at a later date. Used by many generations of family & extended family.White cotton underskirt to christening robe. Pin tuck detail to skirt. Tear at left shoulder.poulter, chapman, christening

Turner Collection.Part of a collection of clothing donated by Monica Smith (nee Turner). Monica was related to the Hartnell family who were early residents of Kilmore and business owners.Brown silk damask, full length skirt, long sleeves, wide collar/hood. Fragile silk, some lateral tears and shattering, staining.kilmore, turner, smith

Possibly worn at wedding of Elizabeth Jane ('Lil') Hartnell to Stephen Robinson Turner, 1885. Bodice of wedding dress - TEX-0013Clothing from early Kilmore family, the Hartnells.Ivory silk underskirt. Padded ruffle hem flaring out at back. Tearing along sides, lateral tearing down back coinciding with staining. Mould present (inactive).wedding, hartnell, turner collection

The donor, whose parents owned an antique shop believed that the evening coat was owned by the family of Cr Morris Nathan and his wife Margaret Frances, nee MacKay. Maurice Nathan was born in Kew in 1914 and died in East Melbourne in 1982. He was a student of Trinity Grammar School, Kew. He was Lord Mayor, and his wife Lady Mayoress, of the City of Melbourne for two terms between 1961 and 1963. The age of the coat, created in a design typical of the 1920s would suggest that it is of an earlier vintage, almost certainly dating from the 1920s, but perhaps earlier. The opulence of the sequinned and beaded embroidery have led to the supposition that it may be an opera coat inherited from an earlier generation.Three quarter length, red and cream silk, padded evening coat highlighted on the cuffs and hem with iridescent sequins, beading and pearls of different shapes and sizes. These decorative features are arranged in a formal design, particularly at centre back. Above the beaded sections are sunbursts outlined in gold beads.Trimmed rabbit fur at collar and cuffs. The sleeves are shaped above the embroidered sections while the hem features a zig-zag profile. MEASUREMENTS - Neck to hem front 93cm; Neck to hem back 100cm; Circumference 126cm; Shoulder to cuff 72cm; Shoulder width 36cm.Traditionally, pre acquisition, stored in brown suitcase embossed in gilt with the name R. NATHANevening jackets, opera coats, fashion -- 1920s

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in the mansion originally named Illapa, 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937) and his wife Edith Mary Weir (1867-1948). George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.This garment is significant as it is part of 25-piece collection of women’s clothing owned by Edith Mary Weir (nee Betteridge), who was born in Clare, South Australia in 1867 and who died in Kew at the age of 81 in 1948. The items of clothing in the collection date from the 1880s to the 1940s and constitute outstanding examples of dressmaker’s skills from each of these decades. The collection includes day dresses, evening dresses, evening coats, capes, and undergarments. As the wife of a mining engineer, and later mine manager, Edith Weir’s clothing has historic significance as examples of clothing worn by upper middle class Australian women in domestic circumstances and at social and civic events. The costumes in the collection represent the periods when Edith Weir lived in Broken Hill, New South Wales, and in Kew, Melbourne. A number of the costumes from the 1920s to the 1940s are of a particularly fine quality, being both rare, representative and intact examples of Australian fashion of the period. The garments in the Weir Collection were donated to the Kew Historical Society by the granddaughter of Edith Weir. An Edwardian slik, net and broderie anglaise bed jacket, bought by and worn by Edith Mary (Betteridge) Weir. Given the date of the item, the jacket was initially worn in Broken Hill where the Weir's lived, when her husband was Manager of the North Broken Hill Mine and later brought to Kew, ca. 1917 when the Weirs moved to Princess Street, Kew. The jacket was gifted by Edith Weir's grandaughter. It forms part of the Society's Weir Collection.edith mary weir (nee betteridge), 84 princes street (kew), costumes, fashion & design collection - kew historical society, women's clothing, weir collection

Off white quilted silk cape, with bands of red wool. The shoulderless cape is tied at the neck by a simple cord. The overall shape of the cape includes two- triangular panels, one overlaying the other. Each panel is fringed. There is one tassel hanging from the outer cape from centre back. The cape is lined with a cream cotton fabric. Measurements - Inner panel: Length neck to hem front 81cm; Neck to hem back 100cm; Circumference 158cm; Shoulder width 29cm. Outer panel: Neck to hem front 43cm; Neck to hem back 55cm; Circumference 114cmName in ink on lining at neck: capes, clothing

19 th C Chinese embroideryPartial piece of clothing in black silk with small floral motifs in purple, blue and green. Scalloped edge bound with black silk bias.

Unkown, possibly Chinese from 1930'sCream satin Rouleau piping creating a pair of cuffs and filled with needle lace stitches in silk thread.

Unkown, possibly Chinese from 1930'sCream satin Rouleau piping creating collar and filled with needle lace stitches in silk thread.

One of two children’s kilts with bodices owned by Heather White and Sandra Hooker (nee White). The Fletcher Jones kilts were made in the 1960s and are in two different tartan designs. They were designed to be lengthened as the children grew by adjusting the hem of the bodice. An original clothing tag (NWM-9154) features a poem about this, which was greatly treasured by Sandra as a child. Three sisters, Sandra, Heather and Melinda, all had kilts as children growing up in the 1960s on a sheep farm near Torquay. The kilts were worn on special occasions, with woollen jumpers worn on top of the bodices. Photos show Heather (aged 8) and Sandra (aged 6) with their younger sister Melinda (aged 1), wearing the kilts at family farms “South Beach” and “Lambidgee”, both near Torquay, in 1965. The kilts were purchased by the children’s grandmother, most likely from Fletcher Jones in Geelong, and were highly valued by the family. This kilt belonged to Sandra.Woollen tartan kilt with cream coloured silk v necked sleeveless bodice attached. Kilt is green, red, yellow and cream. printed [label]: FLETCHER JONES AUSTRALIA / PURE WOOL / CREATED BY / Fletcher Jones / AUSTRALIA / F. J. DRY CLEANING & REPAIRS / SERVICE WILL CARE FOR / THIS GARMENT always fletcher jones, kilts, family life, farming, 1960s, fashion, children's fashion, children's clothing, tartan

The kurti, a shorter version of the traditional kurta, has evolved over centuries from ancient Indian, Central Asian, and Mughal influences, originally designed for practical comfort. Historically, it served as a versatile tunic, often worn as a blouse or jacket by women. Ancient Origins: The kurti is believed to have roots in the ancient Indian subcontinent, descending from the tunics of the Shunga period (2nd century B.C.). Mughal Influence: The Mughal empire introduced variations, including the salwar kameez and Anarkali, which influenced the looser, comfortable style of the modern kurti.Kurta style top/blouse (from the Indian sub-continent) in shot purple/blue silk. Ari (Tambour) embroidery embellished with beads, rayon and metallic threads.

Paisley shawls were a fashionable item of women's clothing in Europe during the late eighteenth and nineteenth centuries. Many were made of intricately woven and delicate wool, as well as examples being printed onto silks, wools, and cotton. These pieces were highly decorative. Although now known as the Paisley pattern, the teardrop motif originated in Persia and India. There are various theories about the early history of the paisley motif, and it would appear that it originated in Iran during the early first millennium AD. At this date it was a bulbous, almond shaped form, which was often flowery and without the prominent hook so common in later examples. This motif is specifically known as a buteh. The end of the 17th century saw the hooked buteh becoming a popular motif in neighbouring Mughal India (c. 1526-1857). It was used especially on the fine woollen shawls that were hand woven and sometimes embroidered in Kashmir in northern India. The motif travelled from India to Africa, Southeast and East Asia, but in particular to Europe. In the late eighteenth century, the buteh became even more popular as it was featured on the Kashmir shawls that were being exported in vast quantities to Europe. Joséphine de Beauharnais, wife of Napoleon Bonaparte, for example, is said to have owned over 200 of these shawls. The buteh or paisley motif is actually one of the few non-geometric design forms that can be found throughout the world. It is worn by men, women and children of all ages, literally from the cradle to the grave. Moreover, it is worn by people of many different ethnic and cultural backgrounds. Silk/cotton paisley shawl with fringe. Cream background, brightly coloured Paisley motifs on borders, pieced borders - ? recycled from another item.

Machine knitted vest with hand crochet edging C 1900Machine knitted peach coloured silk vest, crochet edging at armholes and neckline with a gathering tape around neckWinifred J H14 on tag applied to back

The waist coat belonged to a relative of the Baroness Felicitas Wiedersperger of Tzouitz, Czechoslovakia. It was purchased in London early in the 19th century.Black corded silk material embroidered with tiny sprigs of two styalised flowers in horizontal rows with embroidered spots in between. The lapels and pocket tops have a linear floral design. Colours used are greens, pinks, yellow and a purple/red. Lined with a rust coloured twill cotton. Front part only of a man's waist coat. Seven black silk covered buttons.embroidery, surface stitchery, garments, early 19th century, european, silk embroidery

Fine silk night dress in a heavy cream, decorated at neck and hem with matching applied net and embroidery.embroidery, garments, surface stitchery, 1920-40, australia

A dress of black silk and net, decorated with a complex design of jet beads of various sizes. Dress is a larger than usual size for this type of work. Hand strung and beaded garments, beading, 19th century, dress, beadwork

Tibetan felt hats, typically made from wool felt crafted from sheep or yak wool, are well-suited to the harsh, cold climate of the Tibetan Plateau. A lining and decorative elements, such as embroidery or patterns, are often added. The fur flaps, made from rabbit or fox fur, provide extra warmth. Felt hats are worn by both men and women.Tibetan hats (also known as ‘chuba hats’ or ‘tsamtha’) are rich in cultural significance. They are often worn during religious ceremonies, festivals, and other important occasions. The design and quality of a hat can indicate the wearer's social status or role within the community.Traditional Tibetan hat with silk brocaded crown; it has dark brown background, and silver and beige flower pattern, the fur flaps are of ruse colour.everyday life, clothing, hats

Tibetan felt hats, typically made from wool felt crafted from sheep or yak wool, are well-suited to the harsh, cold climate of the Tibetan Plateau. A lining and decorative elements, such as embroidery or patterns, are often added. The fur flaps, made from rabbit or fox fur, provide extra warmth. Felt hats are worn by both men and women.Tibetan hats (also known as ‘chuba hats’ or ‘tsamtha’) are rich in cultural significance. They are often worn during religious ceremonies, festivals, and other important occasions. The design and quality of a hat can indicate the wearer's social status or role within the community.Traditional Tibetan hat with silk brocaded crown in dark and light brown colours, with orange and green flower pattern, and large fur flaps.everyday life, clothing, hats

Tibetan felt hats, typically made from wool felt crafted from sheep or yak wool, are well-suited to the harsh, cold climate of the Tibetan Plateau. A lining and decorative elements, such as embroidery or patterns, are often added. The fur flaps, made from rabbit or fox fur, provide extra warmth. Felt hats are worn by both men and women.Tibetan hats (also known as ‘chuba hats’ or ‘tsamtha’) are rich in cultural significance. They are often worn during religious ceremonies, festivals, and other important occasions. The design and quality of a hat can indicate the wearer's social status or role within the community.Traditional Tibetan hat with silk brocaded crown in blue and purple colours, with red and white flower pattern, and large fur flaps.everyday life, clothing, hats

Tibetan felt hats, typically made from wool felt crafted from sheep or yak wool, are well-suited to the harsh, cold climate of the Tibetan Plateau. A lining and decorative elements, such as embroidery or patterns, are often added. The fur flaps, made from rabbit or fox fur, provide extra warmth. Felt hats are worn by both men and women. Tibetan hats (also known as ‘chuba hats’ or ‘tsamtha’) are rich in cultural significance. They are often worn during religious ceremonies, festivals, and other important occasions. The design and quality of a hat can indicate the wearer's social status or role within the community.Traditional Tibetan hat with silk brocaded crown in blue, red and golden colours, and large fur flaps. The TFG initials written in ink inside.everyday life, clothing, hats

Catherine Waite married Hugh Hyndman in Albury in 1929 at the age of 23 years. She was a great granddaughter of John Waite and Mary Ann Robinson who settled in “Bungil” and became pioneers of the Upper Murray region of Victoria. John Waite was born in 1771 at Gravesend, Kent, England. He arrived in Sydney on 7th May 1804 from Sevenoaks, Kent, England on the convict ship "Coromandel" having been convicted of stealing two sheep. He was assigned to Dr Charles Throsby, surgeon, land holder and inland explorer. John Waite was granted an absolute pardon in 1818. John married Mary Robinson on 14th April 1812 at Windsor, NSW. Mary was the daughter of a member of the NSW Corps and an emancipated convict. John and Mary went on to have 14 children. The family of John Waite formed strong connections with the Hore family which also became prominent in the Upper Murray, Albury and Wodonga. John Hore (Hoare) Snr. of Wexford County, Ireland, was a volunteer in the English Navy for four years before being sentenced to death for mutiny. On appeal this was commuted to seven years’ transportation to Australia. In Australia several marriages occurred between the two families. After the journey of Hume and Hovell to Victoria, John Waite and the Hore family sought pastoral land further south. John Hore Jnr and his brothers Andrew, William, Thomas and Charles all settled in the Upper Murray. John and Elizabeth's son John Hore Jnr married Elizabeth Waite, a daughter of John and Mary Waite. This forged a family connection that would have an influence on the Upper Murray for generations to come. John Waite formed the Bungil run for his son-in-law John Hore, acquiring land through the Robertson Land Act of 1861 which enabled land owners to use relatives as "dummies" to help acquire land. When the “dummy” defaulted on the rent John Hore and other landowners were able to buy the land at reduced prices at auction. In this way the Hore family and their relatives established a large pastoral empire in the Upper Murray, including Bungil, Wagra and Cumberoona. Catherine Waite was born in Albury, NSW in 1905, great granddaughter of John Waite Snr and Mary Robinson. In 1929 she married Hugh Hyndman who before migrating to Australia from Northern Ireland had worked on the construction of the Titanic at the dockyards in Belfast. This dress is significant because it was worn by a descendant of two important pioneer families of the Upper Murray Region of Victoria.A wedding dress from the late 1920s made from peach coloured silk and lace. The bodice and sleeves feature a lace overlay which is repeated from hip length. It is matched with cloche style hat made from matching lace and decorated with ribbon, flowers and a bow.1920s wedding dress, waite family, hore family

Wine red brocade. The decorative panel is embroidered in Peking knot stitch outlined in metal thread. Blue and cream threads. Border in blue silk, embroidered cream band and woven ribbon. Cotton waist band. Lined in emerald green. Pound sign 5-15-0 written in pencil on waistband.embroidery, garment, silk embroidery, china, 19th century

Cream silk damask scanties with triangles of shadow work and pulled work, edged in fine buttonhole. All seams hand stitched.embroidery, silk, underwear, slip & pants