This item of military uniform was worn by Squadron Leader (SQNLDR) Bernard Farley during his period of Full Time service in the Royal Australian Air Force (RAAF) between 27 January 1976 and 02 March 1997. Bernard joined the RAAF as an Airmen was trained and employed as a Clerk Supply (CLKSPL) between 1996 - 1977. He undertook officer cadet training at the Army Officer Cadet School in 1978 and was commissioned into the Ground Defence Category on the 09 December 1978, where he served for 18 years and rose to the rank of SQNLDR. Royal Australian Air Force (RAAF) Service Dress Uniform - Shirt (Blue blue). This uniform tie was worn in the period 1966 - 2001 as the primary uniform. Service Dress was approved for wear as either ceremonial dress or working dress when employed in office or business type environments. The tie was dark blue of medium width and has a tetron lining inside the wide end and no lining at the narrow end. Maker: Australian Defence Industies

Sepia photograph of wedding group. Two men in three piece suits, white shirts, ties and buttonholes, one seated centre, one standing behind him. Two women, one wearing headdress with veil and carrying large bouquet. Other woman carries smaller bouquet and wears wide band. This woman is seated. Interior setting. Confetti on floor, decoration on R background. Mounted on fawn board.person, group, wedding, also photocopy

Photograph of four unknown women in a formal pose having a garden party. Two of the women are seated and one is posed on the ground, the seated lady on the right of the photo has an opened book on her knee The three seated women are dressed in long frilly formal dresses, and the lady standing also wears a hat. They are seated in a fernery, there is a trellis visible in the background and a portion of a weatherboard wall on the left hand side.person, group, garden party, garden party

Mrs Charlotte Anderson was born Charlotte Eliza Alsop in England in 1838 and arrived in Australia in 1848. She married lawyer James Anderson in 1864, and in the year of his death in 1878 she became the founding owner-Principal of Ruyton Girls' School, Kew. Mrs Anderson operated Ruyton initially in her own home of 63 Bulleen Road, Kew (now 63 High Street South). According to Ruyton histories, Mrs Anderson is said to have begun the school with her own two sons, four daughters and some of her Alsop nieces and nephews who resided in Kew. Around the time of the addition of Maud King, the first student outside the family, the school changed to a 'Ladies College', and the boys were sent elsewhere for their education. By late 1881 Mrs Anderson began using the name 'Ruyton' for the school, in honour of a connection to Ruyton-XI-Towns, Shropshire, England where her great-grandfather had been vicar and where she was baptised. In 1882 Mrs Anderson moved the School to Edgecomb in Studley Park Road from 1882-1888. The larger premises enabled her to begin accepting boarding students from 1882. She retired due to ill health and sold the school to her friend Miss Eliza Bromby. Mrs Anderson lived at 'Bongamero', in the King Valley, Victoria until her death in 1906. She is buried in Boroondara Cemetery. One of Ruyton's four Houses, Anderson, is named for Charlotte Anderson. Artwork AC/0099 is a framed reproduction photograph of an original portrait of Mrs Anderson, c.1900-1906. The location and date of the original photograph is unknown, but may be held among Ruyton papers at the State Library of Victoria (MS 12079). The reproduction was probably created to be part of the gallery of Principals and significant people for the Conference/Boardroom, Henty House.A framed, black & white reproduction of a photographic portrait. The portrait shows the head and shoulders of a middle aged woman wearing Victorian-era clothing including a dark ribbon tied around her collar. She wears a lace cap on her head, and the cap's tail is draped around her shoulders. The woman's body is partially turned away from the camera, while her face is turned toward the camera. Plaque on frame: "Mrs Charlotte Anderson/ 1878-1888"charlotte anderson, ruyton, ruyton girls' school, kew (vic), bulleen road, high street south, studley park road, edgecomb, woman, school, teacher, principal, anderson, reproduction, 1990s

Light blue woollen beret with black synthetic binding around rim, attached to black cotton lining. United Nations badge is attached to front of beret in gold and white enamel, held in place with pin; badge depicts the globe surrounded by branches of an olive tree. Interior lining has diamond-shaped manufacturer's label stitched on. Beret has two black eyelet holes on wearers' right side. Interior label reads "HILLS/NEW-ZEALAND/made/PURE WOOL/BERET HOOD/UNITED NATIONS/PROPERTY/7 5/8"united nations, peacekeeping, blue berets, uniform, interwar

An abstract figure lies horizontally in the centre of flat and patterned fields of colour. The figure comprises of white, blue and burgundy. The colours in the background comprise of layers of green, blue, dark rose and dark green, which combine to make fields of maroon, aqua, dark green and textured dark blue. Mounted in brown matt, framed in silver painted wooden frame, with red undercoat showing through areas of wear.Front: J Courier (lower left) Reclining figure (lower right) (pencil). Back: Artist J Courier 368 Toorak Rd Sth Yarra. Title: Reclining figure. Price $90 framed, $70 un-framed.abstract, figure, print, nude

Report on W6 class tramcar No. 977, 40 pages including appendices and charts, plus one bound drawing and one loose drawing, titled "Dynamic Braking on Tram No. 977". Dated 10 September 1954. Report looks at the effectiveness, wear, use and suitability of dynamic braking on trams. Gives results with comparisons to other tramcars. Document bound within a manila cover stapled with red adhesive tape.trams, tramways, preston workshops, reports, tramcars, w6 class, braking, tram 977

In the early 19th century, infant gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over twenty-five gowns dating from the 19th and 20th centuries. This gown was worn by one or more of the Weir children.This is one of ten items of clothing, worn by infants in the Weir family of Broken Hill between 1899 and 1910. They are part of the larger Weir Family collection of clothing, documents and photographs gifted to the Kew Historical Society by their descendants. Due to their known provenence, the gowns are historically and aesthetically significant in that they can be accurately dated to an 11-year-period, allowing other comparable items of infant's and children's clothing to be dated to an earlier, silmilar or later period. They also exemplify the styles and decorative techniques used for christening gowns, infant's and children's clothing of the period.Long, white cotton infant's gown. This high-necked gown with elbow length sleeves is less ornate than the three christening gowns in the Weir Family Collection, indicating that it was used for daily wear by one of the Weir children in the first six months of their life. The looser ruching at the waist would indicate a later date in the period 1899-1910. The gown includes a tie at the waist and a ruffled band forming the hem.Nilchildren's wear

Khaki shirts issued in Malaya. British Pattern. Collection re G.A. JONES 3790932. Refer Cat No. 10053.2P.1. 2. 3. Shirts, work wear style. Khaki colour, heavy weight cotton drill fabric. Collar, shoulder epaulettes, long sleeves with cuff and button. Khaki coloured plastic buttons. Two front patch pockets with button down flap. Long shaped shirt tails. Manufacturer's information - white collar cotton fabric, back below collar. Handwritten information on label and collar.Manufacturer's details, black ink print. 1. 2. 3. "FAULAT, BELFAST/ SIZE 5/ 1954 ^". Handwritten information - red ink pen on label, - black ink pen on collar. 1. & 2. "JONES G.A." 1.2.3. "0932". uniform, army, shirt, g.a. jones

The practice of wearing emu plumes in hats began with the Queensland Mounted Infantry. It is thought to have begun when the unit was engaged in suppression of the Shearers’ Strike of 1891. It remained a Queensland tradition till 1915 when other AIF units of the Light Horse began to do the same. After some dispute and discussion, the practice was approved provided the soldiers paid for their own plumes. Some regiments did not take up plumes: 6th and 7th LH continued to wear wallaby fur puggarees; 4th LH refused plumes because of the association with anti-unionism. The post-war militia adopted plumes and today all Royal Australian Armoured Corps (RAAC) regiments wear emu plumes in slouch hats. In the 1950s 8/13 Victorian Mounted Rifles and some other RAAC regiments wore an emu plume tuft behind the regimental badge on black berets. Framed Emu feathers with the use of, with news item on history of the Light HorseKangaroo feathersmilitary, light horse, queensland, plumes, emu, wwi, world war one, hat

This cream and green patterned vest is said to have been made for William Herbert Teal as part of his "trouseau" on the occasion of his marriage to Daisy Edith Davis on April 14th 1916 at St. Peter's Church, Merino, Victoria, Australia. It is a handmade waistcoat but it is not known who made it. William Teal was born in 1889 to Elijah Teal and Isabella Campbell Reid in Camperdown, Victoria and after marrying, William and Daisy also lived (and worked as farmers) in the Camperdown area. They had seven children. Daisy died in 1962 and William died in 1975. A wedding portrait of William and Daisy shows William wearing a dark suit consisting of a single breasted coat, trousers, good shoes, gloves and a shirt with a stiff, high collar, however if he is wearing this vest, it is unfortunately hidden under his coat. Although by 1916, men's "ready to wear" clothing were widely available, this waistcoat was handmade (possibly by his mother or sister or future wife) and has been preserved by his family for almost one hundred years. Men's suits in the early part of the twentieth century were predomininantly three piece, consisting of a jacket, vest ( or waistcoat) and trousers made from matching fabrics. On special occasions (such as a marriage) the groom might also wear gloves and have a flower in his buttonhole. Some men liked to wear a watch attached to their waistcoat with a fob chain.This item is of significance as a rare example of a man's vest that was made for a special occasion (William Teal's marriage in 1916) and preserved by his family for several generations.Man's handmade vest with a green and cream patterned brocade front, trimmed with green cord around the edges and featuring four inset pockets (also trimmed with the green cord). It has six buttonholes down the left front edge (plus a hand embroidered buttonhole to hold a fob chain) and six corresponding holes for shank buttons (which are missing) down the right front edge. The back and lining are made from cream cotton fabric. The back has a centre seam and a strap with a metal buckle with prongs (to allow for adjusting the length). The cream lining and back display some discolouration and brown marks.flagstaff hill maritime museum and village, great ocean road, warrnambool, camperdown, merino, teal family, william herbert teal, daisy teal, daisy davis, waistcoat, man's waistcoat, vest, wedding, handmade vest, wedding clothes

Black and white group of eight adults in a line. Men (four) wear dinner suits (white ties and tails) and are holding monkey masks to resemble the :Monkey Brand: appliance cleaning product they are advertising or using in a theatrical performance. The four women wear black, knee length dresses and are dressed as maids, with white 1/2 length aprons and white caps. They have the 'Monkey Brand' advertisement pinned onto their aprons and are holding another cardboard ad. (the same one) suspended from a block. Four clean saucepans on floor at men's feet. Inscriptions: in image - the same advertisement seen eight times - Monkey Brand Won’t Wash Clothes. On board: front - Kalma 57 & 59, Pall Mall, Bendigo. Back - (hand written, J Dean, Joe Borrell, John Borrell, F Donaldson. Second line of names on back - A Hurst, Kathleen Dixon. In lower LH corner, brand indentation (photographer?)/Kalma, 57 & 59 Pall Mall, Bendigoperson, group, theatrical group?, see also 2001.334.01

A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Women's Village/Travel Uniform designed by Wendy Powitt. On the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The village clothing was designed to be a highly visible garment meaning that it was easy to "Spot the Aussies" and helped to contribute to a good team spirit. Blocks of contrasting colours were a feature of the pure wool shirts. A newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.8118.1- A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic women's Village/Travel Wear Uniform. The main drawing shows the design for a pair of yellow shorts with a yellow and green printed, striped shirt, cinched at the waist by a brown woven belt. At the bottom of the page is a detailed drawing of the weave of the belt with an Australia shaped belt buckle. A small drawing to the right of the main image also details a small bag/pouch that attaches to the belt. 8118.2- A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic women's Village/Travel Wear Uniform. The main drawing shows the design for a pair of yellow shorts paired with a block colour shirt in green, red, white and yellow with a symbol in the shape of Australia on the right side of the shirt. There are small detail images of shorts and a skirt to the left of the main image and a detail drawing of a brown leather shoe to the right.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform

See Item 11000.189Photo of shop Front Display Window: A black and white photo of large open windows with a central door. In the window on the left side wall is a display sign with *Hanro* A stand along display sign with a golfer swinging a club and two golf balls near by. Casual wear and shirts are displayed around with spools of thread. A Chair with cardigans is also displayed. Some plants are in the window and in the front is a sign with *Benknit Sports Wear for men and women, Product of Hanro (Aust) Bendigo Knitting Mills Pty Ltd. In the right window is a display of lingerie with yards of material draped through out the window. At the bottom of the photo is the imprint of the photographer *Bartlett Bros, Bendigo. A small tear at the top middle. The reflections in the windows is of the veranda with a lamp hanging from underneath and trees. On the back is the circular *Royal Historical Society of Victoria Bendigo Branch in blue ink. At the right top side in black ink in *MP368*. Box 116ABartlett Bros, Bendigo.photograph, streetscape, window display, hanro.

The photograph provides details relating to the student's dress and deportment in 1909. The girls wear full-length dark skirts with wide belts and white blouses. The blouses are not uniform but feature high necks, cuffed sleeves and lace decoration. Their hair is elaborately coiffured and adorned with large bows. The teacher is wearing a mortar-board and academic gown. Her skirt of light-coloured. The photograph has social significance due to its representation of fashions for young ladies in 1909. Black and white photograph with grey mount featuring the Clarendon Ladies College Form VI (Intermediate and leaving) class in 1909. Students are arramnged in three rows - first row on floor, second row seated and third row standing. 18 students and one staff.Printed on bottom left corner of front of mount: Richards & Co/Ballarat; Handwritten on back of mount: Clarendon/Form VI (Inter & leaving)/1909/E.L.R.1909, clarendon ladies college, richards co

These Badges were awarded to personnel who were injured, sick, or disabled and were subsequently invalided discharged or to older soldiers who retired during the course of the war - First. The Silver War Badge was worn on a lapel of civilian clothes to show that the recipient had served. The wearer of the badge was required to carry and produce his/her stamped discharge certificate. The Silver War Badge is an original, according to the number on the back of the Medal A90684 it has been issued to an Australian ex Serviceman/WomanA round stirling silver BadgeFront - For King and Empire, Services Rendered - crown -GRI Back - A90684silver war badge, ww1 issue

This hat was worn by Martin Balsarini. Martin was a First World War veteran of the AIF Light Horse. He fought in the battle of Bersheeba. It is thought that Martin assembled this hat from various pieces to wear after the war on his property in Chiltern Valley. The hat is composed of different elements, including badges from various times and places and a set of emu feathers. chiltern, light horse, wwi, aif, martin balsarini

Growing up in Sandringham, Joy Bosomworth learned to sew at the knee of her mother Elsie Myra Keefer, a seamstress. By the time she was an adult, she was making most of her own clothes. She made this shot velvet evening dress, along with a matching stole and bag, in 1961 to wear to a ball at the Royal Melbourne Hospital, where she worked as a radiographer. An evening outfit consisting of a matching dress, stole, bag and gloves. Sleeveless one-shoulder evening dress of blue velvet shot with metallic red. The dress is gathered at the proper left front waist and is lined with red synthetic fabric. Fastens with a zip and hook at the side. Stole of blue velvet shot with metallic red, lined with red synthetic fabric. Handbag made from blue velvet shot with metallic red. The bag has a gold metal frame and clasp, with a shot gold metal chain attached. The interior is red synthetic fabric, with a single side pocket. Elbow-length red nylon evening globes.joy myra bosomworth, joy myra keefer, evening dress, ball gown, 1960s

Issued to female ambulance officers when females were first accepted as ambulance officers. These items of uniform were exceptionally unpopular with female staff who wanted to wear trousers. They were withdrawn from service after just a few years and replaced by trousers. Source Chas Martin AHSV curator. This pair was worn by an Ambulance Officer named DeleineBlue pair of pleated culottes

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 dress was owned and worn by Kew resident, 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.Cream silk evening dress with applied ribbon and flowers. The dress has a high round neck and buttoned sleeves and cuffs. It has a zip at the back with hooks and eyes at the neck.mcintyre collection, women's clothing, evening wear, australian fashion - 1970s, evening dresses, dione mcintyre

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This evening dress is one of a number of items donated by Teresa Mayer.Full length black lace evening dress with a fitted black silk lining. The ‘v’ necked gown has a very full skirt. The lace has an abstract floral pattern. The garment has been dated to the 1930s.women's clothing, australian fashion - 1930s, evening dresses, evening wear

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. Cream coloured taffeta wedding dress with long leg of mutton sleeves and bustle women's clothing, fashion and textiles collection - kew historical society, wedding dresses, mcintyre collection, dione mcinytre, fashion design, 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.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. Elegant ice green coloured sunray pleated sleeveless dress. The dress comes from the earliest period of Prue Acton's design career [1963-91].Label: Prue Actonaustralian fashion - 1960s, women's clothing, day wear, mcintyre collection

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. This dress is one of a number donated to the collection by Rosemary Vaughan-Smith. Full-length cream and purple paisley pattern evening dress.Nilwomen's clothing, caftans, evening dresses, australian fashion - 1960-1969, rosemary vaughan-smith, 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 dress is one of a number donated to the collection by Rosemary Vaughan-Smith.Full length multi-coloured striped satin dress cut on the bias. This style became popular in the 1930s.women's clothing, australian fashion - 1930s, evening dresses, rosemary vaughan-smith

To identify AFB staff members, a name badge was struck.. Names were printed in black on a silver background, with the logo of the Association for the Blind - in black - to the left of the logo and above the staff members name. The words 'Association for the Blind' sit to the right of the symbol, whilst 'Braille & Talking Book LIbrary' is located beneath the wearer's name. This badge was donated by Rose Blustein. 1 plastic name badge with AFB logoassociation for the blind, badges

Legacy celebrated its Centenary in 2023 by conducting a Torch Relay from Pozieres in France, to London, and around Australia, ending in Melbourne on 13th October 2023. Torchbearers were supplied with a white uniform, socks and hat to wear during the relay. These are additional commemorative socks produced by the Torch Relay committee (organised by Legacy Australia Inc) and given to Melbourne Legacy.An important part of Legacy's history was the commemoration of its centenary.White socks with Legacy 100 on them and the Torch emblem.torch, relay, centenary

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 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. Long white raw silk dress with beading and sequins applied to a high neck and short sleeves.women's clothing, australian fashion - 1960s, evening wear, mcintyre collection, dione mcintyre