Clothing. Women's black embossed silk bodice. Part of two piece set (skirt 11410.2). Stand up lace collar (7 cm) boned on either side and edged with cream coloured lace. Collar fastened at centre back with three metal hooks and eyes. Front opening left of centre fastened with eight metal hooks and cotton loops and three across the left shoulder. Crossover section at front is pin tucked below the neckline and is tapered into the waist with centre pleats. Both sides of the crossover have decorative beading along the edges. The inner layer of the bodice is fastened at centre front with 15 metal hooks and eyes - alternating directions. The bodice is shaped from the waist with 9 boned casings. The back is shaped in at the waist finishing with two U shaped tails (11cm X 8cm) with V shaped tails (4 cm X 6cm) on either side. The waistline and tails are finished with a double row of decorative black beading. At the waistline at centre back are three metal hooks to attach bodice to skirt. Long sleeves are gathered at the shoulder, shaped at the elbow tapering to the wrist. Below the wrist is a two piece cuff (13cm X 7cm) with decorative black beading. The bodice is fully lined with light brown cotton fabric with grey splash pattern. Historical Notes: This bodice and skirt belonged to Elizabeth Graydon (nee Richardson). Photograph of Elizabeth wearing this outfit (11410.3).costume, female, women's black silk bodice

Tilly Aston, possibly in her thirties, holding a bunch of slighly drooping roses in one hand as she rest upon a table, and a fan in the other. She sits in a chair, leaning forwarded, head tilted towards the flowers, dressed in a black evening gown with elaborate jet beading on the bodice and neckline, and black lace cuffs paired with long white evening gloves. Despite her dress, her hair is held back in a simple clip and she wears small silver sleeper earrings. Image made in black and white, sepia and reverse black and white. Original not held.B/W photograph in various tonestilly aston, association for the blind

Displayed at History HouseHand-made fabric doll. Cotton body (stocking material?), cotton print fabric (red and white flowers and squares on black background) for dress. Embroidered belt (green and gold), bonnet and cuffs. Felt boots with blue and green stitching. Beading at base of skirt in red, white, green, yellow and clear beads (plastic). Stuff with dried plant material. Red ribbon tied around waist. Curly brown hair (human?). Embroidered face.toy, doll, childhood

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.Late Victorian black cotton bodice with narrow sleeves. The creator of the bodice has made extensive use of beading at the front and on the sleeves. The bodice is unusual in that it includes an overlay at the front of black sequined tulle over a cream silk insert. The bodice has a black velvet waistband. The edging of the bodice includes pin tucking. Two long 'swallow tails' of lace (sic) hang from the neck of the bodice at the front. The bodice was owned by one of the donor's maternal ancestors.australian fashion, women's clothing, bodices, lace, victorian fashion, micky ashton

Williamstown Military competitions physical training awarded to A Coy 64th Battalion the winning team Aug 4th 1917Silver cup enscribed with decorative flowers and leaves. The cup has been sebarated from its base, a clean break through the stem. The top of the stem has some small beading and slopes away gently toward the break. The base of the cup, again has beeding and the base flairs away from the stem. The tope of the base is decorated with roughly engraved flames . The cup has two ornate scrolled handels and is showing some oxidisation on its surface.Williamstown Military competitions physical training awarded to A Coy 64th Battalion the winning team Aug 4th 19175-6 rvr, 5/6 rvr alpha company

Silk, satin, fully lined with silk (?). Eleven bones, ranging in length from 10 - 12 cm long, taper the bodice to the waistline. 15cm wide panels of beaded net come from the high back waistband, over the shoulder to the front waistband. These are loose panels with linear beading, and more decorative beading over the shoulders. Centre front panel has a net overlay, sheer above the bustline to the throat, with a 16cm high net stand-up, mandarin collar, edged in lace, and outlined at the throat with a row of tiny jet beads. Cotton perspiration pads under the arms.A beaded '' butterfly'' shape sits over the bustline where the sheer lace panel begins. Below the beaded motif, five roulet knotted and loops fasten into the finest of metal loops to close the bodice. Silk ''over -sleeves'' also have three roulet looped decorations at each edge. Below the elbow length ''over sleeves'', a double layer of net sleeves-the top layer finished with seven rows of tiny jet beads, the lower wrist length net sleeve, finished wit one row of tiny jet beads, and a two cm net fill. Beading and an embroidered ribbon flower trim the back centre net panel, and a roulet looped trim, sits at the centre back waistline. An extension of the beaded over -the-shoulder panels falls in a rectangular shape 38cm X 23cm. The front extension of the ''over the shoulder'' beaded net, falls in two oval shapes - one either side of opening 24cms long. A 4.5cm band of three pleated silk encircles the waistline.Waterfield, 14 Gleghow Terrace, South Kensington. ( Label on tape fastens around waistline).costume, female, black silk satin beaded bodice

Handmade decorative wall hanging, possibly made in the late 19th or early 20th century.Pictures like this handmade example of 9th or 200th century craftwork were often used as decorative wall hangings in the home. Currently there is no connection of this work with people, places or historic events.A picture with a small black and white print of a country landscape and house mounted on embroidered and beaded yellow fabric.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, picture, embroidery, landscape scene, beading

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women.This item is unique, handmade and has a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of social and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history and women’s history.Bronze and gold embroidery and bead work on black mesh.needlework, beading, sewing, sew, hamilton-smith collection, hamilton-smith, ellwood, handmade, domestic, women, women's history

Belonged to Kathleen Marjorie Dunn (nee McKenzie)Formal day dress in black crepe. It has a round neck and short set-in sleeves. The front opens from neck to waist and has four self-covered shank buttons. The bodice is slightly gathered at two points front and back. The skirt is gathered centre front with seven rows of shirring. The bodice features six arabesques in black and white beads. The skirt has two false pockets with similar beading. A small vent at the left waist closes with a hook and eye. The dress is machine sewn with a hand sewn turn-up on the hem.Nonecostume, george evans 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

Four-piece wedding outfit comprising bodice, belt, skirt and separate train all made of cream figured wool. The bodice has a centre front ruched panel, stand collar and a fitted two-piece sleeve with full gathered head. It is trimmed with cream-coloured beading with pearl drops. The bodice has seven interior bones and is fastened with metal hooks and hand sewn eyelets which are concealed under the front panel. A separate pleated belt fastens centre back. Plain gored skirt with separate train that ties around the waist.wedding dress, 1890s fashion

Clothing. All-over beading means that this is quite a heavy little bag. Rectangular in shape with rounded corners on the bottom, and diagonally cut at the top corners, the bag has a zipper closure, a small 5 cm long beaded loop attaches to the zipper for ease of opening and closing. Lined with cream satin, there is an 11 cm long pocket in one side, containing a small mirror (7.5 x 5 cms). A small piece of confetti may indicate that this bag was used at Aileen and John's marriage. Beads cover the entire bag - on the front they are sewn in a swirling looped and floral design.costume accessories, female, pearl beaded clutch bag

Clothing. All-over beading, means that this is quite a heavy little bag.Rectangular in shape, with rounded corners on the bottom, and diagonally cut at the top corners. The bag has a zipper closure, a small 5 cm long beaded loop, attaches to the zipper for ease of opening and closing. Lined with cream satin, there is an 11 cm long pocket in one side, containing a small mirror (7.5 cm x 5 cms). A small piece of confetti inside may, indicate that this bag was used at Aileen and John's marriage. Beads cover the entire bag - on the front, they are sewn in a swirling looped and floral design.costume, female, pearl beaded clutch bag

Calf length, waisted purple dress of synthetic crepe fabric with elbow length sleeves. U shaped neckline at front. High rounded neckline at back with centre 8 cm opening fastened with two hooks and eyes. Decorative beading at centre of bodice. Flower and leaf patterns. Bodice has two small pleats at waistline on each side . Padded shoulders. Side opening at waist on LHS with 20 cm metal zipper. Same fabric belt with 4 cm fabric covered buckle of different purple colour. Front of skirt has eight gored panels from the waistline. Back of skirt has three panels. Dress unlined.costume, female, calf length purple dress

This item is from the "Barone" Collection. "Barone" (also known as "Seaview") was a stately Brighton home built at 9 Moule Avenue prior to 1855 and demolished in 1986. The house's residents included Edward Elgin Browne (during 1859-72), a Melbourne tea merchant, and the family and descendants of retired Scottish Army captain Archibald Black (during the period 1880-1970). Its neighbors included “St Ninians” owned by the Ward- Cole family, “Seacombe” owned by the Moule family, and the home of James Grahame and his family. The items in the "Barone" collection were largely donated by two of the house's later owners, Mrs Doris Halkyard and Mrs Brian Brandt.Black silk satin, lace and beaded pelerine from c.1890. The pelerine features a silk high stand collar covered in black lace. It secures around the neck and down the centre front to the waist by seven hook and eye closures. A black lace frill extends down the centre front from the throat to the centre front tip of the garment. The shoulders feature a heavy, intricately beaded floral design open sleeve through which the arm would be visible. The sleeve finishes around the elbow in a point, however the beading hangs down to below the hip in a loose fringe. At the back from below the shoulder, the garment shapes in to finish in a tapered 'V' shape over the wearer's coccyx. There is a hand stitched "M" in white thread on the inside lining of the pelerine near the neck.pelerine, brighton, barone, seaview

Clothing. Rounded neckline at the back, deeply scooped at front. Back fastens with 12 metal hooks and eyes. Back hemline is slightly shirred to nip in the 67 cm waistline, which is peaked at the cntre front. ''Leg-o-mutton'' type sleeves are gathered at the shoulder, and above the elbow, and finished with an 8 cm band of beading and sequin embroidery and a 4.5 cm black silk frill, and a frill of black lace, with an exquisite fruit and floral woven pattern. The neckline is trimmed with a deep lace and sequined silk overlay. Three velvet ''rosettes'' trim the centre front of the overlay. The silk bodice is shirred from just below the shoulders, to give fullness for the bustline sequins, tiny beads, velvet rosettes, silk chiffon frills.costume, female, black silk boned bodice with lace

Clothing. Wedding Dress - Bodice.Cream coloured bodice of wedding dress. ''Japanese silk with transparent yolk of chiffon tucked Russian Body'' ( Quote from newspaper of the day).Long pintucked sleeves. Fine ribbon trim and bows at wrists. Two flounces of silk, trimmed with ribbon at elbows. Front panel fastened at side with metal hooks and hand made loops, to show a centre panel trimmed with chiffon frills. Pearl beaded motifs at front. Sash at waistline ties at the side - finished with pearl beading, and and a stand up chiffon collar. Worn by Mary Smith who was the daughter of Felix Smith. He built the Wycheproof Court House, Post Office and Royal Mail Hotel. Mary and John Keane lived in a mud brick house after they their marriage. See also 11400.75, & 11400.77.costume, female, wedding dress bodice

Clothing. Women's black embossed silk skirt. Part of two piece set(bodice 11410.1). A shaped skirt with 2.5 cm cotton fabric waistband with three hanging loops attached. Centre back opening (20cm) fastened at waist with two metal hooks and eyes. Two metal eyes on waistband for attaching to the bodice. The front of the skirt has two vertical sections of appliquéd decorative beading (38 cm X 5 cm). The hem of the skirt is edged with black satin binding. The skirt is fully lined with brown cotton fabric. At centre back below the opening is an internal pocket (40 cm X 8 cm) of lining fabric. Historical Notes: This bodice and skirt belonged to Elizabeth Graydon (nee Richardson). Photograph of Elizabeth wearing this outfit (11410.3).

Ladies black boned bodice of brocade fabric with floral pattern. Crossover front opening with internal centre fastened with thirteen metal hooks and eyes.Crossover section fastened on LHS with seven metal hooks and eyes covered by overlapping panel. Front of bodice is decorated with dense patterns of small black beads and black sequins. There are three vertical panels of beading. The centre panel is bordered with gathered ruffles of black ribbon (one cm wide). The overlapping edges of the side panels of the bodice are edged with gathered ruffles of black ribbon. The front panels of the bodice are lined with black cotton fabric. The back of the bodice is plain. The bodice has a straight edge at waist level with a cotton tape hem. The lower section of the bodice is boned with ten fabric cased bones distributed across the front and back, attached vertically from the waistband. A fabric belt (three cms wide) is attached at centre back four cm above the waist, inside the bodice. The left hand end of the belt has a metal buckle ( 3cmX2cm). The bodice has a 7cm stand-up collar fastened above the left shoulder with three metal hooks and eyes. The collar is densely decorated with small black beads and black sequins. At each shoulder is an epaulette decorated with beads and sequins and edged with one cm gathered ribbon ruffles. The long sleeves are shaped at the elbows with four cm beaded cuffs fastened with two metal hooks and eyes. Above the cuff is a four cm fabric flounce, a row of gathered ribbon ruffle (one cm) and a three cm row of beading and sequins. Sleeves are unlined.costume, female, ladies black beaded boned bodice.

Charlemont & Co., operated out of the Academy Studio, 114 Elizabeth Street from 1890 to 1898. The sitter’s identity has been established as a Mrs. Merritt. While we know that she is not the Mrs Merritt who was to be the wife of the future Mayor of Kew, there were two Mrs Merritts who were shopkeepers in High Street, Kew. Mrs Lucy Merritt operated a bootmaker’s shop, and subsequently a “boot warehouse” from 1888 until the 1920s. Miss Laura Merritt established a dressmaker’s shop in High Street in 1910. Her business also lasted until the 1920s, albeit changed to that of a bookseller and stationer. Silver albumen cabinet card by Charlemont & Co., who operated out of the Academy Studio, 114 Elizabeth Street from 1890 to 1898. In this portrait of Mrs Merritt, she is posed gazing directly at the lens, thus achieving a potentially more intimate relationship with the viewer. All that is revealed however in this supposedly more direct pose is her face. As with an earlier generation, her hair is centrally parted and flattened to accommodate her bonnet, which is surmounted by feathers. The detail in her coat-dress is sharply revealed by new photographic processes that allowed firms like Charlemont & Co., to capture greater light and shade, as well as the detail of fabrics. The entire garment is beaded with what is probably Parisian jet. The beading is arranged in a ‘paisley’ design. The paisley pattern was to become ubiquitous in the 19th century as a design on everything from carpets, to shawls, to clothing.Mrs Merrittcharlemont & co., mrs merritt

This bodice was part of the wedding outfit worn by Grace Burland at her marriage to John Henty Hindson in 1912. Her husband's grandfather, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew.The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Silk crepe wedding bodice decorated with Mechlin lace, pearls and jet, which was worn by Grace Burland at her marriage to John Henty Hindson in 1912. A report in Punch [12 September 1912] described her outfit as “... white crepe de chene finished with Mechlin lace and pearl trimming; also pearl crescent brooch (gift of the bridegroom' s mother).” Mechlin lace or Point de Malines is an old bobbin lace, one of the best-known Flemish laces, originally produced in Mechelen, Belgium. Used for women's clothing, it was popular until the first decade of the twentieth century. The high silk net neckline is finished with pearls. These are repeated on the loose fitted diagonal ornamentation on the front and back which is finished with pearl and jet beading. Similar ornamentation finishes the elbow length sleeves. [The wedding skirt is not part of the donation]. wedding dresses, women's clothing, fashion -- 1910s, bodices, grace burland

Yields information about an accident or collision between a tramcar and a vehicle late 1930's. Gives information about the damage to the tramcar and livery detailsSet of four Black and white photo prints from collected negative of Ballarat (SEC) No. 27 photographed in the depot yard after a collision with motor vehicle or possibly another tram, as the damage is at the roof line, where the two trams tend to hit before hitting at the bumper bar level. Thought to be late 1930's. 1367.1 - general view of the end cab showing the damage to the roof level, destination box and beading. 1367.2 - close up of the damage from one side. 1367.3 - side on view showing how the driver's windows have been pushed back. 1367.4 - close up of the damage from the opposite side to that of 1367.2 Copy 2 - of all above photos - large format prints (253H x 203W) - added 30/7/2007, ex Alan Bradley holding of prints, received 5/2007. See also Reg Item 3905 for a mounted set of these photographs along with that of Reg Item. 1364. .Negatives rescanned 17/5/2020 and image updated.tramways, trams, accidents, collision, damage, tram 27

This outfit from Sydney-based wearables label Iordanes Spyridon Gogos (ISG), was designed by Founder and Creative Director Jordan Gogos in collaboration with Akira Isogawa and other creative partners. The outfit comes from the ISG x Akira 2023 Afterpay Australian Fashion Week (AAFW) collection show presented at Carriageworks, Sydney 16 May 2023. Jordan Gogos is one of Australia's most innovative multidisciplinary artists. Preferring to describe his current designs as 'non normative', 'wearables for the imaginative' Gogos' work and practices have been influential in changing the conversation around clothing design, production and presentation by embedding co-collaboration, sustainability, diversity, and inclusivity in all aspects of his label. Born and raised in Tokyo, Japan before immigrating to Australia in 1987, Akira Isogawa is regarded as one of Australia's most innovative and successful fashion designers. In a career spanning over 25 years, Akira is perhaps best known for his contemporary interpretations of traditional Japanese clothing, and the quality of his craftsmanship. Isogawa has worked on a range of creative collaboration projects over the course of his career and was named Australian Designer of the Year at the Australian Fashion Industries Awards in 1999. The ISG x Akira collection show presented at AAFW resulted in a collection of 40 looks featuring digitally printed, compressed and patchworked garments with applique, embroidery, beading and origami. Made from deadstock and archival fabrics, accessorised with unique headpieces and footwear designs, the looks were presented in a theatrical collection show amid a colourful runway piled high with upcycled textile artworks and trojan horses signifying Gogo's Greek heritage, signed by Akira in red calligraphy. The models included people with diverse gender identities and body shape and size. - Kristina StankovskiOutfit consisting of a headpiece, top, skirt and shoes (pair). The fabric of the hat, top and skirt has been quilted and stitched together, and is of grey, white, black and yellow hues. The top has two sets of ties which fasten at the back of the waist. The skirt and top feature gold medallions which show a trojan horse and lettering. The shoes are lace up boots and include hues of fluro pink and yellow, as well as white, black and grey. The boots are lined with black vinyl. As part of this collection, this record includes six quilted squares of material created as test patch/samples of fabric used to create the outfit, and two test gold medallions. 9014.1 Headpiece 9014.2 Top 9014.3 Skirt 9014.4 Boots 9014.6 Six fabric sample squares 9014.6 Two gold medallions[printed on gold medallions] IORDANES SPYRIDON GOGOSjordan gogos, iordanes spyridon gogos, akira isogawa, 2023 afterpay australian fashion week, design, fashion, art, sustainability, innovation, trojan horse

This outfit from Sydney-based wearables label Iordanes Spyridon Gogos (ISG), was designed by Founder and Creative Director Jordan Gogos in collaboration with Akira Isogawa and other creative partners. The outfit comes from the ISG x Akira 2023 Afterpay Australian Fashion Week (AAFW) collection show presented at Carriageworks, Sydney 16 May 2023. Jordan Gogos is one of Australia's most innovative multidisciplinary artists. Preferring to describe his current designs as 'non normative', 'wearables for the imaginative' Gogos' work and practices have been influential in changing the conversation around clothing design, production and presentation by embedding co-collaboration, sustainability, diversity, and inclusivity in all aspects of his label. Born and raised in Tokyo, Japan before immigrating to Australia in 1987, Akira Isogawa is regarded as one of Australia's most innovative and successful fashion designers. In a career spanning over 25 years, Akira is perhaps best known for his contemporary interpretations of traditional Japanese clothing, and the quality of his craftsmanship. Isogawa has worked on a range of creative collaboration projects over the course of his career and was named Australian Designer of the Year at the Australian Fashion Industries Awards in 1999. The ISG x Akira collection show presented at AAFW resulted in a collection of 40 looks featuring digitally printed, compressed and patchworked garments with applique, embroidery, beading and origami. Made from deadstock and archival fabrics, accessorised with unique headpieces and footwear designs, the looks were presented in a theatrical collection show amid a colourful runway piled high with upcycled textile artworks and trojan horses signifying Gogo's Greek heritage, signed by Akira in red calligraphy. The models included people with diverse gender identities and body shape and size. - Kristina StankovskiOutfit consisting of a dress, underskirt and shoes (pair). The underskirt is made of tulle, while the dress is origami style with black, red, white, gold, green, yellow and orange fabric. The dress has two sets of press studs under each shoulder strap. Shoes are lace up boots with black, white and yellow patchwork fabric, with rubber soles and vinyl lining. This record includes seventeen pieces of test/sample fabric. 9013.1 Dress 9013.2 Underskirt 9013.3 Boots & White laces 9013.4 Fabric samplesjordan gogos, iordanes spyridon gogos, akira isogawa, 2023 afterpay australian fashion week, design, fashion, art, sustainability, innovation, trojan horse

These are stainless steel Hair styling Clips that are used for creating definite, non permanent Waves in a lady's hair c 1920 to 1960. Ladies usually went to the hairdresser for this styling but they could do it themselves at home Gladys Reed was a member of the Ormond Choral Society c 1950. who performed plays and musicals the City of Moorabbin Finger waves were very a fashionable Hairstyle 1920 - 1960. Gladys Reed, who was a member of the Ormond Choral Society c 1950.that performed plays and musicals the City of Moorabbin used these 'butterfly clips'Steel spring 'butterfly clips' used for crimping hair to form waves. Sanitarium Health Food Company Box c 1960 used for storage.hairdressing, finger wave hairstyle, steel, fashion, theatrical props, craftwork, sequins, beading, early settlers, moorabbin shire, mechanics institute cheltenham, ormond choral society, postworld war 11 settlers, housing estates moorabbin 1950, bentleigh, ormond, moorabbin, cheltenham, drama societies, musical society cheltenham, clark judy, reed gladys, reed george, hairdressing salons

Clothing. Black silk-satin fabric, mid-calf length dress, gathered from the waistline. A black, pleated cummerbund encircles the waist, fastening at the left side with three metal hooks, and hand stitched loops. Long set in sleeveshave a fine piping around the arm holes, and have a hand stitched neatening to finish. Shoulder seams are also piped. A long, narrow collar of lace, bound in 2.5 cm satin edging, attaches almost to the waistline-finishing just 9 cm above the waist. A 'bib front' attached at the right side to the bodice lining, attached to the eaistline, and closing on the left hand shoulder side, with metal hooks, and hand stitched loops. Bodice closes over the top with a metal press-stud. Front bodice has three tiny pleats on each shoulder seam and gathers into the waistline seam. Fine georgette fabric, backed with fine net fabric, is with tiny glass beads, and forms the top of the 'bib front'. Fine beading of tiny beads outlines the high round neck. Larger glass beads and silky lace trim the lower 'bib front'. The lg sleeves are gathered lightly at the shoulder, which isoutlined with fine piping. Cut as a straight piece of fabric, a rectangular 'wing effect' at the wrist, is lightly gathered into a 13 cm deep lace cuff, fastening with two metal hooks, and hand-stitched eyes. Sleeves are lined with fine fabric.costume, female, black silk satin dress

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

This afternoon dress belonged to Clara Johnstone Miller (nee Bell, 1866-1910). Clara was the only daughter of Mr James Bell, a councillor of the Shire of Leigh (today a part of Golden Plains Shire) and owner of Woolbrook Homestead in Teesdale, near Geelong. In 1888, Clara married prominent businessman, racehorse owner, racing identity and pastoralist Septimus Miller (1854-1925). Septimus was the sixth of seven children born to Henry 'Money' Miller and Eliza Miller (nee Mattinson). 'Money' Miller was a well known financier and politician and reputedly one of Australia's wealthiest people in his time. In 1889, Clara and Septimus moved into the house 'Cantala' in Dandenong Road, Caulfield. They had one child, Gwendoline Stewart Miller, who died in 1902 at the age of thirteen of diabetes - a largely untreatable condition at the time (insulin would not be discovered until 1921). Clara died in 1910, aged only 44. Septimus subsequently married Helen (nee Henderson), with whom he had a son, Ronald (1915-1990). The Millers were buried in the Brighton General Cemetery in a large Gothic-style vault. Upon Clara's death, Septimus sent much of her clothing and Gwendoline's to her mother Mary Bell. Some of these items were passed down to two of Clara's nieces, Miss Mary Bell and Mrs Lois Lillies, who donated them to BHS around 1973.A salmon (pale orange pink) corded silk afternoon dress with orange beaded embellishments, consisting of a bodice (.1) and skirt (.2) from c.1890. The bodice features a high standing collar with triple pleated bone silk chiffon trim along the top line, under the chin. This same chiffon is also secured in two pieces gathered and secured under the collar and and at the waist adding volume over the bust line and partially obscuring the jacket closing. The chiffon is secured at the side into the main fabric of the bodice by the beaded embellishment. The pink seed beads are sewn in lines of five beads one after the other creating a diagonal design that tapers from the shoulder to the waist. The bodice is boned around the front and back and secured down the centre font by nineteen hook and eyes and additional cotton tapes. Further beading details the bottom centre front and base line of the bodice. The shoulders have been repaired with replacement fabric to match, from our records it appears that the repair work was performed in circa 1974 but no record exists of the original shoulder design and if the repair was an exact copy of the original. The repaired shoulders feature a small frill around the shoulder yoke and top of the arm. The sleeve is fitted and three quarter finishing just below the elbow. The base of the sleeve is also trimmed with the pink bead design and bone three pleat chiffon trim. The back of the bodice features shaped panels contouring the jacket neatly in at the waist and then splitting and splaying out over the fullness of the skirt. The skirt appears to have been floor or ankle length held at the waist by a wide waistband. The skirt openings have been altered from the original currently featuring two openings secured by press studs. The skirt is gathered to the waistband at front and back creating fullness. The lower part of the skirt features the same pink bead embellishment and additional beaded flowers and diagonal point edge detail.clara miller, woolbrook, septimus miller, henry 'money' miller, gwendoline miller, cantala, 1890s fashion, caulfield, brighton general cemetery

Pretty and tiny beaded bags and purses were highly decorated to match the dresses of the era. They were small enough to carry makeup compacts, a few coins, and they were fashion accessories more than practical handbags.This item is an example of a clothing accessory used by women in the early 20th century.Fully beaded drawstring bag with designs of flowers. Tassel of beads attached to bottom of bag. Small wooden hooks on the inside to hold black rope drawstring.bag personal-effects money-container beading drawstring-bag

This item is an example of a costume accessory used by women in the early 20th century.Lady's thread and bead black bag with silver beaded fringe at bottom. Drawstrings at top.bag personal-effects money-container beading handcrafts drawstring-bag