In 'Underwear: Fashion in Detail' (Lynn, Eleri, V&A Publishing, 2014) the chapter on 'Decoration' includes a contemporary quote by the fashion writer Mrs Eric Pritchard, who stated that even the virtuous woman should now wear pretty underwear, and in fact was morally bound to do so to remain attractive to her husband and save him from the sin of adultery. This prettiness included 'underwear that became decorative and delicate, trimmed with the lace and baby-ribbon that complemented the Edwardian predilection for indulgent and seductive lingerie' (Lynn, Eleri, p.46). This bodice and Director Knickers formed part of the trousseau of Margaret Grace Burland, who married John Lawrence Henty Hindson at St George’s Church, Malvern in 1912. 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.Cotton lingerie including a camisole and drawers owned by Grace Burland, and forming part of her trousseau. Fine lawn, lace, blue silk ribbon threaded through at neck and waist, embroidered, concealed buttons at front (some missing) and rear buttoned flap. Distinguishing feature is the extensive use of lace which was an innovation in taste during the Edwardian period.Nilunderwear, henty collection, grace burland, bodices, drawers, knickers

Comparatively few weatherboard houses in Kew survived from the early years of settlement into the second half of the 20th century. One such property was ‘Reno’, which once stood on the east side of St John’s Parade. Its earliest recorded owner was the architect Samuel Cocking who lived there from c.1865 until his death in 1888. The original landholding was bordered by Cotham Road, Glenferrie Road, Wellington Street, and Charles Street. The southern portion of this land included a fine orchard, with many imported trees. The old summer house, at first in the orchard, was later removed to the house garden. The MMBW Detail Plan No.1576 (1904) shows the remaining portion of the original land holding, including a semi-circular pathway at the front, and garden features such as an aviary, a fountain and grotto, and a fernery. None of these are apparent in photographs dating from the 1960s, where the garden, which once included rare plants provided by Baron Von Mueller, surrounds the cottage in a tangled frenzy. Despite a ‘local significance’ classification by the National Trust, the house was demolished in 1977.Wallpaper fragment from ‘Reno’. This large single example is interesting as it represents a change in fashion and style from the finely drawn flowers (1971.0002.1) of an older paper, parts of which can be seen behind this sample. Typically the updating of wallpapers was accomplished by laying a new paper over the old. The ‘newer’ wallpaper is of a single colour, the tone of which may have suffered from colour distortion due to ageing. The new block-printed design, featuring repeated sprays of flowers and leaves combines a bold use of colour with an elegance of design.reno, st john's parade, kew, samuel cocking, wallpaper

Netta Fuller and her husband Alec were long-term residents of Kew. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations.Two piece black silk evening dress, comprising sleeveless bodice and full-length skirt with inset panels on both pieces of guipure lace on tulle.australian fashion - 1950s, evening dresses, evening wear, netta fuller

The children celebrated Easter in 1985 by staging an Easter hat parade where a variety of fashions and styles in millinery were paraded.A coloured photograph of ten children posing outside a school building and wearing fancy hats. schools, bulla primary school, easter hat parades

1986: 7-9 November. New Banner, Ben Hall coach and vintage cars The 1986 festival was held from 7th to 9th November with the parade will be held at noon on Saturday, November 8th. The "float" consisted of Ben Hall's Cobb & Co. coach and several vintage motor vehicles. Society members were dressed in Victorian era for those riding in the coach and 1920s fashion for those in the motor vehicles. A further feature of the parade was the use of the Society banner which had been created that year. The Society's entry in the Eltham Community Festival parade included Ben Hall's Cobb and Co. coach and was awarded the major prize for the parade. This involved the presentation of a perpetual trophy which the Society held for one year. However, it was the last time the trophy was awarded and remains in the Society's collection. The trophy was replaced in 1987 with a Best Display award which again was won by the Society, and again in 1988. See EDHS_05453 award, eltham community festival, eltham festival, festival parade award, grand parade, shire of eltham historical society, 1986

One of a series of small photographs from the Ballarat Centenary celebrations on an old photo album page donated to the family from the Martin collection in 2012. This photo features the float from The City of Melbourne with that city's coat of arms on the side.This is one of a series of images from the Centenary of Ballarat 1938 collection. It demonstrates the involvement of municipalities across the state in the 1938 centenary celebrations and also fashions of the era being worn by subjects in the photographs.Small black and white photograph on page of photo album with several similar from the Ballarat Centennial celebrations of 1938. centenary of ballarat, 1938, city of melbourne, float, parades, fashion, apparel,

Attached George Gross Biography. Vogue Australia|With more than 40 years in the industry,- George Gross is one of Australia's best known fashion designers. Designing his own. label for the last 35 years, Gross is renowned for his glamorous evening wear, corporate and race wear ranges. Embodying style and sophistication, Gross has dressed celebrities the world over in his eponymous label.|With his first creation - a sequined shift, at the tender age of 16 George still believes 'every collection starts with the fabric and is all about the cut and proper finishing. The looks and silhouettes change every season but not dramatically, it is more that they evolve from season to season.'|The George Gross label was first conceived in Adelaide by Gross and his business partner Harry Watt. As designer, both were working for other fashion houses and saw a gap In the market for elegant evening wear, suiting and separates. Joining with his twin sister Kathy, the three began with a small Adelaide store and expanded to include more than 500 retailers worldwide at the height of their business.|Inspired by real women, Gross showcases his love of colour, cut and quality with each collection. His aim is to create sensuous clothing that women of any age, shape or taste look fabulous wearing. Attributing his longevity to a desire for experimentation while also listening to his customers' needs, Gross designs the fabric prints and only uses the best quality natural fibres from Europe.|Gross and Watt have won 13 Australian fashion design awards between them and both work closely with charities throughout Australia. Working primarily with Breast and Prostate Cancer Research, George organises parades around Australia, especially in their home town of Adelaide.|Gross now has seven stand alone stores, nine concession areas in David Jones department stores and numerous wholesale clients Australia wide. Having finished summer 2009, George is now working on winter 2010, his 73rd collection with many more to come.Three piece Grey - brown pin stripe pants suit. Fully lined pants, shaped waist band. Zip front & turned up cuffs. Jacket fully lined, wide reveres, single breasted, one button. Two pockets. Tailored waistcoat, 5 buttons. Two imitation pockets. Stretched lace backGeorge Grosscostume, female

This full length lobster tail bustle was owned and worn by Alice Frances Henty, the daughter of Francis Henty and Mary Ann (Lawrence) Henty. Bustles of this form date from the mid-1860s however this example probably dates from the mid 1870s, and perhaps from before her marriage to John Hindson in 1876. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew.The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.An exceptionally rare and fine, floor length, 'lobster tail' bustle that belonged to Alice Henty possibly worn with her two-piece pink silk gown but also with other dresses that she owned that required a bustle of this shape. The structure of the bustle includes an outer layer of polished cotton with inserted steel hoops and ties at the front. The lower four hoops have flounces of the same fabric. Overall, the bustle contains 12 hoops, crossed nearer the waist and semi-circular for the remainder of the undergarment. [One of the tapes of the bustle is imprinted with the word lockstitch. Elias Howe invented the lockstitch sewing machine in 1846.] Measurements (mm): BUSTLE: Girth - Waist 660 Vertical - Front waist to hem 914, Back waist to hem 965.fashion -- 1870s, alice frances (henty) hindson, women's clothing, bustles, underwear

This bridesmaid's dress was owned and first worn by Alice Frances Henty, the daughter of Francis Henty and Mary Ann (Lawrence) Henty. The outfit was worn at the marriage of her friend Miss Hopkins to Mr ST Staughnton in 1874. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.An ivory silk skirt and matching jacket worn by Alice Henty, aged 22, at the marriage of her friend Lizzie Hopkins and S.T. Staugnton in 1874. The ivory silk satin peplum jacket is boned, tailored, and fitted with many princess line panels. The front closure has handmade embroidered buttonholes and covered buttons. The collar and sleeves are decorated with gathered silk tulle frills. The peplum back features a silk cord bow decoration. The skirt with bustle and train features a central panel with hand ruching and silk satin piping. It is decorated with five rows of pleated silk tulle frills. Measurements (mm): PEPLUM JACKET Girth - Neck 317.5, Chest 914.4, Waist 698.5, Hip 965.2, Cuff 279.4, Hem circumference 1168.4. Vertical - From neck to hem 558.8, Front waist to hem 254, Back neck to hem 838.2, Back waist to hem 241.3, Sleeve length 279.4. Horizontal - Neck to sleeve head 165.1,Cross back 292.1, Underarm to underarm 393.7. SKIRT Girth - Waist 635, Hip 914.4, Hem circumference 3810. Vertical - Front waist to hem 1092.2, Back waist to hem 1701.8. fashion -- 1870s, alice frances (henty) hindson, women's clothing, bridesmaid's dresses