The Kew Historical Society's Fashion & Design collection includes a small and representative collection of reticules, purses and handbags, purchased, inherited or collected by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products. Rectangular black silk art deco style evening bag with a white metal clasp set with diamentes.Label: "David Jones / Made in Italy"evening bags, women's clothing -- accessories, bags -- handbags, bags -- purses, fashion accessories

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of reticules, purses and handbags, purchased, inherited or collected by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products. Jack Eaton Handbags Pty Ltd was a designer/manufacturer located at 175d Liverpool Street, Sydney. The earliest known reference to the company was in the Sydney Morning Herald in 1954. The company appears to have been liquidated in 1970. Black calf art deco style evening bag with a white metal clasp. The bag was made by Jack Eaton Handbags Pty Ltd of New South Walespurses, bags - handbags, fashion accessories, evening bags

The Fashion & Design collection of Kew Historical Society includes examples of textiles dating from the 18th, 19th and 20th centuries. Some of the textiles, were used as items of clothing, others as items of household decoration, or simply as travel souvenirs. These textiles were created both domestically and internationally. Predictably with the growth of an ethnically and culturally more diverse community in Kew after the Second World War, textiles, clothing and objects in the collection inevitably reflected this diversity. The item was purchased and donated by Rosemary Vaughan-Smith.A tulle scarf using beaten silver tinsel yarn on a net base, with pattern of lozenges, from Baalbek (Lebanon)scarfs, metal-thread weaving, lebanese textiles, rosemary vaughan-smith

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of reticules, purses and handbags, purchased, inherited or collected by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products.Black evening bag with fabric covered metal frame. Flat black strap. Same colour cornelli embroidered exterior decoration.handbags, evening bags, fashion accessories, grace james collection

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of reticules, purses and handbags, purchased, inherited or collected by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products. Gold brocade evening bag with metal chainevening bags, women's clothing -- accessories, bags -- handbags, bags -- purses, fashion accessories

A triple foldout page from magazine 'La Moda Elegante Illustrada' issue 22 May 1887. Colour lithograph features fashions modelled by 12 female figures standing on a tennis court, some holding racquets. Materials: Ink, Cardboard, Glass, Paper, Metaltennis

A colour lithograph issued by the Salon de la Mode, featuring two women wearing high fashion of the late 19th century, posing next to a tennis court net. The woman on the left is holding a racquet. Below is the image of a coat-of-arms, with the monogram 'HVP', which is that of the director of the Salon de la Mode, Henry Petit. One of the engravers is identified as 'Lefranco'. Materials: Paper, Ink, Cardboard, Metal, Paint, Wood, Glasstennis

A photograph album with molded metal cover featuring a young female figure in c1900 fashion playing tennis. Cloth spine. Internal pages are printed with decorative borders and slip-in windows for photographs. Contains no photographs. Materials: Metal, Paper, Ink, Cardboard, Clothtennis

Silver picture frame with tennis motif. Contains print on paper of women on a tennis court, wearing 19th Century fashions. Leather-covered wood stand. Materials: Silver/Metal, Wood, Leathertennis

Doris Mercy Willmott was born in May 1896 in Stamford Hill, London, the eldest of three daughters of Albert and Minnie Willmott. The family lived in various parts of north London until the beginning of the First World War, when they moved to Redhill in Surrey. It was in Redhill that Doris met her future husband, Frederick John (Jack) Bennett. Jack had met Eric Mercy, a cousin of Minnie’s, in the Australian Imperial Force (AIF) and visited the Wilmotts with him whilst on leave from France. Although Jack Bennett returned to Melbourne in March 1919, he and Doris continued to correspond and they were engaged in March 1923. She came to Melbourne on her own, and was married in the Congregational Church in Canterbury on 23 December 1923. By 1931 Doris and Jack and their three sons - John Willmott, Winfield Robert Curtis and Peter Reginald Dane - moved to 21 Tooronga Road, Hawthorn but moved back to his father’s home, Therapia, 2 (now 6) Hepburn Street, Auburn, shortly before his father’s death. In 1937, the Bennett family moved back to the United Kingdom, spending the war years in Uxbridge and Torquay. The family returned to Melbourne in October 1946, after the deaths of Doris’ parents. The family lived at 12 Stanhope Grove, Camberwell and 51 The Ridge, Canterbury before Jack died in February 1952. After this Doris moved to 12 Stanley Grove, Canterbury, her home until c. 1970 when she moved to 25 Corhampton Road, North Balwyn. She died in May 1980 in Princeton Nursing Home, 3 Bellett Street, Camberwell. (Adapted from notes provided by Sue Barnett, the donor).The collection of evening clothes owned and worn by Doris Mercy Bennett, of which this item is one, date from the 1930s and may have been purchased in Australia or in the United Kingdom. Each of the items, apart from the evening dress, which has a few minor tears in the lace, is of fine quality and evidences Doris Bennett’s love of glamour and style. While the evening dress and the mantilla are of the same fabric, the two capes might have been worn with the dress as alternative fashion accessories. None of the items has a maker’s mark, however each displays evidence of fine dressmaking skills. It is however probable that the two fitted capes were commercially made.Long black lace, floor-length evening dress extending to a short train at the back. The dress has a belt at the waist that is joined by two white metal clasps studded with diamentes. With the dress there is also a matching lace square (2017.00921) that might have been used as a mantilla or as a shawl. The dress was owned and worn by Doris Mercy Bennett (nee Willmott) [1896-1980], and donated to the Society by her grandaughter. women's clothing, evening wear, evening dresses, doris bennett (nee wilmott)

Doris Mercy Willmott was born in May 1896 in Stamford Hill, London, the eldest of three daughters of Albert and Minnie Willmott. The family lived in various parts of north London until the beginning of the First World War, when they moved to Redhill in Surrey. It was in Redhill that Doris met her future husband, Frederick John (Jack) Bennett. Jack had met Eric Mercy, a cousin of Minnie’s, in the Australian Imperial Force (AIF) and visited the Wilmotts with him whilst on leave from France. Although Jack Bennett returned to Melbourne in March 1919, he and Doris continued to correspond and they were engaged in March 1923. She came to Melbourne on her own, and was married in the Congregational Church in Canterbury on 23 December 1923. By 1931 Doris and Jack and their three sons - John Willmott, Winfield Robert Curtis and Peter Reginald Dane - moved to 21 Tooronga Road, Hawthorn but moved back to his father’s home, Therapia, 2 (now 6) Hepburn Street, Auburn, shortly before his father’s death. In 1937, the Bennett family moved back to the United Kingdom, spending the war years in Uxbridge and Torquay. The family returned to Melbourne in October 1946, after the deaths of Doris’ parents. The family lived at 12 Stanhope Grove, Camberwell and 51 The Ridge, Canterbury before Jack died in February 1952. After this Doris moved to 12 Stanley Grove, Canterbury, her home until c. 1970 when she moved to 25 Corhampton Road, North Balwyn. She died in May 1980 in Princeton Nursing Home, 3 Bellett Street, Camberwell. (Adapted from notes provided by Sue Barnett, the donor).The collection of evening clothes owned and worn by Doris Mercy Bennett, of which this item is one, date from the 1930s and may have been purchased in Australia or in the United Kingdom. Each of the items, apart from the evening dress, which has a few minor tears in the lace, is of fine quality and evidences Doris Bennett’s love of glamour and style. While the evening dress and the mantilla are of the same fabric, the two capes might have been worn with the dress as alternative fashion accessories. None of the items has a maker’s mark, however each displays evidence of fine dressmaking skills. It is however probable that the two fitted capes were commercially made.Black silk chiffon or georgette fitted evening cape,let entirely covered in silver metal rectangles and black sequins. The cape gives the appearance of being joined at the front, however it is made in one piece. The cape has open scalloped sections bordering the lower band of silver metal rectangles. The cape was owned and worn by Doris Mercy Bennett (nee Willmott) [1896-1980], and donated to the Society by her grandaughter. evening wear, capelets, doris bennett (nee wilmott), women's clothing

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who owned and lived in the mansion originally named Illapa, 84 Princess Street, Kew, from 1918 to 1950. [The house is now incorporated by ‘Rylands’.] This historically significant collection includes items relating to both George Weir (1866-1937) and his wife Edith Mary Weir (1867-1948). George Weir, a person of national significance, was general manager of North Broken Hill Mine between 1903 and 1926. The collection includes a number of his patents. He married his wife, Edith Butteridge, in Broken Hill in 1891. The collection includes a number of costumes owned and worn by Edith, including her wedding dress. These costumes date from the 1880s to the 1940s and include items of outstanding aesthetic value.This parasol is significant as it is part of 26-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 costumes in the donation 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, a parasol, 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. The garments in the Weir Collection were donated to the Kew Historical Society by the granddaughter of Edith Weir.Parasol - brown silk, pink lined with straight cane handle, owned by Edith Mary Weir (nee Betteridge) of Broken Hill, and later Princess Street, Kew. The style of the parasol, with overlapping outer 'scales' of heavy brown silk, would indicate that it was made in the late Victorian era.parasols, umbrellas, victorian fashion, weir collection

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in a mansion, originally named Illapa, at 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937), his wife Edith Mary Weir (1867-1948) and their children. 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 part of a collection of women’s clothing, owned and worn by Edith Mary Weir (nee Betteridge) - born in Clare, South Australia 1867, died Kew 1948 - and also by her daughter. The garments date from the 1880s to the 1930s. The collection includes day dresses, evening dresses, evening coats, capes, and undergarments. As the wife and daughter of a mine manager, the collection includes representative examples of clothing worn by upper middle class Australian women in domestic circumstances, and at social and civic events. A number of the costumes from the 1920s to the 1930s 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 a granddaughter of Edith Weir in 2017.Outstanding black silk crepe cocktail dress with extensive use of glittering silver and red metal sequins. The sequins are used on either side of the red ribbon bordered neckline, on the sleeves and on panels of the skirt. The dress incorporates an attached fabric tie at the neck and a separate belt.cocktail dresses, weir collection, fashion - 1920s, edith mary weir (nee betteridge), illapa - 84 princess street - kew (vic.)

The Kew Historical Society's Fashion & Design collection includes a small and representative collection of reticules, purses and handbags, purchased, inherited or collected by members of the Society. These items date from the Nineteenth and Twentieth centuries, and conform to fashions and styles popular during the period of their use. Some of the items are handmade, while others are mass-produced commercial products.Beaded purse with metal frame and beaded chain.handbags, bags, fashion accessories, women's clothing, purses, evening bags

Choker of multi-strand fine white metal chains held by large clasps at the back of the neck.costume jewellery, fashion accessories, necklaces

Item of functional jewelleryGilded metal and oval pink pearl hat pin.hat pins, costume jewellery, fashion accessories

Curved band of faux pearls held on a white metal base with a screw fitting.costume jewellery, fashion accessories, earrings

Three home-made enamel on metal rings in various shapes and coloursrings, costume jewellery, fashion accessories

Long strand of standardised faux pearls with a gold metal and pearl clasp.necklaces, costume jewellery, fashion accessories

Pair of pearlescent plastic and metal earrrings.earrings, costume jewellery, fashion accessories

Three strands of graduated faux pearls held with a white metal clasp set with diamantés necklaces, costume jewellery, fashion accessories

This Item was owned, worn and donated by Annie McIntyre, a resident of Kew. It is one of a number of items owned by Annie McIntyre that were designed by Vivienne Westwood and donated to the collection.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Dark navy women's jacket with fine pale stripes. The silk lined jacket has three external pockets with flaps and one breast pocket. The metal buttons on a pocket and for fastening at the front are a gold colourLabel: Vivienne Westwoodvivienne westwood, fashion designers, international fashion -- british designers -- vivienne westwood, fashion -- 1980s

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Black velvet capelet with pale blue lining held at the neck with a gilt metal clasp.women's clothing, fashion -- 1900s, evening wear, outerwear, capelets, fashion design

This dress is of uncertain provenance. BHS records indicate that it was owned by Marion Jane Ellen Devlin, nee Stokes (1845-1936), who married Oliver Devlin on 2 April 1877 in Victoria. The dress is believed to have been worn on the Bendigo goldfields circa 1878. It may have been worn as a wedding dress. However, additional documentation discovered in August 2019 suggest that the dress belonged to Margaret Cocking, nee Carr (1850-1936), who married Gustavus Cocking in Bendigo in 1877.A grey-green circa 1878 dress comprising a matching jacket and skirt. The jacket (.1) features a standing collar that gathers to a low point at the throat. This point is concealed behind a bow with raw edges which may not be original. The centre front of the jacket has been secured with nineteen concealed metal hook and button holes. The centre front features fifteen sets of single fabric covered glass buttons secured in a diagonal pattern and appearing as double headed buttons. From the shoulder through the body the jacket is shaped with decorative panels with grey silk detail. Beside these panels shaping into the waist and under the arm are a further two pleats. On the left side waist is a small pocket with decorative flap, grey silk trim and button. The base line of the jacket features a decorative horizontal panel that wraps around the jacket. The sleeve head is small and sits on the natural shoulder line with a slim fitting, curved, full length sleeve. At the base of the sleeve, there is a decorative panel reminiscent of a formal cuff, with a decorative turn back and two buttons. Secured underneath this turn back is a bow like decoration. From the back the jacket features a V shaped decoration, an extension of the front two decorative panels. From the shoulders the jacket is shaped by four panels curving tight into the waist and flaring out again to fullness of the bustle. These seams are also finished with decorative binding. This peplum-like shape features two decorative flaps and six covered buttons. The skirt (.2) is shaped to the waist with pleats and secures on the front left hand side, the original waistband and fastenings have been replaced. The skirt front features a large decorative panel of the same fabric that curves from the front at approximately shin length, upwards towards the back securing underneath the bustle decoration. A second panel, plus a pleated panel finish the hem of the skirt continuing around to the back. At the back the skirt features two deep pleats with a large decorative bow that would sit out over the bustle. The skirt is long featuring a small train at the back. The dress is lined in a brown waxed cotton.wedding dress, 1870s fashion, marion jane ellen stokes, oliver devlin, margaret carr, gustavus cocking, bendigo

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

This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Di purchased this bag from Tyabb Packing House Antiques in Tyabb, Victoria.Oval shaped bag made from armadillo leather with head and feet attached. Leather straps may be a recent addition. Metal clasp. Mirror on inside of lid. Interior lined with blue silk.handbag, armadillo, 1960s fashion, 1970s fashion, di reidie, vintage clothing

Cream doeskin leather shoes with glass and metal bead floral decoration on vamp and decorative bow. Label stamped in gold on sock (inside lining): FROM / R. White / Melbourneshoes, 19th century, r white, melbourne fashion

Often referred to as Assiut shawls, where they were made.Cream-coloured cotton bobbinet ground, hand-embroidered with flattened metal strips.shawl, metal embroidery, egyptomania, 1920s fashion, assuit shawl

This dress and bag belonged to Mrs Edith "Dot" Paroissien (nee Jackson, born 1916), who lived in Brighton with her husband David William Paroissien. The dress was purchased from Croyde, a Melbourne designer who had a small boutique shop in Collins Street near the Block Arcade, and the bag was bought for her in London by David. Dot recalled wearing the dress in the 1950s, in particular to a ball at the Royal Exhibition Buildings for Wesley College. She wore it with suede shoes with a medium heel with straps across the instep and long white kid gloves, and accessorised with a baguette choker and drop earrings.Black silk satin sleeveless full-length evening dress. The attached bodice floats over the top of the under-dress. Asymmetrical opening on bodice which features five large flat self-covered buttons. The black suede bag has chrome fittings and buttery cream coloured satin interior. .1 dress - Label, woven black on white acetate centre back: CROYDE / MELBOURNE .2 - bag - Label, printed, black on cream acetate, interior pocket: Susan / HANDBAGS / LONDON; Label, printed, copper on black metal, interior pocket: MADE IN ITALY / FOR SUSANevening dress, croyde, melbourne fashion, melbourne designers, handbag, royal exhibition building, 1950s, edith violetta paroissien, edith violetta jackson

This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Di wore these novelty car print "Howard Showers" pants to many car rally events in Victoria, Australia and USA between 1990 and 2010, where she would perform the role of navigator and co-driver in a team with her husband David. Di's choice of clothing at the rallies is indicative of her sense of humour and attitude towards clothing. Cream coloured cotton French terry cloth pants with metal zip fly front, branded button closure, feature red stitching and printed cars in black ink. There are several car designs featured with each design appearing c1960s - 1970s. One car design features the name "Howard" on its number plate. Manufacturers label "Howard Showers, Holiday, size 12" Metal button inscription "Howard Showers, Syd (Sydney), Aust (Australia). "Made in Australia". Care label. howard showers, novelty print clothing, 1990s, di reidie