Wedding dress was made and worn by donor's mother, Jean Margaret Mathie, school teacher, who married John Caldwell Wells, farmer of Burwood N.S.W. On 17 December 1954, her daughter, Margaret Eleanor Wells, married Kevin William Mayes and wore the late mother's wedding outfit1929 Cream satin wedding dress; V-neckline, dropped waist, skirt cut on cross, draped long sleeves, long train at back. Headdress is a circle of waxed flowers and green leaves with green cloth ties on the end. See also NA3485.1.2 - Gloves; NA3488 - Framed photo of Bride; NA3487 - Photo of Daughter in bridal dress (1954 wedding)costume, female

Brenda Crute married Jim Bywaters 19671967 A delightful bridal gown fashioned in chantilly lace cur on empire lines, fitted sleeveless bodice with boat shaped neckline back and front. Sheath skirt. Chapel length nylon organza coat train with butterfly sleeves & edging of chantilly lace. Headdress - Pearlized orange blossom & leaves mounted to a three-tiered nylon tulle veil.wedding dress, brenda crute, jim bywaters, 1967, textiles - bridal - fashion, stawell - wedding

Soo-hand puppet from "The Sooty Show" (1955 - 1975) British Children ShowWhite coloured hand puppet with black ears and arms. Has black nose with yellow & black plastic eyes. Has red & pink spot skirt with lace edging Has red & white spot hair ribbon. Tag: Made exclusively for Patsy & Marketing Ltd, Shipley Yorkshire DB 18 1BP. Under license in China Registered 758227Matthew Corbett Ltd Surface washable, sponge with luke warm water and mild soap. Dry, brush lightlysooty, soo, the sooty show, toys, handpuppet

Diana Trewenack is the youngest daughter of Cedric Hirst and great granddaughter of Godfrey Hirst. Her father was Managing Director and Chairman of Directors of Godfrey Hirst Woollen Mills until its takeover in the 60’s. Diana was married at St David's Church in Geelong in May 1954. The material for the wedding gown was made with very fine cream wool woven at the Godfrey Hirst Woollen Mill. From discussion with Diana, the dress was put together by a local dressmaker in Geelong. It is fine pure wool and beaded on the edge of the wrap over skirt and on the long train.Cream coloured woollen wedding dress with long sleeves. Decorative beading pattern around cuffs and up the front edge of the dress. Zippers at each sleeve and back of dress. - 7825.1 Train, made with same cream woollen material as dress, with matching beaded edging. Attaches with clasp around waist of dress. - 7825.2 Veil made of cream tulle, with beaded headband. - 7825.3wedding dress, ceremony, godfrey hirst and co. pty ltd, woollen mills, textiles, fashion, dressmaking, diana trewenack, viel, gown

This dress was typical of those worn on 'after 5' special occasions to: dinner dances, weddings, balls. There were many such functions at Mt Beauty and the Kiewa Valley eg. the Hospital Ball.This dress was worn (and possibly made) by Margaret Mc Kendrick (nee Vyner) who lived in Tawonga when growing up. She married Ian Mc Kendrick and they lived in Mt Beauty. She worked as a nurse at the Tawonga & District hospital. Ian worked at the Mt Beauty Post Office. They had 3 children.Aqua silk long (full length) sleeveless dress. Sequined with beads individually hand sewn. Princess line. Zip full length at the back. A couple of pleats at the front and back. 'A' line skirt. Accompanied by a guipure lace short jacket with three quarter sleeves, lined with the same silk as the dress. Scalloped at the bottom of the jacket. Covered button at the top of the back with a loop.'after 5' dress; margaret mckendrick; tawonga; ladies' clothing

This cotton baby's nightgown is an example of the dressmaking skills of the women of the families of the pioneer settlers and market gardeners of the Moorabbin Shire.The Maggs family were early settlers in the Moorabbin Shire. The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of many items that exhibit the skill and craftsmanship of the women in these families. A long white cotton infant's Christening or 'walking-out' dress. The neckline and short sleeves have broderie anglais trim. Bodice has extensive cut-work and hand embroidered feather-stitching. There is further hand-embroidered feather-stitching around the waist band. The skirt of the garment has pin-tucking and lower borders of further cut-work The garment is in good condition.clothing, brighton, moorabbin, pioneers, dendy henry, market gardeners, baptism, dressmakers, craft work, maggs nance

Dark cream coloured gathered overskirt to be worn around waist of a dress (see 11400.123 ). Deep scalloped hemline with purple edging (2.5cms). Purple satin waistband (5cms). Four purple decorative satin bows down front of skirt. Two purple bows at top of scallops. Two bows missing. Side opening with two hooks and eyes. Hand made.costume, female, overskirt for ball gown

Coloured photograph of the Laurel Street Primary School, Golden Square, Grade 3 Netball Team. Their names are:- Jordana Diss, Lauren Reidy, Hayley Smith, Donna Lea, Natalie Caldwell. Photo taken in the library. Girls wearing blue skirts and G. S. P. S. t shirts. In front of them is a board with the school name, year and grade and a netball.education, primary, golden square laurel st p.s., golden square laurel street p.s. collection - g s primary school grade 3 netball team 1990, jordana diss, lauren reidy, hayley smith, donna lea, natalie caldwell

Small portrait of a lady standing beside a chair with her left hand resting on the back of the chair. She is wearing a long, high neck dress with a brooch at the neckline. The skirt of her dress is very wide at the hemline. She also has a belt with a buckle at the waistline. Photographer's name and address printed on the back. Also a Coat of Arms with a kangaroo and an emu with their backs to the shield in the centre.F. H. Dufty & I. V. Caroline, New Carte de Visite Studios, Piper St., Kyneton, Vic. Aust.photograph, portrait, female, portrait of a lady, new carte de visite studios, f h dufty, i v caroline

Small portrait of a lady and two children. The lady is wearing a long, high neck dress. She has a wide sash at her neck. She has a baby on her knee and a girl is standing on her right side. The girl is wearing a below knee dress with a pattern around the lower skirt. On the back is: Photographed by Bent, late Batchelder, Centre of Pall Mall, Sandhurst.Bent, Pall Mall, Sandhurstphotograph, portrait, lady & children, portrait of lady and two children, bent

Cabinet portrait of a lady standing beside a pedestal with a vase on it. Her hands are resting on the pedestal. There is small wooden pedestal with a vase on it behind her. She is wearing a long dress with a high neckline with gathers, beads, frill and pleats on the skirt. Parts of the photo have been coloured. The card has gold printing and border. On the back is the photographer's name and address with pattern work and leaves.N. White, Mitchell St., Sandhurst, opposite St. Paul's Tower.photograph, portrait, female, portrait of a lady, n white

Sepia photograph of a lady. She is wearing a long, dark dress with a bustle. The bodice is tight and the skirt is pleated. She is carrying a handbag and an umbrella. She is also wearing a feathery type hat which has tie ribbons under her chin. In front of her is a plant. The photo is mounted on cardboard and has a gold line around the photo. 2035 written on the back.J Weller, Maryborough, Victoria. Australiaphotograph, portrait, female, foster & wilson collection, photograph

Colour photograph of Gertrude Perry wearing the appropriate style for the show in which she was playing. Hair tied back with almost sheer red material. White top with horizontal lines, black corset with shoulder straps and tied at the front, red skirt with horizontal stripes of orange, blue green, and patterned hem line. Maroon coloured basket on her left arm.entertainment, theatre, costume

Pipe cleaner doll, dressed in costume of 'Lady Holyrood" in the production Flora Dora, 1954. Doll is mounted on buff cardboard and dressed in a pink satin skirt, overlaid with white lace. Hair black with pink 'bows' on side of head. . Written on top LH corner 'Gertrude Perry'. Bottom LH corner 'To remind you of 'Lady Holyrood' Flora Dora, 1954.person, individual, gertrude perry

Child's Pinafore dress with long sleeves. A tight cuff fastened with a button. Square yolk. Pleated Bodice which is long. Full pleated skirt. Opened right up the back buttoned and hooked. Belonged to Irene Crowley who passed away c1914 aged 3 or 4. Her mother kept this frock and the family found it after she had passed away. stawell clothing material

Frances Warren made the dress in 1991.She taught herself faggoting from directions in a bookDate made 1991. Floral cotton short sleeved women's dress. Background cream with apricot, yellow and grey flowers and green leaves. Peter Pan collar, buttoned to waist with faggoting work on collar, around cuffs on sleeves and down each side of front opening. Panel of pleats down centre of back and front of skirt. Dropped waistline and buttons are apricot.costume, female

Given to donor's daughter by her cousinPlastic baby doll dressed in pink hand knitted dress and pants. Doll is bald but has eye lashes and open and shut eyes. The pants are knitted in stocking stitch with elastic threaded through at the waist. The dress is sleeveless with a pink button on each shoulder. The skirt is knitted in a lace pattern with a crochet tie threaded through the waist. The bodice is knitted in stocking stitch.toys, dolls, doll's clothes

The Gown of the Year Program was a gala event in Melbourne's cultural calendar. Australia's supermodels of the day, such as Diane Masters (pictured), Bambi Shmith, and Betty Jackson modelled clothes by Melbourne's leading designers, Hall Ludlow, Le Louvre, and others. Diane Masters has played a seminal role in contributing to the Design Archives through her personal and professional fashion archive, her role in the Hall Ludlow collection and archive, the Laurie Carew collection, and her generosity in gifting items from the Frederick Romberg archive to the RMIT Design Archives. She has been and remains a key figure in Melbourne and Australian fashion. Suzanne Davies, 2017Black and white photograph features fashion designer Hall Ludlow (right), holding his trophies for winning the 1959 Gown of the Year at the Menzies Hotel, Melbourne. Model Diane Masters (right) is wearing the winning gown: a pale full length gown with short sleeves, scoop neck, and ruffled skirt. The matching coat also features small ruffled down its length.Verso: Stamped in black ink, bottom right: 'Photographed by/ ATHOL SHMITH/ F.R.P.S . . F.R.S.A/ 125 COLLINS STREET, MELBOURNE/ TELEPHONE MF 5[illegible]4australian fashion, fashion design, mid-century modern

Coloured photograph of the Golden Square Primary School Grade 5-6 Netball Premiers G.C.N.A A3 1999 Team and their coach. They are wearing yellow polo shirts and blue skirts. Their names are: Back: Dearne Rice, Adelaide MacLeman, Rachael Simmonds, Noni Hyett, Joan Oakes. Front: Katie Owen, Kimberley Rosos, Arna Packham, Belinda Caldwell, Anna Oakes.education, primary, golden square laurel st p.s., golden square laurel street p.s. collection - photograph - golden square primary school grade 5-6 netball premiers g.c.n.a a3 team 1999, dearne rice, adelaide macleman, rachael simmonds, noni hyett, joan oakes, katie owen, kimberley rosos, arna packham, belinda caldwell, anna oakes

Two piece ivory satin evening dress. Bodice (.1) is decorated with central panel of finely pleated chiffon and embellished with ready-made strips of beading and artificial pearls. Short puffed sleeves. Russet coloured velvet band applied to waist of bodice and finished with a metal rosette. Plain gored satin skirt (.2) with cream velvet binding around hem. Label, printed grey on cream cotton, centre back bodice waist: Bussell, Robson & Bussell / MELBOURNE.evening dress, bussell robson & bussell, 1890s

Maria O'Brien. Aged 17 years. On her Wedding Day in August 1865 when she married John O'Meara. Maria born 1847 Tipperary, Ireland. Daughter of Martin O'Brien and Mary McGrath.Black and white copy of original photograph showing a portrait of a young lady standing with her right hand resting on the back of a chair, a hanging curtain on her left. She is wearing a light coloured dress with fitted bodice, long sleeves and full skirt. Brooch at her neck and belt around her waist. Hair parted in the middle and tied back in braids."Maria O'Brien (O'Drien) aged 17 on wedding day Aug 1865 to John O'Meara aged 27".maria o'brien, weddings

In the early 19th century, infant baptismal 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 fifteen christening gowns dating from the 19th and 20th centuries.Long, white cotton christening gown. The high necked, short sleeved bodice has a number of decorative elements. These include two panels of fabric, the lower of which includes pleating, and inserts of lace that extend beyond the waist. Ties extend from the front to the back of the bodice. Lace is also used on the neckline and on the edge of the folded sleeves. The skirt is pleated at the front extending to the hem.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

Yields information about the style and printing of tickets used in Ballarat and Bendigo tramways and how they were presented.Block with ten remaining tickets - black ink on off white paper, denomination 7d, numbered B494390 -99, headed State Electricity Commission of Victoria, Provincial Tramways. Originally a block of 100 tickets been stapled onto a off white, partially ruled cardboard back with a heavy metal staple and a off white coloured cardboard retaining strip at the top of the ticket. The ticket price is in black ink while the ticket number itself is in black ink. On rear in black ink is a diagonal criss cross or tartan pattern. See Alan Bradley's notes "Fares in Ballarat" trams, tramways, secv, tickets

Yields information about the style and printing of tickets used in Ballarat and Bendigo tramways and how they were presented.Block with five remaining tickets - brown ink on off white paper, denomination 4d, numbered V572795 - 99, headed State Electricity Commission of Victoria, Provincial Tramways. Originally a block of 100 tickets been stapled onto an off white, partially ruled cardboard back with a heavy metal staple and a off white coloured cardboard retaining strip at the top of the ticket. The ticket price is in brown ink while the ticket number itself is in black ink. On rear in brown ink is a diagonal criss cross or tartan pattern. See Alan Bradley's notes "Fares in Ballarat" trams, tramways, secv, tickets

Yields information about the style and printing of tickets used in Ballarat tramways and how they were presented at the various times during the SEC control.Four number - 4No. - Paper SEC ticket - 1/- in value, (one schilling) - purple ink on off white paper, numbered A143847, 147681, 158684 and 158687. The ticket price is in purple ink while the ticket number itself is in black ink. On rear in purple ink is a diagonal criss cross or tartan pattern. All tickets have been used. Not numbered on rear. All tickets and Reg Item 4006, 4007, 4009 to 4018 were received originally in a folded cloth wrapper - wax canvas? - see Reg item 4009 See Alan Bradley's notes "Fares in Ballarat" Some have date "1/3/63" on rear.trams, tramways, secv, ticket, transfer tickets

Yields information about the style and printing of tickets used in Ballarat tramways and how they were presented at the various times during the SEC control.Five number - 5 No. - Paper SEC ticket - 10d in value, (10 pence) - black ink on off white paper, numbered A151322,57263, 187958, 190442 and 193253. The ticket price is in black ink while the ticket number itself is in black ink. On rear in black ink is a diagonal criss cross or tartan pattern. All tickets have been used. Not numbered on rear. All tickets and Reg Item 4006, 4007, 4009 to 4018 were received originally in a folded cloth wrapper - wax canvas? - see Reg item 4009. See Alan Bradley notes on SEC tickets. trams, tramways, secv, ticket, transfer tickets

Yields information about the style and printing of tickets used in Ballarat tramways and how they were presented at the various times during the SEC control.Three number - 3 No. - Paper SEC ticket - 3d in value, (three pence) - orange ink on off white paper, numbered A241960, 307283 and 361417. The ticket price is in orange ink while the ticket number itself is in black ink. On rear in orange ink is a diagonal criss cross or tartan pattern. All tickets have been used. Not numbered on rear. All tickets and Reg Item 4006, 4007, 4009 to 4018 were received originally in a folded cloth wrapper - wax canvas? - see Reg item 4009. See Alan Bradley notes on SEC tickets. trams, tramways, secv, ticket, transfer tickets

Alonzo Box, of Oakleigh ,a nephew of William and Elizabeth Box who resided in 'Box Cottage' 1865 - 1914, married Mary Closter (Kloster), of Oakleigh, on June 12th 1918. Alozo's elder sister, Rebecca, sent a bolt of Chinese hand-embroidered silk from which this wedding dress was made. Rebecca Viloudakia, nee Box, was a missionary in China, and married to a Greek Silk Merchant. Alonzo Box, the 9th child of John and Martha Sheldrake Box , enlisted in the Army and landed at Gallipoli 25/4/1918. He was evacuated to Egypt and then sent to the battlefields of France and Flanders before returning home to Melbourne in February 1918. Rebecca Box, the eldest child of John and Martha Sheldrake Box, was in the first party of Methodist Missionaries to leave Australia for the China Inland Mission in 1890. During the Boxer Uprising 1900-1901 her Mission outpost was attacked but she escaped and was taken to Shanghai. She later married one of the rescue party Nicholas Viloudakia a Greek silk merchant .Australian Dress Register ID 573 12/5/2015 Following Henry Dendy's Special Survey 1841 pioneer settlers bought allotments of land in the area of Moorabbin Parish. Alonzo Box was the nephew of William and Elizabeth Box who bought the cottage on the 30acre allotment from an unknown pioneer settler in 1868 and resided there until Elizabeth's death in 1914. Alonzo Box served in the Army World War 1 1914- 1918 at Gallipoli, France and Flanders. Rebecca Box -Viloudakia was in the first party of Methodist Missionaries to leave Australia for the China Inland Mission in 1890 and was rescued during the Boxer Rebellion 1900-1901 and taken to Shanghai by her future husband.A cream two piece wedding dress made from a bolt of hand embroidered Chinese silk for the marriage of Mary Closter and Alonzo Box on June 12th, 1918. The bolt of Chinese silk was sent by Alonzo’s older sister, Mrs Rebecca Viloudakia, a missionary in China, who was married to a Greek silk merchant. The machine sewn dress was made by a dressmaker in Dandenong, Victoria. The jacket is blouson, with a front opening and is gathered at the waist by a band enclosing a drawstring. The collar is a sailor style that forms a slight / high V-shape front neckline. Four vertical roses are separated by three bands of lacework. The back of the jacket is plain silk. The right front of the jacket has a panel of embroidered roses, band of lacework and a facing fold that encloses 4 fastening presses. There are crocheted bobbles on the front representing buttons. The left jacket front also has the panel of embroidered roses, lacework and matching fold for the 4 fastening studs. The full length inset sleeves are gathered to a cuff that fastens with silk covered buttons. The sleeves have floral embroidery down the outside centre line. The left sleeve has an extra detachable cuff with embroidery on the flounce that matches the bottom panel of the skirt. It is held in position around the wrist by 4 white metal press studs. The skirt sits above the ankle. It consists of 5 panels slightly gathered at the back waistline with a left side placket 21cm with hooks and eyes and press studs. The waistband is lined with petersham and has 6 whalebone inserts. The front of the skirt has small pleats to fit the 3 decorated panels to the waistline. The front has 3 bands of lacework around the lower part. 3 panels form the centre front each embroidered with a different floral pattern. The back of the skirt is plain with 3 bands of lacework rising from the hem, which is sewn with spoke work stitch. The long waist sash/belt is plain silk with embroidered ends and 3 silk balls with crocheted caps suspended on 3 crocheted silk chains. It has a rose knot with 2 metal press stud fasteners. There are a variety of floral designs embroidered on the material including ‘corner motifs’ on the 2nd inner front panel of skirt. brighton, moorabbin, silk, box william, box elizabeth, box alonzo, box mary, kloster mary, closter mary, oakleigh, dandenong, chinese silk merchant, boxer rebellion 1900-1901, box rebecca, methodist china inland mission, viloudakia nichols, anzac landings, world war 1, gallipoli

This traditional wagga blanket was made by Mrs Eileen Pattle between 1942 and 1950. The wagga was used as everyday bedding, as Eileen and her husband had very few possessions. They boarded with a man who they called “Old Harry” in Footscray. Old Harry had recently lost his wife and looked after the young couple well. They could stay with him and use his house as their own, and all that Old Harry asked for in return was for Eileen to cook him one good meal a day. The blanket was given to Mrs Beverley (Bev) Maguire, the daughter of Eileen, when she and her husband went camping one winter. Her husband was a “mad” fisherman and on one trip on which Bev joined him, her father offered the couple his old tent, that had a wall missing, and the wagga. The wagga was much appreciated as when the couple woke in the countryside, it was freezing, and they could see snow through the missing tent wall. From then on, the tent and the wagga were theirs. The wagga saw many more camping trips until the arrival of Bev’s “lovely new lightweight and down filled sleeping bag”. The wagga was made with a “make do, waste not, want not” attitude. The wagga started as an army issued blanket. The front layer has clothing and panels of mismatched material which has been added to over time. This includes an overcoat, two knitted garments, a panel from a skirt, and a panel from Old Harry’s Trousers. It also includes a man’s sleeveless knitted vest, and a knitted pram blanket. This is all stitched together with string, and the odd button. Bev said she would love to unpick the quilt to see what else is hiding inside but has resisted the urge to do so. All these layers have made the blanket incredibly warm, and heavy. The wagga has been within Bev’s family since creation and comes into the National Wool Museum Collection after serving the family well. It was used to keep everyone warm when not camping over many a winter’s night. Beverley is now getting on in years and donated the Wagga to the National Wool Museum in 2021. Her family referred to the wagga as a “collection of rags”, indicating to her that they did not wish to inherit the blanket. The wagga started as an army issue blanket. It has been made by stitching the khaki army blanket onto a hessian rear. The front layer has clothing and panels of mismatched material. This includes an overcoat, two knitted garments, a panel from a skirt, and a panel from Old Harry’s Trousers. It also includes a man’s sleeveless knitted vest, and a knitted pram blanket. This is all stitched together with string, and the odd button. It is thought that other materials are hiding within the layers of this wagga, however, uncovering these layers would involve unpicking the quilt. The wagga is 1360 x 1880mm, sized to suit a double bed. It is a heavy blanket, originating from all its panels of mismatched reused clothing. The wagga is well worn but has lasted almost 80 years. It has holes that have been lovingly re-stitched.wagga, quilt, upcycle