The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This skirt is one of a number of items donated to the Fashion Collection by Dione McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1980s. Long A-line cream coloured skirt.australian fashion -- 1970s, a-line skirts, mcintyre collection, dione mcintyre

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This dress is one of a number donated to the collection by Rosemary Vaughan-Smith.Full length multi-coloured striped satin dress cut on the bias. This style became popular in the 1930s.women's clothing, australian fashion - 1930s, evening dresses, rosemary vaughan-smith

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

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This dress is one of a number donated to the collection by Dione McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Long white raw silk dress with beading and sequins applied to a high neck and short sleeves.women's clothing, australian fashion - 1960s, evening wear, mcintyre collection, dione mcintyre

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This emerald green, satin evening dress, owned by Gwen Steele, was worn by her to a reception for Queen Elizabeth II in 1954 at Government House, Melbourne. [The personalised printed invitations are kept in the Subject File 'Gwen Steele'.]Emerald green, satin cocktail dress with shoe-string straps.royal visit (victoria) 1954,, gwen steele, women's clothing, australian fashion - 1950s, cocktail dresses

Joseph Butterworth COOMBS (1842-1901), was an accountant who founded a successful mercantile trading company. At the time of his marriage to Caroline Mary MICHEL in 1869, Coombs had already purchased ten acres of Studley Park. The acreage included land on the west of Fenwick Street that extended along lower Stawell Street to the corner of Yarra Street, all of it connected directly to the Yarra environs. A right of way to Studley Park Road was on the title, though Coombs went on to purchase more land, some of which faced Studley Park Road. In addition to owning the Studley Park acreage, Coombs later acquired 1,201 acres of land abutting the Acheron River. While retaining the Kew property he became a Taggerty Councillor and was Shire President for a time. J.B. Coombs died at Acheron Station in 1901 (aged 59 years). A few months after, tenders were called to repair the Kew dwelling, the Fenwick Street property now appearing in records with the name ‘Hope Mansell’. Caroline Coombs remained at Hope Mansell until she died in 1924, survived by three sons and five daughters. Not long after her death, advertisements appeared for the sale of the Studley Park land. The sale seems to have been a mechanism for distribution of the Estate, as the following year the original ten acre holding was transferred to members of the family. The eldest daughter Mabel married William Younger who, with his brother Alexander, developed Younger and Mackie Courts, both south of Studley Park Road. [Research: Kerry Fairbank]In 1961, the granddaughter of Joseph and Caroline Coombs, Mabel Isola (Younger) Grattan, donated ten 19th century dresses and parasols to the Kew Historical Society. The costumes, now known as the 'Coombs Collection', are the earliest recorded items of clothing to enter the Society's collection. Each of the items in the Coombs Collection, of which this item forms a part, is historically, aesthetically and socially significant. As a collection, the costumes includes outstanding examples of morning wear, day dresses, wedding dresses, and clothing accessories, providing evidence of outstanding dressmaker skills in Victoria during the mid to late Victorian period. Two-piece royal blue heavy silk dress comprised of a tightly waisted top that extends below the waist at the front and the back, and a floor-length skirt. The full skirt and the sculpted fabric that is part of the top are designed to cover a bustle. The elaborately styled bodice is joined with fabric-covered buttons at centre front. The bodice is distinctively styled with the use silk velvet banding and tassles that extend the woven silk webbing. The outfit is in excellent condition apart from some wear on the velvet and the buttons.women's clothing, australian fashion, dresses, costumes, fashion & design, outerware

Joseph Butterworth COOMBS (1842-1901), was an accountant who founded a successful mercantile trading company. At the time of his marriage to Caroline Mary MICHEL in 1869, Coombs had already purchased ten acres of Studley Park. The acreage included land on the west of Fenwick Street that extended along lower Stawell Street to the corner of Yarra Street, all of it connected directly to the Yarra environs. A right of way to Studley Park Road was on the title, though Coombs went on to purchase more land, some of which faced Studley Park Road. In addition to owning the Studley Park acreage, Coombs later acquired 1,201 acres of land abutting the Acheron River. While retaining the Kew property he became a Taggerty Councillor and was Shire President for a time. J.B. Coombs died at Acheron Station in 1901 (aged 59 years). A few months after, tenders were called to repair the Kew dwelling, the Fenwick Street property now appearing in records with the name ‘Hope Mansell’. Caroline Coombs remained at Hope Mansell until she died in 1924, survived by three sons and five daughters. Not long after her death, advertisements appeared for the sale of the Studley Park land. The sale seems to have been a mechanism for distribution of the Estate, as the following year the original ten acre holding was transferred to members of the family. The eldest daughter Mabel married William Younger who, with his brother Alexander, developed Younger and Mackie Courts, both south of Studley Park Road. [Research: Kerry Fairbank]In 1961, the granddaughter of Joseph and Caroline Coombs, Mabel Isola (Younger) Grattan, donated ten 19th century dresses and parasols to the Kew Historical Society. The costumes, now known as the 'Coombs Collection', are the earliest recorded items of clothing to enter the Society's collection. Each of the items in the Coombs Collection, of which this item forms a part, is historically, aesthetically and socially significant. As a collection, the costumes includes outstanding examples of morning wear, day dresses, wedding dresses, and clothing accessories, providing evidence of outstanding dressmaker skills in Victoria during the mid to late Victorian period. One-piece, floor length blue silk day dress with a bell skirt that is slightly longer at the back. The dress is joined, centre-front with hooks and eyes. It is probable that the 19th century cream-coloured lace on the bodice and cuffs is a later addition. The lace extends in a long loop at the font of the skirt. The bodice has a high round neck, later modified to a V-shape. The dress must at one stage have been reconfigured or strengthened at the join of the bodice and skirt, as there is evidence of the use of new machine stitching. The dress is fully lined with a stiffened cotton lining fabric. Apart from minor staining, the dress is in excellent condition. The dress is the earliest complete costume in the collection. Measurements - 145.0 cm (centre back) 25.0 cm (waist, flat)Nilcoombs collection, fashion - 1860s, women's clothing, costumes, daywear

Joseph Butterworth COOMBS (1842-1901), was an accountant who founded a successful mercantile trading company. At the time of his marriage to Caroline Mary MICHEL in 1869, Coombs had already purchased ten acres of Studley Park. The acreage included land on the west of Fenwick Street that extended along lower Stawell Street to the corner of Yarra Street, all of it connected directly to the Yarra environs. A right of way to Studley Park Road was on the title, though Coombs went on to purchase more land, some of which faced Studley Park Road. In addition to owning the Studley Park acreage, Coombs later acquired 1,201 acres of land abutting the Acheron River. While retaining the Kew property he became a Taggerty Councillor and was Shire President for a time. J.B. Coombs died at Acheron Station in 1901 (aged 59 years). A few months after, tenders were called to repair the Kew dwelling, the Fenwick Street property now appearing in records with the name ‘Hope Mansell’. Caroline Coombs remained at Hope Mansell until she died in 1924, survived by three sons and five daughters. Not long after her death, advertisements appeared for the sale of the Studley Park land. The sale seems to have been a mechanism for distribution of the Estate, as the following year the original ten acre holding was transferred to members of the family. The eldest daughter Mabel married William Younger who, with his brother Alexander, developed Younger and Mackie Courts, both south of Studley Park Road. [Research: Kerry Fairbank]In 1961, the granddaughter of Joseph and Caroline Coombs, Mabel Isola (Younger) Grattan, donated ten 19th century dresses and parasols to the Kew Historical Society. The costumes, now known as the 'Coombs Collection', are the earliest recorded items of clothing to enter the Society's collection. Each of the items in the Coombs Collection, of which this item forms a part, is historically, aesthetically and socially significant. As a collection, the costumes includes outstanding examples of morning wear, day dresses, wedding dresses, and clothing accessories, providing evidence of outstanding dressmaker skills in Victoria during the mid to late Victorian period. Blue silk, floor length day dress comprised of a tightly fitted, long, waisted jacket joined by hooks and eyes at centre front. The bodice features large ornamental buttons from neck to waist, covered in a figured silk fabric of the same colour as the dress. The gown has extensive pin tucking on the sleeves, on the flounce of the skirt, and on the long train. The line of the outfit is emphasised by the flattened front, which is typical of the period. Its cut and lack of adornment emphasises the tailored effect.australian fashion, fashion & design, costumes, dresses, women's clothing, fashion - 1860s, fashion - 1870s

Joseph Butterworth COOMBS (1842-1901), was an accountant who founded a successful mercantile trading company. At the time of his marriage to Caroline Mary MICHEL in 1869, Coombs had already purchased ten acres of Studley Park. The acreage included land on the west of Fenwick Street that extended along lower Stawell Street to the corner of Yarra Street, all of it connected directly to the Yarra environs. A right of way to Studley Park Road was on the title, though Coombs went on to purchase more land, some of which faced Studley Park Road. In addition to owning the Studley Park acreage, Coombs later acquired 1,201 acres of land abutting the Acheron River. While retaining the Kew property he became a Taggerty Councillor and was Shire President for a time. J.B. Coombs died at Acheron Station in 1901 (aged 59 years). A few months after, tenders were called to repair the Kew dwelling, the Fenwick Street property now appearing in records with the name ‘Hope Mansell’. Caroline Coombs remained at Hope Mansell until she died in 1924, survived by three sons and five daughters. Not long after her death, advertisements appeared for the sale of the Studley Park land. The sale seems to have been a mechanism for distribution of the Estate, as the following year the original ten acre holding was transferred to members of the family. The eldest daughter Mabel married William Younger who, with his brother Alexander, developed Younger and Mackie Courts, both south of Studley Park Road. [Research: Kerry Fairbank]In 1961, the granddaughter of Joseph and Caroline Coombs, Mabel Isola (Younger) Grattan, donated ten 19th century dresses and parasols to the Kew Historical Society. The costumes, now known as the 'Coombs Collection', are the earliest recorded items of clothing to enter the Society's collection. Each of the items in the Coombs Collection, of which this item forms a part, is historically, aesthetically and socially significant. As a collection, the costumes includes outstanding examples of morning wear, day dresses, wedding dresses, and clothing accessories, providing evidence of outstanding dressmaker skills in Victoria during the mid to late Victorian period. Single-piece, floor length, gold silk taffeta evening dress featuring the use of a very long fishtail train to which is attached a silk cord to allow the wearer to hold it above the floor. The dress includes a number of decorative features including the extensive use of box pleats on the sleeves and on the hem of the skirt; contrasting gold and cream braiding and tassles; and the extensive use of ruching on the bodice at the front. Due to the age and fine quality of the silk taffeta used, there is evidence of the degradation of the fabric on one shoulder and a tear in the rear of the skirt. Otherwise the dress is in excellent condition.fashion - 1870s, australian fashion, wedding dresses, costumes, women's clothing, coombs collection

Elizabeth Morrison, was born in 1874 and died in 1963, aged 89 years. She was the schoolteacher at Warrigal until she married the donor's grandfather and moved to Melbourne to take up residence with him. Her husband Edward was a porter on the train from Melbourne to Adelaide. Together they had three children: two boys and a girl. The donor's father was the youngest who was born in 1911.  The eldest son, Kenneth Morrison, was a Monsignor in the Catholic Church, and an Air Force Chaplain during the Second World War, while the daughter was a spinster who owned a few haberdashery and children’s clothing stores. The donor's father had a newsagency in Bridge Road, Richmond. He and his wife lived in Carson Street, Kew for about 50 years and had four children, two of whom were to become lawyers, another a surgeon and the final child social worker/family therapist. The donor's father lived until he was 100 years of age.The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.The costume, which may have been used as a mourning dress is comprised of a matching heavy black silk skirt and top. The styling of the short bodice is accentuated by pleating and by the use of spirals of Parisian jet (black glass beads) on the bodice and cuffs. Chiffon lace is attached to the cuffs and is of the period. The dress is made of silk damask with a woven design of joined lines and circles. The rigidity of the fitted bodice is achieved by the use of baleen and by a heavy striped cotton fabric. The wide skirt, in contrast, has a stiffened brown cotton lining. There is a small insertion on the inside of the bodice that may have been used for a watch. The dress is in excellent condition. elizabeth morrison, australian fashion - 1890s, women's clothing

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.Very fine, lightweight silk two-piece pink and white striped dress comprising a long skirt and a short fitted jacket. The jacket is edged with cream lace at the collar and front. On examination, the lace, while appearing to be in a later style has been judged to be of the period.There is a small faded label on the rear collar of the dress, on which is hand printed the name of the dressmaker. The name has been variously interpreted as reading Miss Gibbens, Miss Gibbons, or Miss Gibbuis. women's clothing, day dresses, australian fashion - 1900s

Identification has been given as follows: Young women: (?) Elizabeth Cooper, Ilma Bodley, "Queen" Avis Andrews, Marion Fair, Lynette Elliott. Names of girl and boy attendants not known by donor. The Queen Carnival was a fundraiser for the Holy Trinity Tennis Club. The Queen Carnival Coronation was held in the Canterbury Memorial Hall on 11 June 1940. Mrs F Eastwood was the trainer and the Honorary Secretary of the tennis club. The donor Mary Holborn married Geoffrey Stroud Clucas in 1946 in Surrey Hills. The photo documents a social fundraising practice common in the early 20th century. Queen carnivals were also popular in New Zealand. In both countries they were particularly common during World War I and in the years after, when they were used to raise funds for returned soldiers. The first such carnival is believed to have been held in Napier, New Zealand, in 1913. The carnivals were not always annual events, and were held in various locations throughout a year.Black and white group photo of 5 women, 2 girls and 2 boys in formal costume mounted on cardboard which has been roughly trimmed. The 'Queen' is seated in the centre and the 2 young girls and 4 young women are standing beside her. The 2 'pages' seated in front of her on the edge of her train. The photo appears to have been taken in a hall. REAR: "Holy Trinity Tennis Club Queen Carnival / June 11 / 1940 / M Clucas / 33 Jurang St / Balwyn"sport, tennis, holy trinity anglican church, 1940, clothing and dress, queen carnival, mrs mary clucas, miss mary holborn, mrs f eastwood, elizabeth cooper, ilma bodley, avis andrews, marion fair, lynette elliott, canterbury memorial hall

Colour photograph. From Lonsdale street looking north towards building. Front entrance, constructing access ramp and restoring stairs. 'The Queen Elizabeth Block' in gold above archway. Person in dark clothing in middle o frame. White sedan on right side of frame. Taken during restoration inspection.historic buildings, building construction

Doris Lilian Wright of 214 Union Road was a milliner but joined the Australian Women's Army Service (AWAS) in the early war years. The Women’s Australian National Service (WANS) was inaugurated in 1940. Training for members of the WANS included air raid drills, first aid, basic military drills, and even shooting, signalling, and mechanics. AWAS on formed on 13 August 1941 with the objective of releasing more men into forward areas. The Army was particular with its recruiting and four references were required; another stipulation was that teeth were in good condition. Doris was located at Elwood. Their training area was along the foreshore and one day to their great surprise there were crowds of American Marines – "the cream of the American Army". These were the first Americans to arrive in Australia to strengthen the defence of the country. The Americans soon went north and the AWAS went off to Balcombe on the Mornington Peninsula. At this time there were no uniforms for the girls only ‘giggle’ dresses – of a non-descript colour. They were not expected to appear in public in these and wore civilian dress. Japan had just entered the war and there were more urgent demands on restricted supplies. The formal uniforms eventually arrived.A black and white photograph of a lady in an army uniform and wearing a hat.union road, surrey hills, uniforms, clothing and dress, (miss) doris wright, australian women's army service

Reproduced by permission of Mr John Arnold from his book: "The Riversdale Golf Club - a history, 1892-1977." Copyright to book: Riversdale Golf Club. Surrey Hills Golf Club operated from 1892-1908 then moved and became Riversdale Golf Club. The game was played across paddocks from Trafalgar Street, Mont Albert to Whitehorse Road and down Victoria Crescent to where Box Hill TAFE is now located in Elgar Road. There were problems with cows eating the tee flags! The clubhouse still exists as 30 Trafalgar Street. The Surrey Hills Golf Club was founded by Mr Hugh W McLeod in 1894. The first president was Mr A W Harston. Mr William Meader was the first honorary secretary and the club champion for several years. Another notable identity was Mr. Harry Culliton, who contributed golf notes to "The Argus" for many years.The image is significant in documenting the Surrey Hills Golf Club which is no longer in existence.Black and white photo of a timber building with an ornamental roof ridge and brick chimney. Two men in 'plus fours' and hats and three women in long dresses and hats have golf clubs in their hands. The men and one lady are practising swings. There is a mature tree in the background with a house to the right."A group of Surrey Hills players practising in front of the clubhouse early this century. The player in the background is heading towards the first tee. The house to his right can still be seen at 3 Beatty St., Mont Albert."sports grounds, surrey hills golf club, riversdale golf club, timber building, clothing and dress, john arnold

The child's silk smocked dress with feather stitching is believed to have been worn by Mary Hodgetts, sister of the donor's mother. The dress is estimated to have been made in c.1919, but from its style it may date from the 1900s. This would not be uncommon as children's clothing was often 'passed-on' or reconfigured to fit a new wearer. Mary Hodgetts grew up in Kensington Park, Adelaide. As an adult, Mary enlisted in 1941 to the 1st AWAS camp. After six months she volunteers for the 58th AASL (Anti Aircraft Searchlight Battery). She was sent to Sydney where she attended Training School with 33 males and one other female. Mary was the first AWAS to receive a Commission in the RAA (Royal Australian Artillery). Mary Downer was one of many under Mary's command on returning to Adelaide. After a March through the streets of Adelaide, most of the unit transferred to Western Australia (Fremantle area) in 1943 and were scattered amongst the 55th and 65th AASL Batteries. At the conclusion of WW2, Mary travelled to Melbourne to be with her sister and studied Accountancy. She first lived in Mary Street, Hawthorn, and then bought a unit in Harcourt Street, East Hawthorn. During this period she worked as Bursar to St Catherine's Girls' School. On retirement, she purchased a house in Edgecombe Street, Kew, and lived there happily for many years. During this time she was active with the Kew Meals on Wheels, receiving her 10-years of service certificate. Mary Hodgetts died in 2018.Child's clothing associated with the history of a significant Australian woman who served with the 2nd AIFChild's silk smocked dress Shoulder width 26 cm / Length 52 cmmary hodgetts, 58th aasl (anti aircraft searchlight battery), children's clothing, women- ww2

In the early 19th century, infant gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over twenty-five gowns dating from the 19th and 20th centuries. This christening gown was worn by one or more of the Weir children.This is one of ten items of clothing, worn by infants in the Weir family of Broken Hill between 1899 and 1910. They are part of the larger Weir Family collection of clothing, documents and photographs gifted to the Kew Historical Society by their descendants. Due to their known provenence, the gowns are historically and aesthetically significant in that they can be accurately dated to an 11-year-period, allowing other comparable items of infant's and children's clothing to be dated to an earlier, silmilar or later period. They also exemplify the styles and decorative techniques used for christening gowns, infant's and children's clothing of the period.Long, white cotton christening gown. The high-necked, short-sleeved bodice has a number of decorative elements. This includes an extesive use of lace in diagonal panels at the front above four horizontal layers of the same lace. There are two layers of lace forming the sleeves. Nilchristening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over twenty-five gowns dating from the 19th and 20th centuries. This christening gown was worn by one or more of the Weir children.This is one of ten items of clothing, worn by infants in the Weir family of Broken Hill between 1899 and 1910. They are part of the larger Weir Family collection of clothing, documents and photographs gifted to the Kew Historical Society by their descendants. Due to their known provenence, the gowns are historically and aesthetically significant in that they can be accurately dated to an 11-year-period, allowing other comparable items of infant's and children's clothing to be dated to an earlier, silmilar or later period. They also exemplify the styles and decorative techniques used for christening gowns, infant's and children's clothing of the period.Long, white cotton christening gown. The high-necked, short-sleeved bodice has a number of decorative elements. These include an extesive use of lace in horizontal and triangular panels of various styles at the front. Two long bands of lace frame this central panel.Nilchristening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over twenty-five gowns dating from the 19th and 20th centuries. This christening gown was worn by one or more of the Weir children.This is one of ten items of clothing, worn by infants in the Weir family of Broken Hill between 1891 and 1910. They are part of the larger Weir Family collection of clothing, documents and photographs gifted to the Kew Historical Society by their descendants. Due to their known provenence, the gowns are historically and aesthetically significant in that they can be accurately dated to an 19-year-period, allowing other comparable items of infant's and children's clothing to be dated to an earlier, silmilar or later period. They also exemplify the styles and decorative techniques used for christening gowns, infant's and children's clothing of the period.Long, fine white cotton christening gown. The high-necked, short-sleeved bodice has a number of decorative elements. These include an extesive use of white work on the sleeves, bodice and gown. Tight ruching at the waist allows a central panel of white work to be framed by the larger panel which acts as a polonnaise. This contains the finest workmanship of the christening gowns and infants clothing in the Weir Collection and may date to 1891.Nilceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life, christening gown

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

In the early 19th century, infant gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over twenty-five gowns dating from the 19th and 20th centuries. This gown was worn by one or more of the Weir children.This is one of ten items of clothing, worn by infants in the Weir family of Broken Hill between 1899 and 1910. They are part of the larger Weir Family collection of clothing, documents and photographs gifted to the Kew Historical Society by their descendants. Due to their known provenence, the gowns are historically and aesthetically significant in that they can be accurately dated to an 11-year-period, allowing other comparable items of infant's and children's clothing to be dated to an earlier, silmilar or later period. They also exemplify the styles and decorative techniques used for christening gowns, infant's and children's clothing of the period.Long, white cotton infant's gown. This high-necked gown with elbow length sleeves is less ornate than the three christening gowns in the Weir Family Collection, indicating that it was used for daily wear by one of the Weir children in the first six months of their life. The looser ruching at the waist would indicate a later date in the period 1899-1910. The gown is identical to 2025.26.Nilchildren's wear

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

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

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

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

In the early 19th century, infant gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over twenty-five gowns dating from the 19th and 20th centuries. This child's dress was worn by one or more of the Weir children.This is one of ten items of clothing, worn by infants in the Weir family of Broken Hill between 1899 and 1910. They are part of the larger Weir Family collection of clothing, documents and photographs gifted to the Kew Historical Society by their descendants. Due to their known provenence, the gowns are historically and aesthetically significant in that they can be accurately dated to an 11-year-period, allowing other comparable items of infant's and children's clothing to be dated to an earlier, silmilar or later period. They also exemplify the styles and decorative techniques used for christening gowns, infant's and children's clothing of the period.Short, white cotton child's dress. This high-necked dress with long sleeves, compared to other infant's clothing in the Weir Family Collection, is quite ornate, indicating that it was designed to be a piece of 'best' clothing. It is the only child's dress in this collection which is otherwise comprised of christening or infant's gowns. The dress is a one-piecer. It has wide sleeves with scalloped cuffs, designed to allow for movement. What was the waist in the infant's gowns has moved higher towards the neck, but still maintains the decorative eleent of ruching below it. The dress includes extensive use of scalloped lace in the lower portion of the outfit.Nilchildren's wear

Donated by Heather McNamara. Worn by Isobel Caldwell born 03/08/1930. Example of women's corsetry c 1950's.Flesh coloured ladies corset, plain satin fabric with elastic lycra side panels & stocking suspenders. Boned.Jenyns Patent Corsetry. Model 5577/10. Lycra, type c, short hip. Made in Australia by te Jenyns Patent Corset Pty Ltd. Victorialadies corset

Corset from Heather McNamaraFlesh coloured women's corset with elastic panels, hook and eye closure, 4 suspenders attached.Liberty 101793 Made in Australiaheather mcnamara, corset, lingerie

Domestic dressmaking for womenC 1958 Vogue Pattern No. 4951 size 12 Emerald green suit and white patterned dress pictured on frontVogue pattern No 4951, $1-50, Vogue Special Design women's clothing, dressmaking, 1958c