Clothing. Cream coloured silk nightie-full length. All over embossed pattern of chevrons and flowers. V neck at front and back. Sleeveless with ties at shoulders (34cm). Floral embroidery around front V neckline.9cm X 9cm heart shaped pocket on LHS front at hip line. 80cm X 1.8cm ties attached to side seams at waist level. Triangular inserts in skirt front and back to create flared skirt. Old box 573costume, female, silk nightie

Clothing. Men's pure wool trousers with a full length stripe - waist to ankle, 3cm wide (red) 1.3 cm gold metallic ribbon (stitched on top of red). Fob pocket at waistline. Side pockets on either side. Two pleats on either side of front. Metal zip fly 29 cms ;long. Adjustable waistband lined with cream coloured cotton buttons on inside to accomodate braces. One bound pocket with button closure, on back right hand side.No brand names visible. ''Andrews'' written in pencil on inside of back pocket- possibly the wearer.costume, male ceremonial, band trousers

White cotton lawn, three tier waist petticoat. Elastic in casing at waistline. Second tier, also of white lawn fabric is gathered at the seamline. The seam is then covered by white cotton tape, machine stitched over the seam, to neaten the join. Second tier is 32 cm deep, while the third tier is a 14 cm deep band of broiderie anglaise.The seam between tiers 2 & 3 is oversewn with a 3 cm band of broiderie anglaise, with insertion holes but no ribbon is evident.costume, female, white cotton waist petticoat

The dress was made by Mrs Alloway of Coburg. The dress was made from two dresses which appeared in 'The Bride' magazine; the top from one photo and the skirt from another. Joan Lorraine McGahey wore this dress when she married Francis William Kerry on 28/03/1959.1959 Full length white lace and net over white taffeta slip. Long sleeves are lace to wrist and has light covered buttons. Front has square neckline with lace appliqued to bodice which falls to dropped waistline. Front panel is lace onto net flounce measuring 30 cm. Back has three net flounces falling from waist to form a train which is attached with lace bow. Back of neck has 8 buttons and loops.costume, female ceremonial

Photo which was originally stuck to Jacobson photo album. Photo shows a man in a dark jacket, pale shirt and pale hat, standing or walking along a road above two houses in a steep valley, probably the valley below Monbulk Road. Man is visible from waist up. One house is probably the house which features in other photos. The name 'Belgrave' has been hand-drawn on the top of the photo in an elegant script. The word is in black with a white outline."Belgrave' hand-drawn on the photo.

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 lingerie dress, donated by Jane McIntyre is part of the wider McIntyre Collection. While lingerie dresses were produced for and worn by women between 1900 and 1920, the main period in which they were worn was between 1900 and 1910. This elaborately detailed example is believed to date from 1912-1918.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.Three-quarter-length, white cotton voile lingerie dress. The dress feature extensive embroidery on the bodice and skirt, probably constructed from pre-embroidered fabric, rather than hand embroidered. In addition to the embroiderd panels, there is extensive use of white lace insertions. The dress has short sleeves to teh elbow and lace cuffs. The dress is date after the Edwardian Period due to the absence of tucks and frills. Its high-waisted design is simple and yet elaborately ornamented with embroidery.women's clothing, white muslin dresses, tea dresses, australian fashion 1910-1920, lingerie dresses, annie mcintyre, mcintyre collection, fashion design, fashion -- 1910s

Erstine Schlisweg married William Bosse in Germany in 1860, later settled in Nhill districtSettlers in Nhillc 1860 Three piece silk & lace wedding ensemble handmade in Germany, consisting of a silk full length skirt with lace & ribbon trim which hugs the waist, flows into a small train at the back; the high round neck, sleeveless bodice/top tucks into the skirt, is silk with pleats down either side of a lace panel in front; cape is silk, slightly gathered so it elegantly flows over the shoulders, finishing below the hips, is trimmed with lace around the neck and bottom. Lace & ribbon trims wedding dress, william bosse, erstine schlisweg, nhill, german - textiles - handmade

Floor length dress of royal blue silk fabric with a metallic thread forming a tinsel like pattern. There is a V neck at front with a high round neck at the back. The bodice front is made from two pieces with a centre seam. The bodice is attached to midriff panel of royal blue satin. At the front the bodice is gathered slightly onto the panel with a V shape at t centre front of the panel. At the hip line centre front the midriff panel narrows and then widens and the panel extends to the hem. The centre panel is divided and has a godet insert in the centre. Fifteen decorative fabric covered buttons with roulette loops are attached at centre of midriff panel. The back of the bodice is one piece is gathered slightly into a high waisted skirt made up of four gored pieces. The side opening (21 cm) at the waist on the LHS has three metal hooks with cotton loops and two press studs. The long sleeves are set in with lily point finish at the wrist. The underside of the sleeve at the wrist has ten decorative fabric covered buttons with roulette loops. Machine and hand stitched.costume, female daywear, blue silk dress

Negligee set or Wedding trousseau for the marriage of Charlotte Edith (Tottie) Ryder (aunt of donor) to Alfred George Tooke (b 1898 England d 1998) held at Church of England, Thornbury on 13 March 19481948 negligee set comprises two pairs of knickers, camisole, bed jacket, petticoat, nightgown. All items are cream coloured satin with appliqued coffee coloured lace. One pair of knickers has appliqued coffee lace encircling each leg with a hand-worked buttonhole and is missing a button. Second pair of knickers has appliqued lace floral design on each leg with an elasticised waist band and a plain band on the legs. Camisole has coffee coloured lace along the top edge and rouleau style shoestring straps. Bedjacket is short with long sleeves and a front fastening with four self-covered buttons and rouleau fastenings. Coffee coloured hand appliqued lace is around the neck and along the bottom. The shoulders are padded. The petticoat has coffee coloured lace around the hem and yoke. It has rouleau style shoestring straps. The nightgown is long with a coffee coloured lace Vee front. Two satin ties attach to slightly gathered waist. See also Knickers NA4921, Wedding Dress NA4923, Horseshoes NA4924 and Wedding Veil NA4925trousseau, tooke, wyatt m, wedding

This item is from the "Barone" Collection. "Barone" (also known as "Seaview") was a stately Brighton home built at 9 Moule Avenue prior to 1855 and demolished in 1986. The house's residents included Edward Elgin Browne (during 1859-72), a Melbourne tea merchant, and the family and descendants of retired Scottish Army captain Archibald Black (during the period 1880-1970). Its neighbors included “St Ninians” owned by the Ward- Cole family, “Seacombe” owned by the Moule family, and the home of James Grahame and his family. The items in the "Barone" collection were largely donated by two of the house's later owners, Mrs Doris Halkyard and Mrs Brian Brandt.An English-made “Busvine” black wool herringbone twill riding habit comprising jacket and safety skirt, (jodhpurs missing) from late 1800’s to early 1900’s. The jacket (.1) features a black short pile silk velvet inset notched lapel collar secured with a single button at the apex of the waist and a single button near the collar for use in inclement weather. The sleeves join the bodice high on the shoulder with a full cut head to the sleeve and a tapered curved shape to the hand. The sleeve secures at the wrist with four black buttons. From the waist the jacket flares over the hip through princess line shaping and finishes with a curved front on either side. The seams of the shaping panels intersect single functional flapped besom pockets on either front panel. The back of the jacket features a centre back seam and two princess-line shaping seams that finish in a double vent on either side of the centre back. The jacket length would have finished approximately just below the bottom of the wearer. The apron fronted safety skirt (.2) secures from the waist at the front of the left thigh with five buttons. Over the wearers, right leg the skirt shapes to accommodate the rider’s right knee whilst sitting sidesaddle with her legs on the horses left flank. The base of the skirt has an elastic strap, which hooks around the rider’s leg to reduce the danger of the rider’s skirt become tangled, should the rider become un-seated. When the riders is not mounted the skirt can be secured with a button around the body to provide additional modesty as well as assist walking without the skirt dragging on the ground.Jacket: Manufacturer's label “Busvine, By serial appointment to Her Majesty The Queen, 4 Brook Street W.” Owner label “Doreen Wright” this label appears far more modern than the manufacturers label. Skirt: Manufacture's label: “J. Busvine and Co, 4 Brook Street, London W." In handwriting “Miss Wingfield” Manufacturers label: Busvines Patent Safety Skirt, protected by two separate patents. 4 Brooks St London West.barone, riding habit, j. busvine and co, seaview, brighton

Gouache on paper illustration of a woman from Pátzcuaro region, Michoacán, Mexico, by Mexican fashion illustrator Alfredo González Bouret (1926-2018). Likely created in 1953, prior to being exhibited in Mexico and Paris in 1954. From the Patzcuaro region of Michoacán state, Mexico, this woman wears a wide-brimmed 'sombrero' on top of her 'rebozo' - a long rectangular shawl made of wool or cotton with an intricate hand-knotted pattern, popular throughout Mexico. Her hair is held away from her face, likely in long plaits down her back in the traditional style of the region. Her ears and neck are decorated with long earrings and strings of beads, while her plain white blouse is tucked in to a bright red 'refajo' skirt, gathered at the waist by a textile belt with geometric designs. In her hands she holds long-stemmed lilies. While resembling other illustrations of fashion from the Patzcuaro region, this costume stands out for the bright colour of the skirt, and the lack of embroidered decoration on the blouse. Rebecca Lloyd, 2019.Mounted painting of a woman in traditional regional dress from the Patzcuaro region of Michoacán, Mexico. Gouache on paper, c.1953.Signed in green paint, bottom right, 'AG Bouret'.mexico, 1953, fashion design, painting, illustration, mexican, fashion illustration, dress

"B. K. O'Mahoney" was OC 15 TPT SQN at one stage at Mollison Street Depot.`1. Jacket - Black. Collar badges are formal coloured Army Service Corps. There are two breast pockets. They are held shut with a brass button. There are 5 brass buttons on front. RAASC Motif. The jacket has a separate detachable white collar. A Major's gold crown is on each epaulette. 2. Trousers - Black. It has two white stripes down the leg. It has black plastic buttons. Inside the trouser waist line is lined with blue striped white cotton. It has side pockets only, no rear pockets.1. & 2. Typed inside the jacket and trousers are 392872 2LT B. K. O'Mahony, D/A 1362. cmf, 15 tpt sqn, uniforms, b. k. mahoney, passchendaele barracks trust

This dress was worn by Margaret Vyner on her wedding day to Ian Mc Kendrick. Margaret's mother's name was Rita. Margaret was living with her family at Tawonga, Ian was living at Mt Beauty.The couple were locals of the Kiewa Valley. Ian worked at the Mt Beauty Post Office and Margaret at the Tawonga & District Hospital. Their 3 children grew up in Mt Beauty.Ivory / off white satin wedding dress with a train at the back. Puffed with stiffening & padded long sleeves which come to a point at the wrist where fastened with a press stud. Ruched cross over bodice with a V neckline with a semi circular skirt. Plain back to the waist and a half self belt fastened at the back by 3 covered buttons and 3 loops. Left side as a plaquet fastened by 2 hooks and eyes. Semi circular skirt which has, at the rear, a 100 cm train with a finger loop.wedding dress; margaret vyner (mckendrick); tawonga; ladies' clothing

Slouch hat and Uniform jacket belonging to Edwin James JONES No 3511 AIF. Refer 1367.5 for his service history. The hat was manufactured in 1918 by Dalter Lucas & Sons Bury, UK. It appears to be of a similar style to those issued to Gurkha troops due to the thickness of the felt, the three rows of stitching around the brim and the use of a press stud to pin up the left hand side of the brim..1) Coat, Battle Dress, Kahki, includes 2 x “Australia” shoulder badges, 2 x “Rising Sun” epaulette badges, 2 x “yellow over purple” colour patches, 3 x “service chevrons”, 1 x “Empire Wounded stripe”, 1 x “Lewis Gun” cloth badge, all metal buttons intact as well as waist belt. .2) Hat, Slouch, kahki fur felt, cotton pugaree, leather head band, Rising sun badge, no chin strap..2) Pressed into the hat band appears to be; “Dalter Lucas & sons (1910) Ltd, BURY 1918”uniforms, military clothing, costume accessories - male

This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The full-length black silk tailor-made petticoat is one of three pieces of a ladies’ Edwardian mourning outfit. The petticoat is made from black silk lined with lightweight cotton. The petticoat and lining are constructed from eight panels each, brought together at the waist and gently gathered into the band. The back seam opening is fastened with brass hooks and fabric eyes. The lining has been reinforced with a heavier-weight hem. The hemline is finished with black velvet ribbon than encloses both the petticoat and lining. flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, western district victoria, petticoat, undergarment, slip

Clothing. Camisole. Fine cotton, fine cotton lace at neck and circular lace inserts front and back, Cotton tie through casing above 5 cm peplum. Embroidered lines above and below lace inserts on front and back. Side opening for 13 cm above peplum. Cotton tape through the casing tied on the LHS at the waist. U shaped neckline edged with lace. Fine cotton tie through lace around neckline. Tied at front. Sleeveless. Arm holes edged with 15 cm lace.costume, female, underwear

Clothing. A ''shirt-maker'' styled ladies long-sleeved dress, with 4 mm, red/navy striped fabric. The ''straight-through'' dress has a tie-belt, 2cm wide if desired. Long 3/4 set-in sleeves are gathered into a ''turn-back'' cuff 6.5 cms wide, and fastened by two x 1.5 cm covered buttons,and two false stitched button holes. Five covered buttons and machine-stitched burtton holes in the front, from below the revere collar to below the waist.costume, female, ladies shirtmaker dress

Clothing, cream coloured silk child's jacket. Part of a two piece suit. (see 11401.8 pants).Front opening with 4 X 1.6 cm and 1 X 14 cm white buttons from throat to waist. Chelsea collar at the front with sailor collar at the back. Long sleeves with 6 cm cuffs. Jacket has casing at lower hem with a drawstring of cotton tape. Single pocket on left breast. Jacket is fully lined with white cotton fabric. Old box 524.costume, children's, jacket

Coffee coloured silk and lace ladies dickey. front lace panel of lace. Deep V shaped neckline. Centre seam to waist. Three 1cm gold coloured decorative shank buttons at centre front below V neckline. Silk back panel with centre opening at centre back with a 10cm slit. fastened at top with one press stud. Lower edge of back panel has .7cm ribbon attached forming ties at either side (50cm and 60cm) to fasten garment at centre front.costume accessories, female, coffee coloured ladies dickey

From the Betty McPhee sewing collectionCream coloured tape measure in two parts, measuring 60 inches. Blue figures on cream cotton on one side. On the other side, Women's Beauty, Anne Seymour. Shape Measure.Shapes, eg. diamonds, spades, clubs, hearts, represent ankles, calves, thighs, waist, bust, hips, height, weight, size. Suede cover, colour grey, 43 cm long by 2cm wide folding into 4.8cm folds, lined with blue measures in inches 16 inches long. Closed with a press stud.handcrafts, equipment

In 1880 Melbourne hosted its first major international exhibition the "Melbourne International Exhibition". In 1888 Melbourne hosted its second major international exhibition the "Melbourne International Centennial Exhibition".Two-piece evening dress comprising separate bodice and skirt made of gold-coloured silk damask woven with large curvilinear design in cream. Cream tulle trim around neck embellished with beads and artificial pearls. Similar trim down centre front and around lower edge of bodice. Short puffed sleeves Neckline trimed with wide gold satin riboon and bows. Bodice is boned and fastens centre back with hooks and eyes. Gored skirt pleated into waist. .1 - bodice . 2 - skirtLabel, woven blue on cream, centre back bodice: QUOD FACIMUS VALDE FACIMUS, George & George Ltd / Federal Emporium / Melbourne, International Exhibition Melbourne, Costumes and Mantlesgeorge and george, evening dress, georges of collins street, 1888

Example of Australian military battledress Jacket - Battledress of olive drab fabric. Jacket is short, and designed to be buttoned to the outside of high-waisted wool serge trousers. An olive green band with two button holes is attached to the inner lower band. The jacket has a fabric belt across the front, with a buckle. Two rectangular pockets extend beneath the lapels. Inside of jacket has a sewn on, rectangular identification label, and size label. Jacket has four buttons down side front, and one near lapel. Each cuff has a button.Identification label on inside of jacket (black ink): REGIMENTAL No NAME Size label (red ink): M. TX SIZE 17 Faint mark on inner neck lining in red marker, possibly Kbattledress, jacket, military, uniform, outfit, fashion, world, war, australian.

This item of military uniform was worn by Squadron Leader (SQNLDR) Bernard Farley during his period of Full Time service in the Royal Australian Air Force (RAAF) between 27 January 1976 and 02 March 1997. Bernard joined the RAAF as an Airmen was trained and employed as a Clerk Supply (CLKSPL) between 1996 - 1977. He undertook officer cadet training at the Army Officer Cadet School in 1978 and was commissioned into the Ground Defence Category on the 09 December 1978, where he served for 18 years and rose to the rank of SQNLDR. Royal Australian Air Force (RAAF) Working Dress (Jacket - Blue Grey). This uniform was in the period 1966 - 2001 as the primary daily uniform in the office environment. Polyester working dress is approved for wear employed in office or business type environments. The short waist length jacket consists of a jacket has a lapel collar and zip front, with two external chest pockets and exposed pocket flaps, There are portlets on each shoulder that are fastened with a black plastic button. This button has a crown over eagle in flight on the front. Rank slides are slid onto these portlets and this jacket has Squadron Leader rank slides on the portlets. is closed with four gold buttons down the front. Each button is inserted through a small round hole sewn into the right side of the tunic front and held in place at the rear with a safety pin. There are four corresponding button holes sewn into the left front of the tunic to fasten the jacket in the normal closed position when worn. The waist belt is part knitted on the sides and cloth on the front and rear. There is also one interior pocket on the right side below the exterior breast pocket. Maker: Australian Defence Industries The Tunic has two military decorations attached above the exterior left chest pocket. The decoration are: 1. Conspicuous Service Medal - Yellow and Green right sloping diagonal strips 2.. Defence Service Medal (with one clasp) - Blue and Gold upright stripes and round metal clasp positioned centrally. The DSM is awarded for 15 years service and a clasp is awarded for each additional 5 years service.

Clothing. Three quarter length sleeves, finished on the outside with a peak, outlined with tiny pink, glass beads-13 cm long. The inner side of the sleeve has three rows of gathering 13 cm long. A peaked collar at the front neckline is also edged with tiny pink glass beads, and tapers in shape at the back opening. This opening is 56 cm long and fastens with 1.2 cm covered buttons and loops, (31 buttons in total). The back centre panel is peaked at the lower edge. Side panels are ggathered at the side seam, and also as they join the front and back centre panels. Circular skirt. A beaded floral motif is stitched to the centre front panel, midway between neck edge and waist. Centre panels extend below the waist at both front and back. An underarm ''protector panel'' under the left armhole with printed motif. Tiny glass beads, beaded flower panels. On underarm protection panel a circular shaped printed label reads: PERFECT FITTING GUARANTEED HYGENIC, REGD. ''ADMYRA''. MADE IN ENGLAND, RUBBER LINED 1585 3- DRESS SHIELDS COTTON AND RUBBER.costume, female, ladies cream synthetic fabric dress

BHS CollectionFull length royal blue silk embroidered fabric dress with bodice and long sleeves, fully lined with ivory cotton fabric. Hand made. Front of bodice has round neck and dips to a deep V at waistline. Twelve decorative fabric covered buttons from neckline to lower V that taper to stitched down pleats at waistline. Fabric bow at centre front of neckline lined with blue satin. Long sleeves have short capped layer over a flared layer underneath. Top section edged with one row of royal blue cotton fringeing. Lower flared section edged with two rows of royal blue cotton fringeing. Large royal blue fabric bow attached at each elbow. Back of bodice made of six panels to waistline. Centre panel on each side is edged with cotton fringeing. Centre back opening to waist with nineteen hooks and eyes, only one eye remaining. Piping around waistline. Full skirt knife pleats at front below waist. Hemline edged with blue ribbed cotton ribbon. Card inside box with ''Wedding Gown Circa 1850's".costume, female, royal blue silk dress

Admiralty Arch is a landmark building in London which incorporates an archway providing road and pedestrian access between The Mall, which extends to the southwest, and Trafalgar Square to the northeast. Admiralty Arch, commissioned by King Edward VII in memory of his mother, Queen Victoria and designed by Aston Webb is now a Grade I listed building. In the past, it served as residence of the First Sea Lord and was used by the Admiralty. Until 2011, the building housed government offices, but in 2012 the government sold a 125-year lease over the building to a property developer (Prime Investors Capital, run by Rafael Serrano) for redevelopment into a luxury hotel, restaurant and apartments. (Wikipedia) On the inside wall of the northernmost arch is a small protrusion the size and shape of a human nose. It was placed there by artist Rick Buckley in 1997 as part of a campaign against the "Big Brother" society. The nose is at a height of about seven feet, and sits at waist height for anyone riding through the arch on a horse. Prior to Buckley being unmasked in 2011 by the London Evening Standard, an urban myth grew that the nose is there in honour of the Duke of Wellington, who was known for having a particularly large nose.(wikipedia)admiralty arch, london, nose

This gown, one of two similar items in the collection, belonged to one of the daughters of George Ward Cole, Miss Margaret Morison Ward Cole or Miss Agnes Bruce Ward Cole. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished.A black and mint green wool, velvet, lace and silk dress from circa 1882. The bodice features a wired, standing collar, finishing just under the chin and open at the front of the throat. On either side at the front of the throat it features long black lace ties with black jet bead fringe. The centre front of the dress from the neckline to the base of the skirt features an insert panel of mint green corded silk. The silk is gathered and the neckline and waist and overlaid a panel of gathered lacy net. Inserted into the seam at either side of this panel at the waist are two velvet ties. The dress secures closed with eight black buttons and one hook and eye down the right side of the mint panel to mid thigh. The edges of the collar and black front panels are finished with a looped ribbon trim. The remainder of the dress is made of a black wool fabric woven a checkered pattern of larger and looser threads and smaller and tighter threads creating a seersucker like pattern. The bodice features a natural shoulder line and an Amadis sleeve of full cut gathered to the bodice at the shoulder and finishing at the elbow with a large black lace flounce. The front panels of the dress are flat and shaped neatly to the body from neck to hip line and gently out to create the Victorian silhouette. On the back of each shoulder the dress features a leaf like, small jet beaded embellishment with multiple long loops of jet beads falling down the back to the waist. Underneath this embellishment is a pleated black ribbon that runs from the shoulder to the back of the pelvis. Over the pelvis are another two jet beaded embellishments of a floral design with two tassels. The skirt is full and pleated in under this embellishment and fulls to the floor with a small train. The base of the dress is finished with a ruched band of the main dress fabric.st ninians, george ward cole, visiting gown, brighton, miss margaret morison ward cole, miss agnes bruce ward cole, 1880s

1. "Kenneth Leigh Gordon Wylie", No.2515 3/57 Battalion WW1. Enlisted 20/6/16, age 22. In France 8/2/17 but hospitalised 19/4/17 with Tuberculosis. returned Aust 10/9/17 and discharged. 2. "Vincent Keating" VX53980 2/2nd Field Ambulance, age 23. Enlisted 25/4/41 and posted to Middle East. Returned to Aust and posted to New Guinea 22/10/32 and again 20/12/44. Discharged 19/12/45 at rank of Sgt. 3. "Joseph Keating" VX91801 enlisted 22/3/43, age 32. Embarked to New Guinea with 2/28 Batt. Discharged 15/7/46 as a Private.1. Sepia photo of Kenneth Leigh Gordon Wylie. Shoulder and head shot looking into camera. No background. Pasted onto brown cardboard. 2. Black and white photo of Vincent Keating. Portrait from Waist up looking into camera. Set in a brown and gold frame with a black leather backing and fold out stand. 3. Black and white photo of Joseph Keating. Shoulder/head portrait in uniform. Set in a brown wooden photo frame with gold metal rim and wooden fold out stand. Glass cover over photo.buna, ww1, ww2, photographs, kenneth leigh gordon wylie, vincent keating, joseph keating

Shirt and trousers combination made of dark blue, light blue, beige and brown colour in stripes, cotton fabric. Cream colour, plastic buttons. Cream colour drawstring. 1. Shirt with long sleeves with no cuffs, collar, one front pocket and placket front, with buttons. Manufacturers white cotton label inside back of collar. 2. Trousers, long legs with drawstring at waist. 3. Manufacturers label, lightweight cardboard, previously sewn to shirt. Black and red print with purple stamp information. Also handwritten information, grey lead pencil.Manufacturers information- 1. Blue and red embroidered details "GUARANTEED/DEFIANCE/BRAND". 2. Lightweight cardboard details "MENS AND BOYS/ Pyjamas/ for/ SERVICE and COMFORT/ Distinctive/ Cloth/ Defiance/ Exclusive/ Designs/ RENOWNED/THROUGHOUT AUSTRALIA/ NO./ SIZE." Purple stamp "100/ O.S." Grey lead pencil "3 D/-/ 16/6". 3. Reverse side of label - handwritten grey lead pencil. "I am a refined type of/ gal desiring a boy friend/ if you would write I shall/ be only to pleased to answer/ I am 18 (1941)/ Norma Poulton/ 96 Flinders Street/ 4th Floor/ Melbourne" The handwritten note and pair of pyjamas were sent to an unknown soldier serving during World War Two.clothing, pyjamas, ww2