A photo of widows from a newsletter from September 1953. The photo shows widows preparing supper while their sons attended the boys classes in East Brighton. The names are not known but it shows the fashion of the time . Individual photos being catalogued to record detail about each one.The newsletter outlining news of Junior Legatee activities.Black and white photo of East Brighton mothers socialising printed in a newsletter in September 1953boys classes, fashion, widows

A photo of Legatee Donovan Joynt VC, with three children and a dog. Their names are unknown, though they could be junior legatees. The date is unknown. Legatee Joynt was a long serving legatee and his life was celebrated in many ways, such as a biography and his uniform being presented to the AWM on his death.Black and white photo of Legatee Joynt with three children and a dog mounted on thick buff coloured cardboard.Stamped on reverse in blue ink 'Fashion Plant drawing board'donovan joynt, junior legatees

The newsletter from October 1950. It featured a drawing of two junior legatees on the cover. There was a piece on the battle of the Coral Sea. Pages showed news from the different Boys and Girls Classes and suggested physical exercises. Plus a piece on the Mothers' Club and the Intermediate Club activities. A hobbies page discussed model plane building. There pages on fashion and on possible careers. A newsletter published by Legacy in this format for many years from 1942. It mentions "Issued from time to time for Private Circulation among the Sons and Daughters of Deceased Service men and Merchant Seamen who served their Country during the War of 1914-18, or the present War". Articles on the work of Legacy, including features on boys classes, girls classes, camps, the residences and where their past residents ended up. There are some suggestion for careers and some general interest articles. Some very interesting photos.Newsletter outlining news of Junior Legatee activities.Black and white printed newsletter x 12 pages from October 1950. Volume 4 Number 2boys classes, activities, girls classes, ilc

Gold chain and medallion purchased by the donor from Myer Melbourne in the late 1960s with a Norma Tullo woollen long-sleeve mini-dress.Ornate medallion featuring a profile of a woman surrounded by ornate scroll work. The medallion is fixed to a double chain. Before it was assembled, the medallion could be used as a broochnorma tullo, costume jewellery, fashion & design - 1960s, accessories

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. An early example of swimwear from when men were able to legally swim topless in the 1930s. The fashion originated in France in the early 1930s, and slowly caught on in other countries, although was often controversial. In Australia this was less so, and by 1940 it was common attire at the beach. Pair of dark blue, woollen bathing trunks. Front skirted flap. White woollen belt with silver-coloured metal buckle. White label with blue stitched text attached to rear. Label: "Alpha" Size: SMswimwear - men's, alpha swimwear, alpha - menswear designer

The cast iron gates (manufactured in Glasgow) introduced at the North West entrance in 1907. The gates were purchased from ‘Fairlie” corner of Acland and Anderson Streets, South Yarra at the cost of 72 pounds and cost 60 pounds to install. They had originally cost the owners of ‘Fairlie’ 1200 pounds. Lee Heap Furniture Warehouse of Williamstown used the postcards to advertise. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. The image in this postcard shows the gates intact and as installed in 1907. The current layout of this area still reflects the change of design, which followed the 1907 removal of the first gardener's residence and the subsequent re-organisation of this quarter of the gardens. This postcard is evidence of the placement of one of the cannons relocated from Fort Gellibrand in 1906. They were removed from the Gardens in the 1960s. These same cannons remain a feature on the Williamstown waterfront in 2013. Black and white image of main entrance gates which are open. Through the gates can be seen a man in waistcoat standing in front of a cannon. The gates are cast iron, double carriage gates with single pedestrian gates on either side and supported by four cast iron posts with ornamental finials. Front: ‘The Entrance Gates, Williamstown Gardens. Vic.’ ‘0457/2’ ‘THE CROWN STUDIOS, SYDNEY’. Reverse: Centre top ‘POST CARD’ with a logo in the middle of the words. Left top corner a drawing of an artist’s board and brushes with a camera in the centre. Left side ‘MESSAGE ONLY.’ Right side ‘ADDRESS ONLY.’ Top right corner inside a dotted rectangle ‘STAMP HERE’. Bottom on card ‘BY THE CROWN STUDIOS, SYNDEY.’ Under the vertical line down the middle line ‘Neither the Address not the Message must cross this line’. In ink ‘With Compliments / from’. An oval stamp with scalloped rim ‘LEE HEAP FURNITURE MANUFACTURER’ inside inner oval ‘FURNITURE WAREHOUSE, / WILLIAMSTOWN’.postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, entrance gates, entrance-gates, cast iron, finials, cannon, crown studios, lee heap furniture warehouse

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action. In Ellis' photo, a woman streaks at an AFL game – two players stand in frame with her, a Richmond and Collingwood player respectively. Behind them the crowd and a large Richmond banner can be seen. Playful and spirited interactions such as this are a key aspect of Australian football culture.

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action. In Ellis' photo, a young police officer stands on the stadium ground with his arms sternly crossed, while the crowd waits for the game. This photo highlights the tension between passionate crowds and the police at AFL games.

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action. In Ellis’ photograph Malcom Fraser, VFL Grand Final 1979 we see a young supporter shake hands with Liberal Prime Minister, Malcom Fraser. In the grand Australian tradition, politicians and PMs are active in the football sphere. This work was shown in the 2017 Counihan Gallery exhibition Leather Poisoning, along with many other works by Ellis capturing the nations love of the game. Donated by the Rennie Ellis Photographic Archive

Rennie Ellis (1940–2003) was as a pivotal figure in Australian visual culture. He was both a documentary photographer and a prominent presence in advertising, television and photography. Ellis was known for his candid documentary images of contemporary Australian life. His photographs of social events, such as music festivals, fashion parades or nightclubs are iconic, but his practice also encompassed the grittier side of life. In his AFL series, Ellis skilfully portrays the nation’s passion for the game, extending his lens beyond the boundary line to showcase the spirited fans alongside the on-field action.Donated by the Rennie Ellis Photographic Archive

Hat was purchased at a Vintage fashion showSmall light brown felt hat with brown and fawn curled feather on one side. Hat is lined with black silk like material. The makers label is sewn on crown of hat Mr Individual Melbournemr individual

A crimson wire bound book with photos of women modelling sleep wear. 11 photo cards. Gyro wire binding trademark. Hollyoak MFc Co., Melbournefemale, lydia chancellor collection, fashion, night wear, modelling, photography, clothes

This is volume 1 of 45 held in the library at Hymettus cottage and bound in covers as a book, one of three volumes incorporating every edition in the series.. Life Australia was produced at Melbourne Victoria in 1967 and ran to 45 volumes when closed by the parent company in the USA in 1968. Although very American in the views espoused it was a significant step in attempting to produce a magazine of international focus in Australia. The brief period was also significant in Australia and the magazine covered events such as the Beatles visit to Australia, the seven day war in Israel, the conflict in Vietnam and the drowning of Prime Minister Harold Holt.The magazine, Life, was cosmopolitan and sophisticated in the USA and the Australian edition was identical in format, although fussing on local perspectives. it concentrated on serious current affairs and more profound cultural and political analysis, as well as a strong focus on fashion, lifestyle and nature. It was known for its striking front covers and high quality, stylized photography. and the local product lasted through 1967-68 producing 45 editions before ceasing and reverting to the International product.harold holt, vietnam war, australia, life australia magazine, melbourne, the beatles

This dress belonged to Louris White, nee Larsen-Disney, whose wedding dress from 1948 is also in the collection. Louris and her husband lived at 49 South Road, Brighton, just a few doors down from her family.Strapless pink organza cocktail-length dress. Finely pleated bodice and skirt laid on to a heavy vilene. Decorated around the waist with pink organza flowers and two bands of pink satin, one around the bodice and the other around the lower part of the skirt.Label: printed black on cream acetate side front bodice: "Original / Margeaux / REGD. / of Melbourne / IMPORTED FABRIC"evening dress, 1950s fashion, louris holly white, brighton, margeaux of melbourne, joseph haskin

The Sun Country Show Girl Quest, 1976. This presentation is on the stage of Wool Court on the Showgrounds. The compere in the suit is Brian Naylor. Naylor was an RASV Councillor from 1977-83 and a well-known news presenter, particularly for Channel 9. He often provided commentary and was a compere for several Show events, including the Miss Show Girl competition, Arts and Crafts, and the Australian Wool Corporation's Wool Fashion Parades, both before and during his time on Council.Black and white photograph, landscape.[Inscription on A4 History/Identification Project placed with photo] Approx date: 1976. The late Brian Naylor, Channel 7/9 news reader, RASV councillor. Presentation of Showgirl finalists on stage at Wool Court. Tim Morgan 23/4/2013royal melbourne show, naylor, brian naylor, miss show girl, sun miss show girl, 1976 royal melbourne show

Four page knitting pattern booklet featuring a woman wearing a grey and apricot top and white skirt on the cover.front: [printed] THOROBRED / scheepjeswol / Denise Rothfield / MELBOURNE / D22thorobred scheepjeswol, fashion, design, knitwear, home made, wool, pattern book, denise rothfield

Bendigo's Grandest Buildings are the Public Offices (1883-7) and the Law Courts (1892-6). Like the Town Hall they were described as Italian Renaissance in Design, but have high mansard roofs which give them a distinctly French air. They are so pompously Bendigonian that they stand well with Vahland's work, but in fact they originated in the Public Works Department, the architect for both being W.G. Watson. The building containing the Public Offices and Post Office has a frontage of 155 feet to Pall Mall and 100 feet to Williamson Street, and it was designed to include the post and telegraph offices and the postmaster's quarters. Public access was from the porch facing Pall Mall, and on the first floor were the police, water supply and crown lands departments, reached by a stair from the porch on the short façade. It was the largest building of its type outside of Melbourne, and was built in the grandest fashion of ornately stuccoed brick on a foundation of Harcourt granite, faced above ground level with bluestone. The floors of the porches and landings of the main stair are of encaustic tiles, the interior woodwork is of French polished cedar, and the major public rooms have coffered and enriched ceilings and cornices, and ornamentally panelled walls divided by pilasters. The building is surmounted by a tower rising to 130 feet, containing a great clock made by Thomas Gaunt of Melbourne, the chimes played on five bells weighing a total of three tons.bendigo, buildings, state offices

Portrait of Kelso Fragrance, the Junior and Grand Champion Shorthorn Heifer, exhibited by G. Starritt in 1960. George 'Ray' Starritt OBE joined the Society in 1957, with his father founded the Kelso Park stud, originally for sheep, in 1914. Starritt became a Life Councillor of the RASV in 1977, and held the office of Vice President for 12 years before taking on the presidential seat from 1982 to 1986.Colour, landscape photograph in gilt frame with glass front, wire hungKelso Fragrance (2.9.59) / Sire, Chapelton Bright Fashion (imp.), Dam, Kelso Sweet Fragrance / Junior and Grand Champion Shorthorn Heifer, Melbourne, 1960. / Exhibited by G. Starritt & Sons, Kelso, Tatura, Vic. / 525.3933 /shorthorn, cattle, cow, heifer, starritt, g starrit, george starritt, ray starritt, livestock, blue ribbon competition, winner, grand champion

One of a batch of yarn sample cards. Alexander Lau established his business in 1950 in the Nicholas Building, 37 Swanston Street, Melbourne. He designed textiles and commissionned many of his textiles to be spun andf woven in Geelong mills. He had a long association with the Returned Soldiers and Sailors Mill and with Mr Schofield, the manager. In 2000, he retired and closed the business.Yarn sample card: card wound with four samples of woollen yarn, each yarn sample is the same design but in a different colourway. The card is printed with the label COL: and handwritten with the colour names.NOIR/PURPEL/ STELL/WILLOWtextile design fashion textile industry - history, alexander lau pty ltd, textile design, fashion, textile industry - history

Rose Series postcard No. P 1518, titled "Collins Street Melbourne", with the nearly completed Manchester Unity Building 1932 dominating the skyline behind the Town Hall on the corner of Swanston Street. On the left is the Regent Theater and "Misses Mooney" a famous ladies fashion label of 189 Collins Street for decades, run by Nell & Ida Mooney. Yields information about Collins St mid 1930s.Postcard - printed real photograph with Rose Stereograph Co. name on the rear.tramways, trams, collins st

Card advertising Parisma KOUKLAN and her fashion consulting, alterations, dress-making & millinery business at 350 Bay Street, Port Melbourne Brown toned business card with a narrow darker border and text in black. business and traders - dressmaking, parisma, parisma kouklan, bay street

Lee-ann's Finito Fashion Clearances business card located at 295 Bay Street, Port Melbourne.White business card with red & black lettering.business and traders, finito, business & traders - manufacturing, bay street

Clipping from a newspaper, January 1990 titled "Mobile Homes", advertising in a humorous fashion the sale of Melbourne's tram, then in a blockade in the city. Notes that scratch tickets will be required and gives the name of a then Victorian Government Minister "J Kennan". Has normal real estate ads on rear. From the Melbourne Times?? who used to do such a thing in the first issue of the newspaper each year.trams, tramways, tram blockade, strike, unions, scratch tickets

Flour bags were a useful source of material to be repurposed into domestic objects in the early 20th century. This object, fashioned from two well-known brands of flour bag, was most likely used as a pillowcase.The pillowcase provides an example of how flour bags were recycled and repurposed into useful domestic objects in the early 20th century.Two flour bags opened out and sewn together to create a possible pillowcase. The open end has a tie sewn to each side to enable the pillowcase to be closed. The bags have been sewn with the inscriptions on the inside of the pillowcase.Side 1 25LBS GROSS WHEN PACKED, John Darling & Son, ECLIPSE, ROLLER FLOUR, MELBOURNE Side 2 O-SO-LITE, Self-raising, FLOUR, Creamy & Delicious, O-SO-LITE PRODUCTS, 412 COLLINS ST MELBOURNE, C.I. Decoration of wheat stalks surround the inscription.flagstaff hill maritime museum and village, great ocean road, shipwreck coast, warrnambool, calico, domestic object, textile, food storage, john darling & son, eclipse roller flour, o-so-lite flour, pillowcase, flour bag