These two chairs are Grant Featherston prototypes of the 1947 Relaxation Chairs. These chairs came from the Boyd family's Camberwell home (666 Riversdale Road, Camberwell, formerly 158 Riversdale Road) and were originally upholstered with webbing. The fixings were modified in the final product Relaxation chairs. Robin Boyd designed the Ivanhoe home of Grant and Mary Featherston (1967).Dark orange with black fine check woven wool. Nine self-covered buttons. Laminated timber legs and arms (no frame). Three visible timber pegs/bolts connect arms to the body.walsh st furnishings, robin boyd, grant featherston, ohm2022, ohm2022_33

Apron was used during 1950's by donor's aunt, Myrtle BennettCirca 1950 floral cotton button through coverall. Has 2 pockets trimmed with purple braid. Sleeveless, trimmed at arm holes and neck edge with purple braid. Six white buttonscostume, female working

Purchased by Joy Kenny on behalf of the Society from St Vincent de Paul Opportunity Shop.All in one camisole and knickers combination in cotton trimmed with anglaise around the neck , sleeves and leg. Five linen buttons down front - back has trap door opening and ties at waist.costume, female underwear

Cream Lady Pelaco blouse. Size 12. Five front covered buttons with 6 rows of stitching on either side of opening. Peaked collar with tie front.Long sleeves with covered button at wrist.Pelaco Ladycostume, female

Blazer belonged to donor's Father, Harold Victor Allen who worked for Colonial Gas Ass. Ltd., firstly at Footscray and then at Box Hill in the 1960's. He retired in 1971. Born in Ballarat in 1906 & worked there until 1945 , then moved to Footscray where his wife Eileen helped him with Natural Gas conversion.Navy Blue cotton Blazer.Three pockets. Top pocket has Colonial Gas Ass. logo in yellow and blue. Sleeves have two buttons at wrist length. Back has split pleat.Designed by Peter Jackson Aust.costume, male

Cream silk camisole with lace inserts. Blue ribbon in eyelet lace at neck. Four pearl buttons down front (one missing) concealed by lace, drawstring waist. Blue ribbon on sleeves.costume, female underwear

Woven cane sewing basket with lid attached by a cord. Lined in blue padded silk. Contains many items normally found in home sewing baskets - threads, buttons, hooks. crochet needles.etc.handcrafts, equipment

00134.1 Red Waistcoat with Gold Buttons QE2 crown and map of Australia, 00134.1 Dark Blue Cumbarbun with plastic fittings. 00134.3 Dark Blue Trousers with a single red stripe down the legs

The 13th Light Horse Regiment (AIF) was raised at Broadmeadows Victoria in March 1915. Following service at Gallipoli the regiment was broken up with squadrons going to France as Divisional Cavalry Squadrons of 2nd, 4th and 5th Divisions. The regiment was reformed as firstly 1st Anzac Corps Mounted Troops and later Australian Corps Mounted Troops.Khaki jacket with 13th Australian Light Horse Regiment colour patches and "A" insignia, Rising Sun collar badges, "Australia" epaulette titles, metal buttons and World War One ribbon bar.uniform, 13th, aif, wwi, world war one, light horse

The 8th/13th Victorian Mounted Rifles was raised as a regiment of the Royal Australian Armoured Corps on 1 May 1948 with Headquarters in Melbourne and squadrons in Sale, Benalla/Wangaratta and Albury. In 1955 Regimental Headquarters moved to Wangaratta and a second squadron was located at Albury. The Sale squadron transferred to 4th/19th Prince of Wales’s Light Horse. In 1977 8/13 VMR Regiment was reduced to an independent squadron A Squadron 8th/13th Victorian Mounted Rifles and in 1991 was linked with 4th/19th Prince of Wales’s Light Horse forming the VMR Squadron of that regiment. This uniform has an unusual combination of accoutrements, possibly worn on special occasion such as a lance guard or attendant at formal dinner.Service dress jacket with silver buttons, 8/13 Victorian Mounted Rifles collar badges and silver corporal chevrons. Is dress with black webbing belt and black bandolier. Mounted on half-mannequin.uniform, vmr, victorian mounted rifles, corporal

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Three-piece pink chiffon outfit, the outer sections of a different floral weave. The two outer sections are attached with buttons at the waist. The plain pink shift with a zip at the neck was created to wear underneathgrace james, women's clothing, dressmakers - surrey hills (vic), fashion design, fashion -- 1980s

The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Wide brimmed straw woman’s hat banded at the crown and on the rim with black ribbon. Highlighting the lower part of the crown are regularly spaced black plastic buttons. Attached to the bow is a posy of crimson poppies.Nilwomen's clothing -- hats, sun hats, straw hats

This photo was part of the Hill family's collection. Notes indicate that it was probably taken by Walter Hill, son of William Valentine Hill of 10 Pembroke Street, Surrey Hills. Walter Ormond Hill was born in 1887. No death record has been located. It is not known where the photo was taken. The donor was the nephew of Walter Hill.A black and white photograph of a man of Chinese appearance with two large containers and a stick connecting the two. The man is dressed in a three piece suit. The jacket appears to have Asian style toggle buttons on it.chinese, drapers, walter hill (mr), walter ormond hill (mr), william dempsey (mr)

Pat Grainger (1930-2023) had a distinguished career as a graphic designer. In the 1960s she lived in Brighton and was working with her husband Les Mason in the influential Les Mason Graphic Design studio in South Melbourne. This was one of three Norma Tullo outfits she owned at the time; she believed it would have been around 1967. Pat was a founding member of Port Melbourne Historical and Preservation Society and was active in local history and environmental and social justice causes. Norma Tullo (1936-2019) was an influential Melbourne fashion designer circa 1960s-1980s, part of a new wave of younger designers creating youthful, modern and affordable styles for a young market.Black and white paisley nylon hot pants dress (.1) with collar. Front button fastening with seven fabric covered buttons; short sleeves and accompanied with short red wool scarf (.2).Label, white text on black: "TULLO".pat grainger, paisley, melbourne designers, pat mason, norma tullo, 1960s

Paul Leonard wore this shirt and vest to a Brighton Primary School fundraiser in the late 1960s. His wife Heather wore a matching yellow and orange dress, with hand painted yellow and orange shoes. Paul and Heather lived together in Male Street for forty years until his death in 2002. Paul worked in advertising and later became a painter, mainly of Australian icons.Cotton men's shirt (.1), mustard yellow with purple collar, cuffs and buttons. Men's knit vest (.2) featuring yellow and navy blue horizontal stripes and trimmed with narrow red stripe.paul leonard, heather leonard, brighton primary school, 1960s

A girl's white cotton dress. The collar has floral embroidery, puffed elasticised sleeves, a pleated front with three plastic buttons and floral embroidery. it has a flared skirt with pleating around the hemline.Label - "Colonial Recollections. 100 % cotton. Made in India".dresses, girls clothing

Ballarat Soldiers Memorial Band competing in the 1932 South Street Competitions in Ballarat. .2) shows the the band being inspected as part of the Marching Contest Points (20) were allotted for such things as cleanliness of uniforms and boots missing buttons, messy hair, unshaven, etc. This mark was added to the band's music score and drill score to give a band's total Quickstep result.Ballarat Soldiers Memorial Band winning both the B Grade selection and Quickstep and came 2nd in the A grade selection. Overall coming 1st in the B grade aggregate and 2nd in the A grade aggragate 1932.1 - Ballarat Soldiers Memorial Band playing and marching . .2 - Ballarat Soldiers Memorial Band standing at attention on an oval.1 - Ballarat Soldiers Memorial Band ( Frank Wright - Conductor). Winners B Grade selection, B grade Quickstep, 2nd A grade selection. 1st B grade aggregate, 2nd A Grade aggragate South St. 1932 .2 Ballarat Soldiers Memorial Band 1st B Grade Selection & quickstep, 2nd A grade quickstep. Frank Wright - Conductor South St. 1932ballarat soldiers memorial band, 1932, south street, frank wright, entertainment, quickstep, uniform

A capelet is a small cape, usually worn around a person's shoulders and often chosen to wear with an evening outfit. The design may include a hood, collar or even ruffles. Fabrics range from fur, leather, velvet and wool to shear silk and net. Trimmings include buttons, lace, ribbon, and tassels. A capelet was a fashionable garment from the late 19th to the early 20th centuries.Capelet with collar. White fur lined with white fabric. flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, capelet, cape, evening wear, fur garment, fashion, edwardian, victorian, white fur

Fundraising badge sold by the Commonwealth Button Fund to raise funds for the victims of the Armenian massacres in the Ottoman Empire during the war. The button was designed by Frances Woolcot, the Honourary Organiser of the Melbourne Branch of the Commonwealth Button Fund. The design was approved in November 1917 and the buttons were sold on 30 February 1918 - £7,300 was raised on the day. Part of the button collection of Frederick HyamsRound metal badge in orange, blue, black and white. Desert scene with city, three palm trees and camels with riders silhouetted. Words printed under scene. Pin at back fits into slotServia Syria Armenia

Uniform issued to "LOCKYER" 114493.Jacket - khaki colour wool/polyester fabric. Service dress style, gold colour plastic buttons with metal shank and split ring. Buttons have raised emblem of Queens crown, crossed swords and Kangaroo. Royal Australian Army. Collar, shoulder epaulettes, four front pockets, top two with button and two metal studs on flap, lower button down flap. Green colour polyester fabric lining with white cotton manufacturers labels inside right.Manufacturers information on labels - black ink print faded to light grey/blue. "RUSS JOHNSTON/ -TAILOR- /VIC^ 1989/90/ DEN 8405-66-019-8188/ DRYCLEAN ONLY/ REPRESS USING IRON AND DAMP CLOTH/ OR MEDIUM TO HOT STEAM IRON/ CREASE UPPER HALF OF LAPELS ONLY" "REGIMENTAL NO./NAME" Handwritten, blue ink pen "LOCKYER". uniform, army, service dress, lockyer

Jacket belongs to "DOHERTY Geoffrey" NX 73701. 2/6 Armoured Regiment Trousers - no name.1. Army Jacket, Khaki, woollen, 4 breast pockets. Four darkened metal buttons in centre. Rising Sun Badges on Collar - ACMF colour patch on shoulder, Tank unit. Gray felt backing, Sergeant's stripes. There are two holes on each epaulette for badge mounting. 2. Trousers, khaki woollen, these are NOT WW2. Long trousers, drab olive plastic buttons. 3. WW2 pattern belt webbing. It has been painted white - brass fittings.1. Inside is written NX 7301 DOHERTY G. 2. Nil 3. ABBOTT written inside.uniform, ww2, army, passchendaele barracks trust

This particular Jacket was issued to VX 33678 Bdr E. O'Shea.Bdr O'Shea served during WW2Khaki Wool cloth Jacket, four patch pockets on the front of the Jacket. The Jacket has two 'Australia' shoulder titles on the epaulets, one only small (king's Crown) rising sun badge on the collar, six small buttons, four small buttons with King's Crown, map of Australia and embossed Australian Military Forces. One small button at the collar. On the right and left sleeve are the colour patch of Artillery. On the right sleeve is the badge of rank of Bombardier and four blue service chevrons. Inside the Jacket hand written OSWR. Makers Tag - Freedman & Co Pty Ltd. 1941. Size 6. Name Tag - Regimental No VX33678. Name Bdr E. O'Shea. uniform, jacket, service dress, khaki, amf

Orange, navy and grey workwear cotton shirt. Fluoro orange body with navy tails and two horizontal grey nylon stripes (5cm wide). Long navy sleeves with one grey nylon horizontal stripe (5cm wide), 5.5cm cuffs. Navy collar. Front opening has seven X 12mm navy plastic buttons. Two breast pockets with 5.5cm flaps fastened with navy buttons. Washing instructions and spare button labels stitched inside LHS seam.Label inside back neck, ''Tuffware'' ''S''. Made in China. Hi Vis Safety Garments. Compliance to AS NZS 4602 1999 Upf 50+. Navy embroidery above right breast pocket ''Amanda Gath''. Navy embroidery above left breast pocket ''Northgate Fosterville Gold Mine''.costume, male working, orange, navy grey work shirt

Black single breasted tail coat.Jacket cut away and squared at waistline, two X 2 cm buttons on either side of front opening. Long sleeves with three V buttons and vent at wrist level 1.5cm. Single vent at back to waistline forming two tails falling to the back of the knee, tapering to a curve at the bottom. Fully lined with polished cotton-black in body of the coat with white lining in the sleeves. Section of the lining around the arm is quilted. Worn with matching trousers 11400.671.costume, male, black tail coat

White cotton, with fine crochet and needle woven lace 9possibly machine made) and pink satin ribbon insertion - seven cm wide waistband fastens at the centre front with two 1.5cm covered buttons. A gathered centre panel fastens over the centre of the waistband with two 1.5cm covered buttons. Two darts at either side of centre back seam, and a slight - .5cm shaping at back waistband, provide shaping, and a smooth backline. No side seams, machine stitched, flat seams and darts.costume, female, white cotton, lace trimmed drawers

Ladies’ gloves were an essential part of life in the 1840s to 1900 Victorian era, regardless of class most ladies wore gloves. The glove design, material, and fit would hint at a lady's status, despite their hands being covered. A shorter style of glove would have been used for daytime wear, along with the matching parasol cover and would be matched to the owner's outfit. Leather was a material often used since the 1900s, however when WWI hit the price of leather gloves increased and many resorted to cheaper materials for their accessories. Although particular styles for evening-wear gloves altered throughout the 20th Century, the classic neutral leather glove was a staple throughout Australian ladies' fashion during this time. The need for gloves and parasol cover however disappeared in the 1960s when gloves were only used in the winter months as a practicality rather than a fashion accessory.The leather gloves and parasol cover indicate the owner was wealthy and was able to spend money on good quality accessories. This may have been due to the fact that Chiltern was a gold-rush town and would have had some wealthy families living there from the late 19th Century. The leather items are a symbol of such wealth and social signifiance in the rural town of Chiltern.Gloves: Beige colour with brown hand stitched detail on the upper hand - 3 lengths. Brown stitched all around with finger gussets. Three brown leather button detail to the upper cuff (actual leather circular pieces meant to resemble buttons, hand stitched in beige). Umbrella/parasol cover: Same soft leather as gloves and detail, metal zip along the length and tapered to one end. Two leather circular pieces meant to resemble buttons, one missing at the top). chiltern, leather, leather gloves, leather parasol cover, parasol, parasol cover, gloves, wealth, gold rush, chiltern athenaeum museum, chiltern gold rush

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