BHS CollectionPhotograph of four Hanro models: Black and white photo of four ladies modelling Hanro dresses.. Three ladies are wearing Hanro dresses and the fourth is in a tailored suit .On the left the dress is of light material and has short sleeves, padded shoulders, high neck with three darts either side at the next and four buttons down the centre. The dress has darts at the waist and is drawn in with a belt. Second lady from the left is wearing a long sleeve dress with padded shoulders set in sleeves, and gathered at the cuff and secured with a button. The bodice is V necked with a collar, has gathering at the shoulders and is buttoned up with two buttons down the centre, darts under the bust line and a belt is at the waist. The third lady is in a dark suit with a long sleeved tailored jacket with padded shoulders, V necked with a collar and five buttons down the centre. Pockets either side are trimmed with buttons. The suit has a straight skirt. The lady to the right is in a light coloured dress with short set in sleeves and a peter pan collar. At the top half of the bodice the dress has vertical pin tucking with five buttons down the centre. The waist has darts at the bust line and the skirt is of a gored style, there is a belt at the waist. The hem line are all below the knee and are all wearing high heals. The ladies are standing in front of a wall of wood panelling. On the back written in pencil is *Joyce, Yvonne and Clarice. Copyright Bendigo Advertiser. Bendigo Advertiser Photographic Service. For re-order Quote CK242. Box 116ABendigo advertiser Photographic Servicephotograph, person, hanro, hanro. bendigo advertiser photographic service

This petticoat was one of several items donated from the estate of Susan Henry OAM nee Vedmore (1944 - 2021). It is in very good condition and appears to be from the Edwardian era - early 20th century. A petticoat is a lady's undergarment - worn under a skirt or dress. They provided warmth, modesty and shape to the dress. In the middle of the 19th century, petticoats were worn over hoops, bustles or in layers. Petticoats varied according to the style of the outside skirt or dress. Plain petticoats tended to be worn with everyday wear whilst better dresses (party dresses or silk gowns) were worn with petticoats that often had more trim and embellishments. Edwardian petticoats had less volume than Victorian era petticoats and they had a "dust ruffle" or lining under a lace flounce. The "dust ruffle" protected the lace flounce and gave the petticoat more flare at the bottom, greater freedom when walking as well as saving the flounce (which was often made of finer material) from everyday wear and tear. Tucks are another feature of Edwardian petticoats - when the lace at the bottom became worn, it could be cut off and the tucks released. This extended the life of the petticoat. This petticoat features an intricate trim of broderie anglaise. Although broderie anglaise was a lace that could be made by hand, it was very time consuming to make. St Gallen was a city in Switzerland that had become known for producing quality textiles. At the beginning of the 19th century, the first embroidery machines were developed in St Gallen. Factories used embroidery machines but people also had them in their homes. They were able to produce broderie anglaise for export. By the early 20th century, machine made lace, fabric, ribbons etc. were being sold in drapers shops all over England and Wales to women who were making clothes and furnishings for their families. It is highly likely that the lady who made this petticoat brought the lengths of broderie anglaise already made to embellish and personalise her petticoat. Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up in 2010 to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community.This item is an example of the needlework skills of women in the late 19th century - creating pintucks and adding lace to personalise and embellish a practical item of clothing. It is also significant as an example of a practical solution to the difficulties that women of this era faced with regard to the washing of clothes and household linens.A white lawn petticoat with a 22.5 cm opening that fastens with 2 small buttons and a drawstring tie. It is decorated with two wide pintucks followed by two gathered frills (or flounces) - one decorated with three rows of narrow pintucks and a single row of broderie anglaise and the bottom frilled hem finished with 3 rows of broderie anglaise in a flower design. The two bottom frills are lined with plain white cotton fabric.flagstaff hill maritime museum and village, great ocean road, petticoat, lady's petticoat, undergarment, lady's undergarment, lingerie, edwardian petticoat, broderie anglaise, lace, machine made lace, hand sewn, machine sewn, draper's shop, susan henry oam, vedmore foundation

Navy blue dress of synthetic crepe fabric. Length to just below the knee. Elbow length set in fitted sleeves. Square neckline. Narrow shoulder sections gathered into bodice at each corner of neckline at front. Decorative buttons on seam- three each side (two missing on LHS).Padded shoulders. Three horizontal pleats at waist line that taper and narrow at centre back. Centre back opening fastened with thirty one fabric covered buttons and cotton cord loops Skirt made from two sections. Front section ungathered. Back section has four inverted pleats falling from 15 cms below the waist to create fullness. Hemline faced with 7 cms cotton fabric.costume, female, navy blue synthetic crepe dress

Clothing. Child's dress - pink silk trimmed with black lace, Pink silk, lined with muslin. Waisted - skirt gathered at back, 3 small pleats at either side of front. Small band at 3 '' pin tuck '' liked rows of fabric at waist. Smalloocket inserted in one at front seams. Five 1cm pleats at each side of centre bodice front. Square neckline banded with 3 rowa of narrow black velvet ribbon, and one row of 4 cm deep black lace. These rows of ribbon and lace repeated on the short sleeves, and at the lower hemline.Back bodice has boning on either side at centre back and eyelets for lacing (No lacing present). Bodice lined with cream calico. Hand and machine stitched.costume, children's, party dress

White, single card with a lady and a man at a garden wall. The lady is standing in front of the archway on the other side of the wall. She is wearing a pink skirt, white blouse, brown jacket and black hat with pink flowers. The wall is grey stone with a creeper growing on the top. On the front side of the wall a man is standing waiting holding a cane in both his hands. He is wearing light grey trousers, white shirt and waistcoat and a long knee length black coat. He has black shoes and a black top hat which is on an angle. He also has a monacle and a long black moustache. Across the bottom 'A merry Christmas to you both' is printed in light brown. The card has rounded corners.Castell Brothersperson, greeting cards, malone collection, malone collection, greeting cards

Clothing. Infant's cream silk dress. High round neckline edged with one cm lace, and casing. Yoke front and back extending to kimono style long sleeves. Front yoke has four vertical strips of lace and centre embroidered panel with pale pink flowers and pale green leaves. Two strips of inserted lace extend along the top of each sleeve from neckline to wrist. Sleeves edged with three cm lace at hem. Centre back opening (22 cm) fastened at neckline with.6 cm pink silk ribbon and two one cm buttons and button holes in centre and lower edge of yoke. Skirt has five cm lace border at hem.costume, children's, infant's cream silk dress

Peach coloured nylon nightgown made by HANRO Bendigo. Bodice gathered at front onto a plaited band under the bust. On each side of the band three ties (102cm) extend from the ends of the plaited band. Shoulder straps made up of three pieces of nylon tubing attached back and front and plaited over each shoulder. Back of bodice in two pieces. Ankle length A line skirt. Colour at bodice is pale peach colour that darkens as it descends to the hem where it becomes a deep orange colour. Nightie given to donor by her grandmother who received the nightie as a prize at a Hanro meeting. Donor's uncle John Preston, father George Preston and mother Gwen Washington (machinist) all worked at Hanro.HANRO 100% Nylon SW on tag on lower side seamcostume, female, peach coloured nightgown

Clothing. Child's ivory coloured silk yoked dress. Round neckline edged with lace. Front yoke is made up of two horizontal strips of lace with a vertical strip on either side at the shoulders. The back yoke of fabric has vertical strips on each side at shoulders. Kimono style short sleeves have a strip of lace along the top. The hem of the sleeve is trimmed with ribbon insert lace and edged with one cm scalloped lace. The skirt is gathered into the lower edge of the yoke, and the seam is trimmed with ribbon insert lace.The sleeve is made up of 7 cm of silk fabric with 20cm of Lace fabric with scalloped edge at hem. Centre back opening (19cm) with three metal press-studs on the yoke.costume, children's, child's ivory coloured silk yoked dress

Shows the details of buildings in the east end of Sturt St, c1916.Digital image from a postcard from the collection of David Critchley, of Ballarat, Sturt St c1916. This 'birds eye' view of Sturt St reveals on of the early fleet standing at the city terminus probably during the Great War. Note the absence of motor cars and women's skirts are somewhat shorter - an economy concession with the shortage of cloth during the war years. A Valentines photo postcard. David scanned this pic at a higher resolution than normal, so you should be able to zoom in on the tram, which has been fitted with windshields and looks typically well used and unloved as did most of the original Ballarat fleet in their latter years. Image supplied by email 30/8/2011 - not to be published without David's authority.trams, tramways, sturt st, bridge st, esco

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 wedding dress was worn by the grandmother of Val Warren.Raw silk wedding dress. The full length dress has lace on the bodice and long sleeves. Other decorative elements include finely pleated silk panels on the bodice, an insert on the skirt and on the cuffs of the sleeves The dress features extensive use of both utilitarian and decorative buttons that are covered in the same silk fabric as the dress. The final photograph shows two early repairs to the dress. Lydia Edwards in 'How to Read A Dress (Bloomsbury Academic, 2017), when describing a 1912 dress in the McCord Museum notes that: 'In 1911-12 the use of buttons for both fastening and decoration was extremely popular, the American women's magazine The Delineator declaring at the end of 1911 that "one cannot use buttons to liberally in the present mode".' (p.132)costumes, wedding dresses, women's fashion - 1910s, fashion design, fashion -- 1910s

Mrs. R. Gordon is the President of the Victorian branch of the National Council of Women and is unveiling the Memorial plaque to Caroline Chisholm. The plaque stands on a rock in front of the Royal District Nursing Service (RDNS) Essendon Centre, and was unveiled on the same day the Centre opened on the 30th of August 1967. Mrs. E.G. Wilson is President of the Royal District Nursing Service. Miss Mary Evans is the Director of Nursing of the Royal District Nursing Service and is wearing her dark grey Director's uniform.Caroline Chisholm visited the goldfields of Victoria in 1854 and was horrified by the conditions en-route. The Memorial plaque to Caroline Chisholm, in front of the RDNS Essendon Centre, is in recognition for her work in establishing, with Government assistance, shelter sheds about a days walk apart, to enable the prospectors and their families shelter whilst heading for the goldfields. Caroline Chisholm, a Philanthropist, began her work in Madras in 1834 founding a Female School of Industry for the daughters of European soldiers. They were taught to read, write, cook, keep house and were given instructions in nursing. After coming to Sydney in 1838, she set up accommodation for poor young unemployed migrant women and families. This work was extended when she arranged employment in the countryside for assisted immigrant women and families, many times travelling with groups of young women to check their employment conditions. In seven years she placed 11,000 people in homes and employment. On her return to England she fought for, and won, free passage to Australia for wives and children of former convicts, and for children left behind in England by circumstances, when the family migrated. She established the Family Colonisation Loan Society in 1849, which set up a saving scheme for emigrants, and later loaned them half of their passage to Australia. The Society's Agents found them employment on arrival, and the loan was paid back within two years by a humane payment scheme. At first they used emigrant ships for passage, but then the Society provided ships with much improved conditions, and this led to the upgrading of the passenger Act.. The Chisholm's lived in Kyneton for several years, returning to Sydney for health reasons, before going back to England where Caroline died, aged 68 years, on the 25th of March 1877.Black and white photograph showing Mrs. R. Gordon, wearing a black coat and black and white beret style hat, with her left hand on a rock and her right hand on the British Flag, whilst unveiling the Memorial plaque to Caroline Chisholm. Mrs. R. Gordon stands between Mrs. E.G. Wilson, who is to her left, and is wearing glasses and a black coat, hat and shoes. Miss Mary Evans, who is wearing her RDNS uniform of a dark grey skirt and jacket and brimmed hat, and with a handbag looped over her left arm, is to the right.. Part of a building is seen in the background; short glass windows can be seen above the brickwork to the left and a large glass window to the right.Photographers stamp and 'Quote No. GJ 60'rdns, royal district nursing service, essendon centre, caroline chisholm, memorial plaque, mrs r. gordon, miss mary evans, mrs e.g. (hazel janet) wilson

Elaine Margaret Milnes of Tallangatta married David Ernest Mann of Wodonga on 30 March 1957. At the time of their first meeting, Elaine was living in Tallangatta where her father had moved as a bank manager. She was a member of the Drama Club. She and David met at the Rutherglen Town Hall whilst attending an Arts Festival. David was attending as a member of the Wodonga Music Club. David Mann was the son of Ernest and Evelyn Mann of Wodonga who had operated the family business since 1921. David joined the business in 1945 and became the managing director of Mann Wodonga from 1965. Under his management and leadership, it expanded to become one of Australia’s largest regional shopping centres, with a Supermarket, Hardware Store, Steel Store, Plumbing and Industrial supplies store, at one stage employing over 100 people. He continued to head the business until it was sold in 2006. He was a leader in many other fields in the Wodonga community, from leading the Wodonga Chamber of Commerce to scouting, Apex and Rotary and was a prime mover in establishing Aware Industries for people with disabilities. He chaired the Wodonga Chamber of Commerce on several occasions. David was a man of vision who was involved in many charitable and community organisations. These included membership of the hospital board and President of the Wodonga High School Council. was a prime mover in establishing Aware Industries for people with disabilities. Elaine also played an active role in the business. She developed and managed a quality giftware department from 1969 to 1987. Some of her local involvements included the School Mothers’ Club and Kindergarten, Girl Guides, the Quota and Penguin Clubs and Meals on Wheels. David also advocated passionately for the development of a university and TAFE to be established in Wodonga. In 1993 he inaugurated the Jonathan Mann lectures series at La Trobe University in honour of his grand­father. The university honoured Mr Mann in two significant ways, giving him an honorary degree of Doctorate of Law in 1998 and in 2002 named its new library the David Mann Library. David Mann died in Albury in June 2012. Elaine now (2024) lives in Melbourne. “The little I have done for Wodonga and district is only in return for what Wodonga and district has done for me.” David MannThis dress was worn by Elaine Milnes at her marriage to David Mann who became a prominent businessman and contributor to many aspects of the Wodonga community.A wedding dress dating from 30 March 1957. The dress consists of a fitted bodice with tulle frills around the body. The bodice has a square neckline decorated with tiny seeded pearls and blue stones. The long sleeves are made of sheer tulle with lace and a frill at the wrist. The skirt is made of two layers of white tulle with five lace and tulle frills around the body. Under the tulle is a pale blue satin slip with two more layers of white tulle underneath it. It was worn with a fingertip length veil held in place by a lace coronet. The bridal bouquet consisted of red and white roses. The bride also wore a single string of pearls. The dress was made by Olive Ferris Wedding Dresses of Sydney.mann wodonga, david mann, elaine mann, wodonga businesses

Black and white photograph of cable trailer 88 being loaded onto a wagon at the Spencer St / Flinders St railway yard by the railway yard travelling gantry crane. Trailer lettered M&MTB. Has a man riding the top of the car before being loaded into a I type open wagon. Photo mid to late 1920s? Photo from the Collection of the Department of Infrastructure now with the Public Records Office - image number "Box 108-1. Note: this photo is now out of copyright and may not have been an original VR photograph, but one copied from another source and collected as their Heritage series. The building in the background in Flinders Street (extension/west.) is the former Melbourne Harbour Trust Officers. By the time of this photo was taken the building was in the hands of the Department of Agriculture. Their name can just be seen on the top part of the building. It was demolished when the convention centre was built beside the WTC in the mid-1980’s. The crane was dismantled in the late 1990s around the time of the No 1 goods shed was moved to Bylands. The cable car has been stripped of a number of parts : Some windows. All the brake rigging and pawls All the roof-mounted destination boxes. The wheel skirt.Shows how redundant cable trams were sold and transported to country locations.Photograph - Black and White - Loading cable car trailer 88 at Spencer StHas Department of Infrastructure copy right stamp on rear and number "Box108-1" in ink on rear and "1-8"tramways, trams, cable trams, flinders st, sale of trams, railways, tram 88

Set of 9 mixed SEC tickets found in Ballarat No. 28, behind the north side sandboxes No. 2 end 6/1/1999. Tickets have been used and have varying degrees of dirt. The image file shows the nature of the damage. Tickets have not been individually numbered with the Registration Number, but can be identified by their ticket number and denomination. All SEC decimal tickets with one SEC pre decimal issue. All on white paper unless otherwise noted. 3d - 45 004131, black ticket with 3d in blue on pink paper, plain back 4c - B 177166 - red ticket, SEC logo on back 5c - B 271063 - yellow ticket, SEC logo on back 7c - B251545, turquoise ticket, SEC logo on back 7c - B385254 - turquoise ticket, SEC logo on back 7c - B447403 - turquoise ticket, SEC logo on back 10c - B873852 - black ticket, SEC logo on back 10c - B995920 - black ticket, SEC logo on back 15c - A202245? - brown ticket, tartan back trams, tramways, tickets, used tickets, secv, ballarat

Set of 9 mixed SEC tickets ex Bendigo, donated by Peter. W. Watt. Tickets do not appear to have been used in traffic - no punch marks. Tickets have not been individually numbered with the Registration Number, but can be identified by their ticket number and denomination. All on off white paper unless otherwise noted with a tartan style back unless noted. 3d - 1 -000001- orange paper, plain back, green ink price, black printing and number. 3d - City Section - A 167759 - light orange printing, over stamped in black ink. 2d - City Section - A 181409 - red print, over stamped in black ink. 4d - Z207011 - light brown printing, black number. 5d - B886009 - light green printing, black number. 6d - B652006 - teal printing, black number. 8d - C668537 - red ink, black number. 10d - A747801 - black ink, black number. 1/- - A592805 - purple printing, black ink. See Alan Bradley prepared scheduled of fares on SEC Systems. trams, tramways, tickets, secv, bendigo

Through the address on the box, this dress has a local connection. Miss Mavis Hedrick operated a dress salon at 162 Liebig St Warrnambool in the 1940's. Her parents lived at various houses in Warrnambool, including Skene, Spence and Princess Sts. She married John William Freeman in 1942 and left Warrnambool some time after that date. From wedding reports of the day it doesn't seem that this is Miss Hedrick's wedding dress. It seems more likely that it was purchased from her frock salon in Liebig St Warrnambool.While the owner and original wearer of this dress has eluded us, the dress has a strong link to Warrnambool through the original box with its identifying labels. The dress is very much in the style of the era of Miss Hedrick's dress shop..This cream silk wedding dress and slip was donated in original cardboard box with the address written in large letters on the front. The dress is cream silk with gold metallic trim in two lines across the bodice.There are silk covered buttons on the front and back of the bodice and it has a high rounded V neckline.It has long lily point sleeves .There is a side opening with hook and eye fastening.The skirt is cut on the cross and a small train flows from the back of the dress. A simple A line slip accompanies the dress. It has ribbon shoulder straps and the top is edged in a fine narrow lace. The large box is rectangular and grey in colour. The addressee's name is written in large lettering in black (possibly crayon) . A label is pasted to the top right hand corner. A Victorian Railways stamp is loose with the item.On the Box : Miss Hedrick Frock Salon Warrnambool On Label in top RH corner: Mollard & Williams 238 Flinders Lane Melbourne. Stamp: Victorian Railways Parcel stamp 8d Melbournewarrnambool, 1940's wedding dress, mavis hedrick, mollard and williams, 238 flinders lane melbourne, miss hedricks frock salon

This dress belonged to Dorothy May Mortlock (VF518245), who served as a Sapper with the Australian Women’s Army Service from 27 July 1945 to 1 August 1946.Light brown coloured woven cotton dress with button-up front secured by 6 metal buttons. Dress constructed of a skirt element attached to a short sleeve shirt-style torso section, a hook and eye sits on interior of two sections to fasten left and right sides together. One square topstitched pocket on the left chest and two angled hip pockets on front. Fabric belt with metal buckle held in place by fabric loops on both left and right side. Fabric epaulette passes through loop on both left and right side and secured with metal button. Two loops on interior left and right shoulders, left loop with inscription; woven label stitched to interior left side underneath which is a stamped motif.Ink inscription on interior loop difficult to read, “VF518245” and 5-6 indiscernible characters. Button reads “AUSTRALIAN MILITARY FORCES” below an embossed image of Australia with the King George V crown on top. Stamped motif reads “[broad arrow]/S.D.”women, wwii, world war two, second world war, australian womens army service, awas

Clothing. Child's cream coloured waisted organza dress. U shaped neckline with 1.5 cm lace trim with eyelet edge. Silk ribbon (1cm) threaded through eyelet lace. Organza fabric and bows. Large bow pattern of on centre front of bodice, on each sleeve and four bows around skirt connected with trailing ribbon pattern. Front bodice has decorative vertical pin tucks.Back bodice has vertical pin stripes and lace strip inserts. Centre back opening (35 cm) fastened with ribbon at neckline and five metal hooks with cotton loops. Two horizontal strips of lace around waistline. Long straight sleeves trimmed with 1.5 cm lace at wrist. Hem is trimmed with 1.5 cm lace. Dress is unlined.costume, children's, child's cream coloured linen petticoat

Clothing. High round neckline at back, with peaked turn-back revers at front. Long sleeves, gathered into 3 cm cuff, which fastens with two metal press-studs. Bodice has front opening with three x 2 cm diameter white plastic buttons - peaked in the centre and with an impressed ridged texture. Bodice has two bands of shirring at the front shoulder line giving a ruched effect 6.75 cm wide. Six gored skirt. A band 6.5 cm wide at centre front reducing to 3 cm wide at side seams, forms a midriff panel, before becoming a belt at the back fastening with two metal press-studs. Back bodice is lightly gathered on either side at waistline. A home stitched dress.costume, female, woman's navy dress

Clothing. All over floral cotton dress, in a ''shirt-maker'' style. Short sleeves, high round neck at back, and pointed revers at front. Inserted band at front waistline, with a pointed overlap, shaped to 3.5 cm wide stitched down around front. Front opening bodice has a four press-stud closure, and two 1.75 cm white plastic buttons, sewn over the closure. Buttons impressed with a ridged pattern. Two darts on either side of lower edge of bodice, one dart from shoulder on either side of bodice. Six gores in skirt. Probably home stitched. Band inserted at waistline, extends to a 3 cm wide ''belt'' at back, fastening with two press-studs. A home stitched dress.costume, female, short sleeved floral dress

Fine white cotton girl's night dress. Yoke at front and back. Full length back opening fastened with tie at neckline. Back yoke has three vertical pintucks on each side of opening. Front yoke has vertical pattern of pintucks and embroidered fabric with horizontal section at waist. Sleeveless nightdress overlays of embroidered fabric attached to sides of yoke to form cap sleeves over shoulders. U shaped neckline has casing with cotton tape tie. Gathered skirt attached below yokes. Finished with French seams. Lower edge of night dress trimmed with embroidered fabric with scalloped edge. Note in box with garment ''The child's nightgown is about 60 years old and was made by Mrs. Antoinette Catling for her eldest daughter''. Undated. Not attached. This is the most probable garment.costume, female, white cotton girl's nightdress

Wedding Dress. A very delicate, beautiful dress, in a very fragile state, worn over a satin petticoat(11400.1154). Lace bodice, and full length tapered, lace sleeves. Boat shaped neckline, outlined with a tulle insert, that brings the neckline to a high round neckline at the throat. This fastens with two metal press-studs on the left shoulder. This high yoke is edged at the bodice edge with an 8 cm deep frill of tulle, edged at both sides with a narrow frill of tulle, and sewn to the yoke to give a scalloped effect. Skirt is sheer and made from two layers of tulle. A band of lace, 9 cm deep borders the hemline, at knee level and at hip level. Three metal hooks and stitched loops fasten a placket on the left hand side.costume, female, cream tulle and lace wedding dress

The dress was in the cupboard of Muriel Kerr, the donor's recently deceased mother. The donor remembers being shown it and trying it on in the late '70s or early '80s and being told that it belonged to her great-grandmother, Lilian Armstrong Ballantine (nee Power) [1887-1967]. Lilian Ballantine lived at 31 Harp Road (now the site of the Leo Baeck Centre) from the early 1920s to 1967. Lilian's married Archibald Dill Ballantine [1883-1947], in 1910. He was a member of the Monumental firm of A&G Ballantine, responsible for the Kew War Memorial (and possibly the Springthorpe Memorial). Lilian was highly involved with the Finlay McQueen Memorial Church [ie the East Kew Presbyterian Church]. Lilian's daughter, Mary (the donor's grandmother) married Alan McQueen, the son of Finlay McQueen, the first Minister of the East Kew Church. Mary Macqueen lived at 1 Oswin Street; she was a well-known artist. The dress is significant due to its associations with a family with strong connections, through a number of generations, to Kew East and its spiritual institutions. The garment's integrity and design also contribute to its aesthetic significance as a representative item of women's outerwear during the first decades of the twentieth century.Pale blue striped muslin single-piece dress with lace, tulle and embroidery at the neck and on the cuffs. The lace at the neck and cuffs is embroidered with coloured flowers, and edged with tulle. Bordering the v-neckline is a deeper blue guipure lace (possibly added later). There is a satin flower on the right side of the skirt which gathers the hem, exposing the deeper blue cotton underskirt. The dress has a narrow band of blue satin at the high waist. The cotton underskirt is attached by thread in places to the outer layer. Both the outer and under layers are attached with metal hooks and eyes. Edging the cuffs and hem of the dress is blue commercial fringing. The exterior of the dress has a slight brown tinge which is not apparent on the inside hem, suggesting that it has been discoloured through exposure. There are minor stains.women's clothing, edwardian dresses, lilian ballantine, australian fashion - 1910s, mary macqueen, finlay mcqueen memorial church, east kew presbyterian church, alan mcqueen, kew war memorial, archibald dill ballantine, leo baeck centre, 31 harp road -- kew (vic.), a&g ballantine, women's clothing -- 1900s, fashion - 1900s, fashion design

Northern District School of Nursing nurse's base uniform 1950s - 70s.Blue cotton uniform worn beneath white apron. The uniform is open at the front with eight button holes in right placket for buttons and shanks to attach. There are corresponding buttonholes on left side for closing, a small pocket at top left and a pocket at RHS of skirt. There is a small buttonhole at back of neck to attach white collar and white cuffs are attached to sleeves with two white buttons. The front has gathering from below the shoulders and the back top has an inverted pleat at centre. There is a white belt with two white buttons at one end attached with shanks and three sets of two button holes at the other end for closing. There is a white cap with frill and a line of blue braid above the frill indicating a third year trainee. There is a white apron with four buttonholes at the waist for closing and for the two shoulder straps.A white tag with Joy Lewis' in red is attached to all items. N.T.S in black marking pen is printed on back hem of neck. There are many black marking pen numbers and letters on the cap: NTS, BAS, 574, BH5, 530, 574 The apron has the name Lewis and figures 638 in black marking pen on inside of waist.nurses uniform, northern district school of nursing

This amphora or jug, with a silhouette shaped like a woman with hands on hips wearing a long flared-out skirt. The design was used in ancient Greece for pottery storage jars, the neck being narrower than the body. The amphora was discovered by Joe O'Keeffe in 1934 in a sand blowout west of Levy's Point west of Warrnambool while he was planting marram grass for Mr Duncan. An article in the Warrnambool Standard newspaper of December 21, 1985, states that the amphora may be linked to the wooden sailing ship called the Mahogany Ship (also called the Ancient Wreck). Thermoluminescence testing indicates the relic was made in the mid-to-late 1800s and experts suggest it was of North African origin. The presence of the amphora in the sand dunes, and the amphora itself, are still a mystery. The amphora was donated to Flagstaff Hill on a long-term loan by the Duncan family and displayed to the public for the first time on December 21, 1985, until February 2023 when the display was returned to storage to rest with the redevelopment of the Assistant Lighthouse Keepers Cottage (Shipwreck Museum). An extensive search for members of the Duncan Family has been undertaken by Flagstaff Hill and stakeholders to resolve the loan term loan, but the family is not known. As such to properly care for the amphora, it has been registered until ownership can be determined.The object is significant for its possible link to one of Victoria’s and Australia’s maritime mysteries, the Mahogany Ship (also known as the Ancient Wreck). It is one of very few known relics that could give evidence of the existence and history of the vessel. It is listed on the Victorian Heritage Register S438 as it is one of Victoria’s oldest recorded shipwrecks. The identity of the vessel has the potential to change Australia’s history.Amphora or jug; earthenware, orange clay with areas of cream. The vessel has a wide mouth, a deep lip, two opposing handles between the neck and shoulder, and a bulbous body. The curved handles have a design of six bands between them. There are three rings of small dots encircling the body. The underside has concentric circles in the clay, uneven edge and pinhole markings. Pinhole patterns: [3 holes above 3 holes] opposite [3 holes above 3 holes], 1 hole] [ 1 hole above 2 holes]flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, amphora, jug, mahogany ship, ancient wreck, joe o'keefe, duncan, thermoluminescence, north africa, levy point, pottery, storage jar

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Women's left brown peep toed, cut out, heeled shoe, manufactured by Hush Puppies. Only the left shoe.1992 barcelona olympics, sport, athletes, fashion, design, uniform

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Women's left black leather heeled shoe, manufactured by Hush Puppies. Simple and unadorned in style with a rounded toe. Only the left shoe.1992 barcelona olympics, sport, athletes, fashion, design, uniform

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Men's tan coloured shoes with appliqued leather design attached to the laces creating a wave-like point on the sides of the shoes.1992 barcelona olympics, sport, athletes, fashion, design, uniform

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by T D Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Men's black leather brogue shoe. Leather detail stretches around the bottom of the shoe and the toe as well as around the opening of the shoe and the laces.1992 barcelona olympics, sport, athletes, fashion, design, uniform