The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This dress is one of a number of items donated to the Fashion Collection by Annie McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s.Black acetate top and skirt. The short top includes a pleated border and shoulder straps, The full dress of the same fabric and colour is comprised of layers to emphasise its natural flaring quality.Label: Tussicocktail dresses, australian fashion - 1980s, women's clothing, evening wear, mcintyre collection, annie mcintyre, tussi

Light and dark grey fabric with small geometric patterns. Empire line dress with long sleeves. The bodice has two panels with diagonal pleating to shape the bust line. There are two pleated pieces at the shoulders with three pleats (12cm) into which raglan sleeves are attached. The front RHS panel crosses over the left to form a V neck line. The back has a high round neck line and plain back with two darts from the waist. The long sleeves taper to the waist with a top seam. Two small pleats gather the fabric at the top of the wrist/sleeve. The skirt is made up of nine pieces -a front slightly flared panel with 2 gored panels on either side. The back is made up of four gored panels. From the level of the waist, the skirt is lined with stiffened paper like lining. From the waist to the under bodice seam it is not lined. Centre back opening has 29cm zipper at centre back beginning 25cm below the neckline.Tag stitched inside back neckline Styled by Walton Gowns Melbourne All Rayoncostume, female daywear, dress

Very fine black and cream check silk lined in the bodice and sleeves with fine grey silk. Long sleeves are finished with a 4cm deep cuff, trimmed with a double row of cording, and a 1.5cm wide pleated frill. Two black shiny buttons trim the cuff(possibly plastic), which fastens with three press-studs. Waist is defined with one band of corded fabric. Two bands of cording outline the V neckline, which is also finished with a pleat frill. Cording, and three rows of hand - gathering outline a shaped frill at the hemline-alternately 31cm and 46cm deep. Seven black buttons fasten the front of the bodice. A placket extends into the skirt, fastened by four press-studs. Skirt has four knife pleats each side of the centre placket. Four knife pleats at each hemline, and six at centre back. These are all over-stitched with three double rows of stitching in a V shaped design. Hand stitched button holes.costume, female, black and cream silk dress

These trousers, along with the rest of the dress uniform, belonged to an individual named H.E. Schulze. It is believed to have been dropped off to the RSL, so no additional information is known.This uniform serves as an example of the military dress worn by the Royal Australian Army (Royal Australian Artillery Regiment) during the late sixties.Khaki trousers with pleats and a series of belt loops at the waist; two front pockets; and three buttons positioned at the left, right, and centre of the back of the trousers (for attaching a jacket to the trousers). There is a large tear in the seat.lara, rsl, royal australian army, royal australian artillery, war

Part of hostess/stewardess uniform of 1950's era.Complements the collection of air flight crew attire.Navy blue hostess beret. Crown is folded, creating a pleat. Has a scalloped turned brim. Wool gabardine material outside. Black cotton interior lining. Damage to material at front of hat.hostess, stewardess, ansett, navy, side cap, flight attendant

Head and shoulders photograph of woman in period costume on white milk glass, slightly hand tinted, costume has lace ruffle at neckline with brooch at throat, buttoned bodice with pleats, headdress with diamonties.photograph, portrait, female

This robe was worn by G.G.Ashworth, RAAF 0315515, when he was serving as a chaplain (3rd class) in Vietnam from 30/11/65 until 17/02/66. This robe was worn by G.G.Ashworth RAAF 0315515 when he was serving as a chaplain in Vietnam from 30/11/65-17/02/66Blue cotton fabric(gabardine) ecclesiastical robe with pleated back. Crossover lapels have four black plastic buttons. Robe is partly lined with black taffeta and has a stand-up collar.ecclesiastical robe, vietnam, 1965-1966, ashworth, chaplain, raaf, robe, priest

Skirt in slate-grey denim, Roughly pleated at top into blue and white striped webbing waistband. Fastens at the waist with grey tapes. Hem and back opening Roughly hand-sewn with brown thread.costume, sunbury asylum, george evans collection

Huttley & Martin familyB/W Studio Portrait: Young woman, in front of garden, back drop. Wearing floor length white pleated dress, wide sleeves, darker belt winter Jacket. on table prop. Herbet's Studi, Stawell. Katie Martin (My aunt) Madge uttley's Aunt. To Ernest and Chrissie with love from Katie May 31st 1903huttley, martin

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

This light woollen evening dress is made from Peppinella, a new fabric Norma Tullo introduced into her range in 1973. The fabric was used exclusively by Tullo, and came from the wool of Peppin Merino (first introduced into Australia in 1858 by the Peppin brothers). According to the papers of the day Tullo’s 1973 winter collection featured ‘St. Trinian’s styles to garments dripping lace, in bold plain colours to floral prints.” Shirley Lyle designed the floral fabric. Norma Tullo (1935-2019) was one of the leading fashion designers of her time, establishing her label in 1956. After establishing a business the Old Metropole Arcade in Melbourne in 1956, with three sewing machines, Tullo's ready to wear fashions for young women became sought after, and her business flourished. In 1966 the Japanese department store chain Isetan Co Ltd began to mass-produce her garments for their stores across Japan. Tullo closed her label in 1977, and later worked for Fletcher Jones. Ann Carew, 2020The dress is historically significant as a dress designed by Norma Tullo, a leading fashion designer of the 1960s and 1970s. During this period the Australian Wool Industry strove to promote wool, and to develop light woollen fabrics to compete with new synthetic fibres such as rayon. The garment is historically significant for the use of a merino wool showcasing its versatility for dress fabrics. Full length woman's dress with full skirt and long sleeves, collared with open neck and pleat work on bodice. Material is predominately red with a repeated pattern featuring posie of blue and mauve flowers.Inscribed, black label on back neck left of zip, 'TULLO/IN/PEPPINELLA/AUSTRALIA MERINO WOOL'; Inscribed, white satin label on back neck right of zip, 'DRY CLEAN ONLY'; Inscribed, white satin label underneath above label, 'SIZE 12/To Fit Bust 34"/To Fit Waistwool, rmit design archives, rmit university, woman's dress, textile design, australian fashion

The Slouch Hat became standard issue headdress in 1903 and its brim position was mostly standardised. The slouch hat became a famous symbol of the Australian fighting man during World War One and continued to be worn throughout World War Two. Its use since that time has made it a national symbol. https://www.army.gov.au/our-history/traditions/the-slouch-hatStandard uniform issue for the Australian Army.Khaki slouch hat, has pleated hat band, brim upturned with badge on upturned brim. Crown of hat pinched inwards. Leather crown liner and leather chin strap with adjustable clip.MOUNTCASTLE 1994 Made in Australia (Broad arrow) 56 Black pen handwritten. Fullerarmy, uniform

19th century Irish linen Christening gown and matching petticoat donated by Ruth Starkey. The Christening gown and petticoat have been in the family for around 170 years, passed to generations. They were sewn by Eliza Lynon in Enniskillen, Northern Ireland. The following history has been provided by Ruth Starkey: • Town of origin is Enniskillen, Northern Ireland, sewn by Eliza Lynon. • The gown came to Australia with Eliza Lynon on the Red Jacket in 1855. • Eliza married Joseph Dobbyn (who was a member of the Royal Inniskilling Fusiliers Regiment) at Christ Church Geelong. • They built a home at 150 McKillop St, Geelong. Melrose was the name of the home. • Family name Dobbyn - Joseph Wilson Dobbyn b. 07/04/1844 - d 12/10/1892 and Elizabeth (Eliza b 12/03/1847 d 26/08/1934) and passed to Eliza Jane, Jessie Victoria Mary and Lucy Ellen Dobbyn (sisters). • Lucy Ellen nee Dobbyn, married Herbert Blunt, Boatbuilder Geelong at Christ Church Geelong • All lived at 150 McKillop St Geelong over the years • Passed to Marjorie May Fearn born nee Blunt who was baptized at Christ Church Geelong 29/5/1915 • Passed to Ann Rosemary Starkey nee Fearn • Passed to Ruth Norelle Starkey (me) I was baptized at Christ Church Geelong. • I am the great- great granddaughter of Joseph and Eliza and the great granddaughter of Herbert and Lucy.White Irish linen bodiced petticoat with three sets of three pin tucks at hem. Skirt is attached with cartridge pleating and constructed with French seams. The bodice ties at the back with drawstrings at the neck and waist.irish linen, christening, religion, children's clothing, ceremonial, church, geelong, red jacket ship, enniskillen, christ church geelong, northern ireland

Blue and white checked gingham waisted girl's school uniform dress. White fabric collar. Short sleeves with fabric cuffs. Skirt has six gored panels. Bodice has front opening with three white plastic buttons. Yoke across front and back. Inverted pleat at centre back. Two pleats on either side of front opening.Matching belt, 11400.261. Two belt keepers at sides.Original cloth label and swing label with care and washing instructions.Inside collar ''Buxwear rgd Quality school wear, Norman W. Buck P/L 12''. Cardboard label stapled to clothing label ''The Beehive'' DC AE 587 $23.99. Blue and white swing tag ''Buxwear Drip dry finish 12 Norman Buck elo P/l.costume, female, gir'ls school uniform dress

This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Di purchased this in 2012 at an auction of vintage clothing from the private collection of prominent Sydney fashion designer Lisa Ho, part of a wider sale of assets after Ho's business fell into deep debt. Ho began collecting vintage clothing and fabrics at the age of fifteen and her collection featured significant clothing items collected from around the world. For many years she drew on it as a source of design inspiration, particularly for print, in her highly successful fashion business. Di later wished she had purchased more at the auction!A full length slim fitting gown of gold metal thread and black thread self wave design fabric. The dress features a shawl collar, vertical pleat bodice, three panel, peaked front skirt. The dress secures with press studs at the centre front for modesty with a full left side opening secured by press studs. The sleeve features a front and back seam creating a squared shoulder head with fullness that is pleated in centre on the arm. the sleeve length is above the elbow. lisa ho, lisa ho collection, di reidie, vintage clothing, 1930s

This dress is believed to have been worn on the Goldfields of Victoria. The discovery of gold in Victoria ranged between 1851-1879. This dress is believed to have been worn on the Goldfields of Victoria. There are few remaining examples of clothing worn on the Victorian goldfields.A circa 1878 two piece dress consisting of bodice (.1) and skirt (.2). The eau de nil (green) corded silk dress features a high round neckline that secures with hook and eye fastenings and decorative buttons through the length of the princess line bodice to the band around the hem. A watch pocket sits just below the waistline on the left hip. The three-quarter sleeves are narrow with kilted pleat trim on the lower edge and decorative buttons. At the back of the dress is asymmetric in its cut. The dress splits along the right hand side and finishes shorter with pleating and has a decorative pocket. A bow sits at the top of the split. The underskirt fastens on the left hip and features kilted pleats along the base of the skirt and train. The train features additional fullness created by a section of gathering in the centre.victorian goldfields, asymetrical victorian dress, princess line, 1870s fashion

c 1930 Long black taffeta dress with shoestring straps. Pleated train attached at waist. Two side pieces attached at waist and trimmed with black net. Neckline also trimmed with black net.costume, female

Black WWII RAAF Chaplain's stole with embroidered insignia at each end and scalloped ends. The stole has two pleats at the neck. The insignia is silk and metallic thread and is of the RAAF winged insignia with a crown above.world war 1939-1945, raaf chaplain, regalia

Social A wedding skirt and bodice in blue satin and blue velvet with gold stripes. The bodice is of blue satin with velvet collar and cuffs. There are 19 pearl buttons at centre front affixed by hooks sewn inside to the backs of the buttons. The buttons commence at 7.5 cm from the top of the collar, the first button of 1cm smaller than the rest of 1.2 cm and buttons are spaced at .8cm apart. The bodice is styled to fit into the waist with a flare over the hips. At the rear there is an opening at centre waist and there is a 15cm x14cm pleated panel inserted with capacity to flare open to 48cm. The bodice is calico lined with extra lining at the underarms. The skirt is made in three layers. The base layer is of brown satin/cotton hemmed in 12 cm blue satin on the outside and blue cotton on the inside. The second layer has a 40 cm pleated base in blue satin with pleats folded to 5cm. This is sewn onto a brown satin/cotton lining reaching to the waist. The outside layer has a velvet panel at front sewn to a 3 cm dark blue satin waist band. The rear of the skirt is gathered into a 6 cm dark blue satin waist band. The pleated satin layer is visible 3 cm below the front velvet panel and the front layer has side openings to 40 cm allowing the pleated layer to show. A 31 cm opening on the RHS of the skirt is affixed with hooks and eyes.In Ink on calico attached label inside bodice "Chris Mackenzie" and calico label in ink on inside of skirt "Mackenzie Christine "clothing, wedding dress, late 19th century

Glengarry cap used in1906 by local scottish piper. Scottish pipe bands were extensively used as providing local communities with music from "the mother" country. The strong ties to the British Empire was still very alive in local communities.Historical significant pre Wold War 1 and the great ties the population had to everything English. This bond would decrease after World War 2. English isles music was very sought after up until the American presents was starting to increase.Black Glengarry cap, black velvet with tartan trim and cream coloured lining. Cap worn by members of Scottish pipe bands. Inverted pleat running along the top. Black two cap ribbons missingcap scottish bands headware clan influence

Pillowslips (2), white with 3 fine pleats along each side, with frill 34" x 24" (3�" frill included in measurement). Originally belonged to Mrs Vera Willsher and are approx 84 years old.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, pillowslip, pillow case, bed linen

Worn by patients at the Sunbury AsylumInmate's dress in off-white canvas (?) with a blue stripe around the neckline with reinforcement panels. Neck-to-thigh back opening with three pairs of lacing eyelets, reinforced with brass rings. Bodice and skirt pleated into waistband.Nonecostume, sunbury asylum, george evans collection

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.Tailored pink raw silk jacket and dress. The long sleeve jacket has a peaked collar and double pockets at front. The jacket is fastened with buttons of the same fabric and colour. The buttoned skirt has soft pleats.women's clothing, fashion -- 1960s, suits

Victorian Dress - Mont de Lancey: The dress was part of a year 12 project at Little Yarra Steiner School. The aim of the project was to create a Victorian dress as accurately as possible, as well in materials as in shape. Shantung silk cream coloured Victorian jacket and skirt. Pleated skirt with cerise crochet lace on skirt, and around the sleeves and neck of the jacket. With a petticoat and corset, and covered buttons. Hook and eye clasps on skirt and jacket.dresses

Inscribed Staff Nurse Rose Eleanor Carter A.A.N.S. of Chiltern, b.1886 Wangaratta, d.1951 Worn in 1918, also worn by younger sister Hester. Trained at Wangaratta District Hospital, served in India during WW1 On loan from Susan HeatherTwo pieces - undergarments worn by 2nd Hall nurse. One with bib and straps and button hole on waist. The other one with waist opening and five hooks, two rows of pleating above hem. Cotton. Stained."H Carter" and "Carter T" witten in ink on inside of waistbands. "CARTER" external waistband of bib garment.susan heather, rose eleanor carter, suitcase, shoes, hester carter, world war 1 nurse

Clothing. Women's long sleeved smock style blouse of cream coloured cotton fabric with geometric pattern of squares. High round neckline with 1.5 cm stand up collar. Yokes front and back with scalloped edge. Lower sections gathered into yoke with series of knife pleats. Three box pleats on the back continue from the yoke to the hem. Full length front opening fastened with six press-studs. Long sleeves gathered at shoulders and gathered into casing above the wrist, forming a frill decorated with pintucks.costume, female, women's long sleeved smock style blouse