Baby clothes worn by Una Reynolds, member of the Society. Born 1927, died 2003.Creamy-white, fine voile baby's dress.Bodice and short sleeves in magyur (dolman) style with buckingham point lace inserts. Square neck in lace edged with lace edging gathering. Skirt with lace inserts and handkerchief hem, edged with gathered, wider buckingham point lace. Side seams of bodice and skirt are lace inserts. Back opening with two buttons and buttonholes and white cotton tape tie from lace at neck.|Bolero in same fabric and lace. Has Peter Pan collar edged and trimmed in lace with silk ribbon insert tied at neck. Sleeves and front opening edged and trimmed with lace; lower edge has handkerchief points trimmed with lace.costume, infants'

Baby's frock worn by Bruce Reynolds daughter, Clare.Very fine cotton muslin round neck hand smocked in different colours, smocked sleeves, embroidered around hem. Mexican figures. Two press studs at neck at back.costume, children's

Table cloth purchased by donor from Pannam's store in vermont in 1948-49 for her glory box and was used by her in her family home in 6 McDowall Street Mitcham.White cotton table cloth with green patterned border design. The cloth has one hem on the right (top) side and one on the wrong (bottom )side.manchester, table linen, domestic items, table setting

Item donated by RWT Rowlands and was sent to wife of a friend serving in 2/7th Battalion A.I.F.Black Velvet Cushion Cover 42 x 31 with coloured embroidered designs of David Tower, Mosque of Oman; a row of five camels, across the bottom, and the words Souvenir of the Holy Land, across the top and around the edges a hem with gold coloured fringe and a white cotton backing.military history, army

Donated by friend of Donor who had been given item years beforeWhite Cotton Crotchless Combinations, round neck sleeveless. Top trimmed with lace. Also insertion lace and threaded with pink ribbon, opening down front and six linen buttons. Hem of legs trimmed with 12cm frill of insertion lace, pink ribbon and pink tucks.costume, female underwear

Long white fine cotton table cloth. Fine drawn thread work around edges. Eight wheel flower like pattern along each long edge and four on each short end. 6cm spoke stitched hem on all sides.domestic items, table setting

Child's white cotton half petticoat. Wide waist band with 3 buttonholes. 5 layers of pin tucking and crochet lace at hem.costume, children's underwear

White cotton Nightdress with round neckline and long sleeves. 4 buttoned front concealed in placket. Pink ribbon threaded through eyelets. White lace on front neckline and hem of sleeves. Pink ribbon bows on sleeves. White cotton embroidery of bow and circlet of flowers on front of sleeves. Pink ribbon threaded through eyelets at waist.costume, female nightwear

White cotton infant's nightdress with long sleeves. Lace around neckline and sleeves. 3 rows of small embroidery in front and long ties. Tape ties at neck.'NH' embroidered inside hemcostume, female nightwear

White cotton baby nightdress with two ties. Lace frill at neck and sleeve edge. Gathered at front of bodice. tape ties at neck.'NS' embroidered on hemcostume, female nightwear

White cotton half petticoat with blue ribbon threaded through eyelets. Three layers of crochet lace on overlap at hem edging. Tape ties at waistcostume, female underwear

Laundered 30/10/1999White cotton christening gown with short sleeves. Broderie Anglaise lace used in frills from neck to hem getting wider as they descend from neck. Rows of different broderie anglaise pattern on sides.costume, infants'

Laundered 30/10/1999White cotton christening gown with short sleeves. White cotton broderie anglaise lace in rows on bodice and inset near hem of dress. Four rows of pin tucking above and below inset of lace in skirt.costume, infants'

Laundered 30/10/1999White cotton christening gown with short cap sleeves. Intricate embroidery down front of gown starting from small point and widening down to hem line'HN'costume, infants'

White cotton petticoat with pin-tucking at hem. Tape drawstring at waist and neck.costume, children's

c 1905 Black grossgrain jacket fitted to waist. Heavily boned and lined in stripped cotton. Black jet beading at high neck finished with edging of small white beads. Wide piece at shoulders edged with jet beads as is front and edging. Wide sleeves narrow to hem and double border of jet beads. Pintucking at front and top of sleeves.costume, female

White cotton petticoat with shoe string straps. V shaped neckline with small pink rosebuds embroidered around the neck and hemline. Cotton lace around neck and hem.All cotton Jaks Lingerie 40costume, female underwear

White cotton baby pinafore with drawstring at neck. White crochet lace at armholes and hem. Broderie angliase lace at waist with two wide ties attached. Open at back.costume, infants', handcrafts, crocheting or crochet work

Banner with the Logo of the Northern District School of Nursing.Banner made from white cotton coated curtain fabric with the logo of the Northern District School of Nursing made with applique fabric and fabric paint in red and gold. The banner is supported top and bottom with lengths of dowel inserted into a hemmed section. The banner was made by Max Ellis for the five yearly reunion of the Northern District School of Nursing Graduates' association held in 2000.banner, reunion, northern district school of nursing, ndsn

An excellent example of Australian ladies fashion of the time.Exceptional two piece dress with fitted and boned bodice and bustle skirt and train. Bodice features many panels and internal whaleboning with cotton lining. Waist tape to secure. Pointed waistband to the exterior, trimmed in panels of velvet and lace inserts. Pleated sleeves and high, stand up collar with white cotton insert. Row of metal hooks and eyes to secure at the centre front, covered with a row of small metal and enamel buttons with butterfly design (all present) and hand finished button holes. Another row of hooks and eyes over the top. Skirt is full with the gathers focused on the centre back with a row of cartridge pleats and metal hooks and eyes to secure at the waist. Row of cotton tape sits under the hips to be gathered into the desired fullness. Ornamental panels of velvet provide a faux wrap styling to the front. Underskirt of silk faille with a box pleated trim to the hem. Underneath is a third hem finished in a row of white cambric and lace trim. Train falls from the waist and displays the same hem treatments as the dress. The dress has been mostly machine sewn but with large amounts of hand sewn finishing.none

Golden Square High School in the city of Bendigo, was established in temporary accommodation at Camp Hill Primary School in central Bendigo in 1960. With the completion of the new school's buildings, it moved to Golden Square in 1962, providing for Forms 1 to 6, now known as years 7 to 12. In 1978 it became a 7–10 school and was one of the original feeder schools to Bendigo Senior High School. In 1986, a Hearing Impaired Unit was established and in 1990 it underwent a name change to become Golden Square Secondary College. The Golden Square Secondary College campus closed on 28 November 2008. It merged with Kangaroo Flat and Flora Hill secondary colleges as part of the implementation of the Bendigo Education Plan. Its buildings were demolished. (Wikipedia https://en.wikipedia.org/wiki/Golden_Square_Secondary_College) This uniform collection belonged to Anna Matthews, daughter of the donor, who attended GSSC as part of the last group enrolled before the school closed in 2008. Golden Square Secondary College school dress made from green and white cotton and polyester check fabric. There is a thin yellow line at edges of check pattern. Short set in sleeves with a cuff edged with piping. White flat collar. The dress has a front placket opening to the waist fastened with four dark green buttons. Bust darts on both sides. Front and back below the waist have two inverted pleats. On the right hand side there is an internal pocket with a zip fastener. At centre back is a decorative half belt with diagonal check. Machine hemmed.Tag below collar. Front. "PREFECT Value Based Apparel. NAME _ _ _ _ _ _ _ " Reverse "65% Polyester 35% Cotton. Washing Instructions."gssc, golden square secondary college, uniform, bendigo education plan., school dress

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This lingerie dress is one of a number of items donated to the Fashion Collection by Rosemary-Vaughan Smith.While lingerie dresses were produced for and worn by women between 1900 and 1920, the main period in which they were worn was between 1900 and 1910. This elaborately detailed example is believed to date from the first years of the 20th century.Long white cotton muslin lingerie dress with inserted panels of white lace and additional white and black embroidery applied to the shoulders, waist and hem. australian fashion - 1900s, women's clothing, white muslin dresses, embroidery, tea dresses, lingerie dresses, rosemary vaughan-smith

This wedding gown was worn by Mary Ann Lawrence at 8.00am on 5 January 1842 at St John's Church, Launceston, when she married Francis Henty. The couple were to catch the tide on their way to Portland two hours later. Francis Henty was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Mary Ann Lawrence's grey silk wedding gown has a v-line waist and a partly smocked bodice. It is lined with muslin throughout. It has hand-tatted cotton lace and handmade piping around the neck and bodice and pleated short sleeves. There was originally trimming on the skirt which was removed at a later date. Orange blossom made of chamois and tiny coiled springs originally decorated the neckline. The outfit was complemented by a bonnet to which a Limerick lace veil was attached. Measurements (mm): Girth - Neck 914, Chest 812.8, Waist 660.4, Cuff 330.2, Hem circumference 3200.4. Vertical - Front neck to hem 1270, Front waist to hem 1016, Back neck to hem 1320.8, Back waist to hem 1041.4, Sleeve length 114.3. Horizontal - Neck to sleeve head 50.8, Chest back 406.4, Underarm to underarm 406.4.mary ann lawrence, francis henty, wedding dresses, fashion -- 1840s, women's clothing

This dress belonged to Alice Frances Henty (1852-1932) the youngest daughter of Francis Henty (1815-89) and his wife Mary Ann Henty [nee Lawrence] (1821-81). It is recorded that Alice wore the dress at the age of six. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Girl's two-tone, one-piece cotton voile dress from the 1850s has a high round neck and short sleeves has a lace insert on the front of the bodice and matching lace at the rear. The layered skirt is bordered with lace. Measurements (mm): Girth - Neck 609.6, Chest 635, Waist 558.8, Cuff 203.2, Hem circumference 2108.2. Vertical - Front neck to hem 685.8, Front waist to hem 508, Back neck to hem 723.9, Back waist to hem 534.4, Sleeve length 63.5. Horizontal - Neck to sleeve head 38.1, Cross back 304.8, Underarm to underarm 406.4.fashion -- 1850s, children's clothing, alice frances henty

This dress is believed to have belonged to Mary Ann Henty [nee Lawrence] (1821-81), the wife of Francis Henty (1815-89). Her husband, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.A one-piece, lustrous silk taffeta evening dress, lined with polished cotton, probably owned by Mary Ann Henty, and later by her daughter, Alice. The V-waist line of the dress and the dimensions of the skirt are comparable to Mary Ann’s wedding dress. The bodice in contrast is less structured. At a later stage, the sleeves were removed. Measurements (mm): BODICE: Girth - Neck 914.4, Chest 863.6, Waist 685.8, Hip 863.6, Hem circumference 3302. Vertical - Front neck to hem 1371.6, Front waist to hem 1092.2, Back neck to hem 1384.3, Back waist to hem 1079.5 Horizontal - Neck to sleeve head 44.45, Chest back 431.8, Underarm to underarm 431.8.mary ann lawrence, francis henty, evening dresses, henty collection, fashion -- 1840s

Off white quilted silk cape, with bands of red wool. The shoulderless cape is tied at the neck by a simple cord. The overall shape of the cape includes two- triangular panels, one overlaying the other. Each panel is fringed. There is one tassel hanging from the outer cape from centre back. The cape is lined with a cream cotton fabric. Measurements - Inner panel: Length neck to hem front 81cm; Neck to hem back 100cm; Circumference 158cm; Shoulder width 29cm. Outer panel: Neck to hem front 43cm; Neck to hem back 55cm; Circumference 114cmName in ink on lining at neck: capes, clothing

Norma Tullo began her dressmaking business in 1956. At the age of 20, she rented a small shop in the Metropole Arcade, initiating a career that included manufacturing, designing and retailing. In 1965, she became the first Australian to be selected by Butterick Company Inclusive to join their pattern making company. The stylish Tullo ‘look’ in the first half of the 1960s was young, colourful, feminine and most importantly had a strong American appeal. The patterns were distributed worldwide except to Russia and Germany. In the second half of the 1960s, she developed a new design range, influenced by the American 'hippie' style, featuring floor length dresses with long narrow sleeves, high round collars, and ruffles on the hems and at the cuffs. Patterns and colours became brighter to match prevailing tastes. Patricia Desmarchelier, the donor, purchased this and two other items of evening wear by Norma Tullo in a Brisbane CBD boutique fashion store during 1967/8 for her personal use. At the time, she was an undergraduate student who saved earnestly to buy the outfits to wear to college formals and balls that were popular during those years.Aesthetically significant and rare example of a couture range by Norma Tullo.Long red cotton evening dress with overall white polka-dots, designed by Norma Tullo. The floor length dress has a high rounded collar, long sleeves with ruffles at the cuffs and on the hem. The light-weight cotton outer layer is supported by a thick cotton underlayer. Atypically, the dress has a label stating it is an example of 'Tullo Couture'. Dimensions: Shoulder width 40cm Bust: 92cm Waist: 72cmLabel: TULLO COUTUREaustralian fashion, fashion designers, norma tullo, fashion -- 1960s, hippie style, evening wear, evening dresses, dresses, melbourne fashion houses, tullo couture

Norma Tullo began her dressmaking business in 1956. At the age of 20, she rented a small shop in the Metropole Arcade, initiating a career that included manufacturing, designing and retailing. In 1965, she became the first Australian to be selected by Butterick Company Inclusive to join their pattern making company. The stylish Tullo ‘look’ in the first half of the 1960s was young, colourful, feminine and most importantly had a strong American appeal. The patterns were distributed worldwide except to Russia and Germany. At this time, she had a collection of 300 garments. This dress is one of a number of items donated to the Fashion Collection by Dione 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. Long sleeved, pale pink cotton mini dress designed by Norma Tullo with ruffled trims on the bodice and the hem of the skirtLabel: TULLOnorma tullo, australian fashion - 1960s, mcintyre collection, mini-dresses, day dresses

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

This dress is of uncertain provenance. BHS records indicate that it was owned by Marion Jane Ellen Devlin, nee Stokes (1845-1936), who married Oliver Devlin on 2 April 1877 in Victoria. The dress is believed to have been worn on the Bendigo goldfields circa 1878. It may have been worn as a wedding dress. However, additional documentation discovered in August 2019 suggest that the dress belonged to Margaret Cocking, nee Carr (1850-1936), who married Gustavus Cocking in Bendigo in 1877.A grey-green circa 1878 dress comprising a matching jacket and skirt. The jacket (.1) features a standing collar that gathers to a low point at the throat. This point is concealed behind a bow with raw edges which may not be original. The centre front of the jacket has been secured with nineteen concealed metal hook and button holes. The centre front features fifteen sets of single fabric covered glass buttons secured in a diagonal pattern and appearing as double headed buttons. From the shoulder through the body the jacket is shaped with decorative panels with grey silk detail. Beside these panels shaping into the waist and under the arm are a further two pleats. On the left side waist is a small pocket with decorative flap, grey silk trim and button. The base line of the jacket features a decorative horizontal panel that wraps around the jacket. The sleeve head is small and sits on the natural shoulder line with a slim fitting, curved, full length sleeve. At the base of the sleeve, there is a decorative panel reminiscent of a formal cuff, with a decorative turn back and two buttons. Secured underneath this turn back is a bow like decoration. From the back the jacket features a V shaped decoration, an extension of the front two decorative panels. From the shoulders the jacket is shaped by four panels curving tight into the waist and flaring out again to fullness of the bustle. These seams are also finished with decorative binding. This peplum-like shape features two decorative flaps and six covered buttons. The skirt (.2) is shaped to the waist with pleats and secures on the front left hand side, the original waistband and fastenings have been replaced. The skirt front features a large decorative panel of the same fabric that curves from the front at approximately shin length, upwards towards the back securing underneath the bustle decoration. A second panel, plus a pleated panel finish the hem of the skirt continuing around to the back. At the back the skirt features two deep pleats with a large decorative bow that would sit out over the bustle. The skirt is long featuring a small train at the back. The dress is lined in a brown waxed cotton.wedding dress, 1870s fashion, marion jane ellen stokes, oliver devlin, margaret carr, gustavus cocking, bendigo