Cream satin petticoat. Shoe string straps with skirt cut on the bias. Press studs at back.costume, female underwear

White cotton short sleeved tennis dress with collar and pleated skirt. Materials: Cotton, Metaltennis

Black and white photograph of 16 ladies, posed in knee length skirts and woolen club blazers.Back Row left to right Kath Kelly – Mrs Edmond – Mrs Evan Jones – Sis Wall – Edna Edmonds – Mrs Gibbons – Mrs Jenkins – Janet Kermond. Front Row margaret mcdonald – rita kermond – marie powell – eunice jessen – doss edmonds – jean duggan – isabella macnamara – mars edmond., kath kelly – mrs edmond – mrs evan jones – sis wall – edna edmonds – mrs gibbons – mrs jenkins – janet kermond., ladies rowing, ladies rowing warrnambool, ladies rowing club, hopkins river, warrnambool rowing club, warrnambool ladies rowing club, city of warrnambool rowing club, warrnambool rowing club

Christening ensemble first worn in 1858 by William Thomas (Tom) Poulter, eldest living child of James & Mary Poulter. Ensemble comprises a short underskirt, long underskirt, robe, 'shawl' & silk bonnet. The robe is reliably dated to 1858, however, the underskirts, shawl & bonnet may have been added to the ensemble at a later date. Used by many generations of family & extended family.White cotton underskirt to christening robe. Pin tuck detail to skirt. Tear at left shoulder.poulter, chapman, christening

Worn from late 1800's to early 1920's.White ankle length petticoat, with beautiful lace skirt. Hand crocheted around the neck and arms.petticoats, underwear

This is a woman's kilt (skirt, shawl and pin). Two of the objects were made by the Fletcher Jones clothing company. The Tartan is the Australian tartan which was designed by John Reid, a Melbourne architect, when he entered a competition run by the Scottish Australian Heritage Council. He chose the colours of the Outback as the basis of his tartan. The tartan is design registered in Australia (No. 97439). (Source: District Tartans, P. Smith and G Teall, 1992). This outfit was possibly made around 1990. David Fletcher Jones who served in World War One had a itinerant drapery business in the Western District before opening a tailoring business in Warrnambool in 1924.He began to specialise in men's clothing and in 1946 opened a shop in Melbourne. In 1948 he opened a clothing factory in Warrnambool and formed a new company Fletcher Jones and Staff. The company expanded to all states of Australia and included the manufacture of both men's and women's clothing making it one of the best known clothing companies in Australia. The company dissolved in 2011 This is a fine example of a Fletcher Jones clothing product and comes from a firm which was a dominant industry in Warrnambool and known Australia wide. It has further cultural significance being in The Australian Tartan..1 An orange/tan checked woollen kilt with a pleated skirt and straight panel at the front with a side fringe and a metal buckle It has an adjustable waist with buttons and metal clips. .2 A triangular shaped shawl in the same material as .1 .3 A metal pin or brooch in the shape of a sword and a circular piece with a swan image and a motto ENDURE FORT..1 Fletcher Jones AUSTRALIA'S FINEST CLOTHING PURE NEW WOOL .2 FLETCHER JONES AUTRALIA'S FINEST CLOTHING MADE IN AUSTRALIA .3 ENDURE FORT fletcher jones clothing company, warrnambool industries, australian tartan, tartan, australian tartan kilt, fletcher jones kilt

This petticoat is demonstrative of home made infant undergarment clothing in the early 1900. Distance to and from commercial haberdashery store was too far to fit out young girls especially if the are undergarments. Mothers and other family members had the seamstress talent to make clothes that are not in full view of anyoneHistorically these undergarments have no fashion relevance for the younger fashion scene and this garment is an example of the self sufficient supply of home made articles. This was especially so within the Kiewa Valley and surrounds. Fashion in Australia and more so in areas with little or no access to overseas or city merchandise lacked "modern fashionable" clothes e.g. the latest from England and Paris. This region was and still is a rural backdrop of clothes that fit into the type of life and work of the society it holds.Cotton petticoat, white, three buttons on top back, 8mm wide straps of cotton tape. Gathered skirt with triple row of Rick Rack on the bottom edge and three pintucks, 17mm wide, on the lower edge of skirt. Garment is completely hand stitchedchildren's underwear, female underwear, dressmaking, handcraft, costume, clothing

Clothing. Man's cotton swim suit.Fine interlock cotton. Sleeveless deep cut armholes, neckline, legs and overskirt trimmed with white band - 4 cms wide on skirt. Three button fastening on left shoulder. Skirt bodice extends to thigh length.The ''Hawkins''. One piece Canadian, Unshrinkable Surfer. Registered 532 (?)costume, male, swim suit

A white Cotton Petticoat With generous Crochet trim. The yolk with square neckline and short sleeves all filet crochet. A shaped body with opening at back. Long very full skirt. Bands of crochet and pin tucked. Lined with a cotton material under skirt.stawell clothing material

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

This evening dress belonged to Clara Johnstone Miller (nee Bell, 1866-1910). Clara was the only daughter of Mr James Bell, a councillor of the Shire of Leigh (today a part of Golden Plains Shire) and owner of Woolbrook Homestead in Teesdale, near Geelong. In 1888, Clara married prominent businessman, racehorse owner, racing identity and pastoralist Septimus Miller (1854-1925). Septimus was the sixth of seven children born to Henry 'Money' Miller and Eliza Miller (nee Mattinson). 'Money' Miller was a well known financier and politician and reputedly one of Australia's wealthiest people in his time. In 1889, Clara and Septimus moved into the house 'Cantala' in Dandenong Road, Caulfield. They had one child, Gwendoline Stewart Miller, who died in 1902 at the age of thirteen of diabetes - a largely untreatable condition at the time (insulin would not be discovered until 1921). Clara died in 1910, aged only 44. Septimus subsequently married Helen (nee Henderson), with whom he had a son, Ronald (1915-1990). The Millers were buried in the Brighton General Cemetery in a large Gothic-style vault. Upon Clara's death, Septimus sent much of her clothing and Gwendoline's to her mother Mary Bell. Some of these items were passed down to two of Clara's nieces, Miss Mary Bell and Mrs Lois Lillies, who donated them to BHS around 1973.A yellow and lime green silk and net evening dress from c.1909. The bodice is constructed of a golden silk satin with an over bodice of a very soft gold net with soft gold and lime green embroidery decorated with flower and bow motif's. The neckline is bateau like in shape with the edge following the flowers of the lace design. The bodice is sleeveless with a loose detached cap that hangs down over the top of the arm with a lace covering. The under fabric of the bodice is shaped and lightly boned but the over lace is looser, nipping in at the waist where it joins the skirt. At the back, the bodice neckline scoops lower than the front with the lace overlay creating a v shape at the centre back. The bodice is secured with hooks and eyes and waist tapes. The skirt is flat fronted and floor length consisting of the same golden yellow silk with soft gold and lime green embroidered net over skirt. The lace net over skirt features larger motifs and greater embellishment towards the bottom of the skirt. The lace over lay also has an edge that follows the design of the lace rather than a straight edge. At the back the underskirt is flat and shaped but the over skirt is lightly gathered and loose hanging. The skirt finishes in a full skirt and a rounded, small train.woolbrook, septimus miller, cantala, henry 'money' miller, gwendoline miller, clara miller, 1900s fashion, caulfield, brighton general cemetery

Worn at the Sunbury AsylumInmate's dress in off-white canvas (?) with a red stripe. Round neckline reinforced at front. Bodice and skirt pleated into waistband. Back opening from neck to thigh with three pairs of eyelets, sealed with brass rings. Skirt hem hand sewn inside out.Handwritten in black ink on bodice back "canvas dress" and F7 (partly destroyed by lacing eyelet)costume, sunbury asylum, george evans collection

Worn by Edith Finger in the 1930s to local dances at Vermont.c 1930s Mauve shot silk taffetta with puff sleeves, gathered on shoulder and neck edge. Bodice falls into a inverted 'V'. Mid-riff skirt cut on cross. Trimmed with pink sequins. Back skirt gathered at centre - shaped tie fold over.costume, female

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in a mansion, originally named Illapa, at 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937), his wife Edith Mary Weir (1867-1948) and their children. George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.This garment is part of a collection of women’s clothing, owned and worn by Edith Mary Weir (nee Betteridge) - born in Clare, South Australia 1867, died Kew 1948 - and also by her daughter. The garments date from the 1880s to the 1930s. The collection includes day dresses, evening dresses, evening coats, capes, and undergarments. As the wife and daughter of a mine manager, the collection includes representative examples of clothing worn by upper middle class Australian women in domestic circumstances, and at social and civic events. A number of the costumes from the 1920s to the 1930s are of a particularly fine quality, being both rare, representative and intact examples of Australian fashion of the period. The garments in the Weir Collection were donated to the Kew Historical Society by a granddaughter of Edith Weir in 2017.Long black silk waisted dress, gathered at the waist with and featuring a full skirt. The short-sleeved bodice has a high round neck with a small amount of embroidery at the front in the form of abstract flowers. The skirt features an additional Chantilly lace overskirt that is scalloped at the hem. edith mary weir (nee betteridge), 84 princess street - kew, australian fashion, women's clothing, costumes, coats

A wedding dress, forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in a mansion, originally named Illapa, at 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937), his wife Edith Mary Weir (1867-1948) and their children. George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.This garment is part of a collection of women’s clothing, owned and worn by Edith Mary Weir (nee Betteridge) - born in Clare, South Australia 1867, died Kew 1948 - and also by her daughter. The garments date from the 1880s to the 1930s. The collection includes day dresses, evening dresses, evening coats, capes, and undergarments. As the wife and daughter of a mine manager, the collection includes representative examples of clothing worn by upper middle class Australian women in domestic circumstances, and at social and civic events. A number of the costumes from the 1920s to the 1930s are of a particularly fine quality, being both rare, representative and intact examples of Australian fashion of the period. The garments in the Weir Collection were donated to the Kew Historical Society by a granddaughter of Edith Weir in 2017.Cream silk wedding dress consisting of a long sleeved pleated bodice and a very full skirt. The skirt has a deep exterior pocket. The interior of the bodice exhibits extensive use of baleen to provide structure. The outfit includes a marching pair of cream silk shoes.edith mary weir (nee betteridge), illapa -- 84 princess street -- kew (vic.), women's clothing, weir collection, dresses, fashion -- 1890s

This outfit belonged to Ethel May Robertson (nee Watt) b: 1879 in Jindiwick, Victoria, Australia. She was the daughter of John Alexander Watt. John Watt was an early selector who in 1879 selected land on the Marlo Road. She married Frank Edward Robertson on 4 March 1901 in Orbost.A black silk lace skirt and top. It has a petticoat attached. There is a black scarf with a cameo brooch attached.costume-women's lace robertson watt

Pink jewellery box in the form of a Spanish flamenco dancer. The figure is made of clay with a pink lace skirt.

White Nurses Apron. 3 Panel Skirt & Pockets. Used at Stawell Hospital by Nurse Jean Woodstawell clothing material

Dress was donated by Christine Pitt, a member of the Society. It belonged to either her Aunt or Grandmother who was born in 1888.Dress 1920. Orange sleeveless, dropped waistline. Waistline has a rouleau band above a gathered skirt.costume, female

Donated by donor who had given same and had kept them for 20 yearsSleeveless white guipure lace trimmed blouse to the waist, with 14cm peplum on front, to wear over skirt.costume, female

White lawn half petticoat, with 22 inch waist. Broderie anglaise skirt, with white ribbon trim.petticoats, underwear

White cotton nurse's apron. Bodiec joins a 5 cm wide band and 60 cms long skirt. Skirt is plain in the front, with gathers at the back. Front of the bodice extends in wide 8 cms wide straps, which cross over at the back, and fasten with a button and buttonhole to the back waistband. The skirt of the apron extends right around the body, and overlaps, and fastens with two buttons and buttonholes 14 cms overlap. Worn by Merryn Ellison.Tape stitched inside apron, embroidered with the name: Merryn Ellison.costume, female, nurse's white cotton apron

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.Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Two piece olive green and gold shot silk dress comprised of a skirt and top. The very full skirt has a scalloped edge front panel with bands of grey/green silk ribbon. The scalloped panels seem to be backed with later lining fabric (sic). The bodice has decorative buttons at the front from the high round neck to the waist. The bodice, like the skirt has a scalloped panel at the front, which is edged with ribbon. netta fuller, australian fashion - 1860s, women's clothing - 1860s, dresses - 1860s

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.Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Two piece pale green and gold shot silk dress comprised of a skirt and top. The very full skirt has a scalloped edge front panel with bands of grey/green silk ribbon. The scalloped panels seem to be backed with later lining fabric (sic). The bodice has decorative buttons at the front from the high round neck to the waist. The bodice, like the skirt has a scalloped panel at the front, which is edged with ribbon. 1860-70. netta fuller, australian fashion - 1860s, women's clothing - 1860s, dresses - 1860s

Sepia toned photograph taken at the marriage of Vi Coate and Ray Symmons showing the wedding party in a garden setting. Bride in shin length gown with train, bridesmaids in knee length frocks with layered frills on skirt and gossamer capes, flower girl in simple frock with short skirt.genealogy

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.The design and fabric are representative of fashion styles and tastes in 1950s Melbourne.A classic 1950s sleeveless day dress featuring a narrow fitted waist and a full skirt. The v-necked fitted bodice is pleated while the full skirt has a wide gathered fold of fabric at the front. The white, green and pink fabric is a floral design with sprays of pink roses.australian fashion - 1950s, costumes - dresses, fashion design, fashion -- 1950s

Worn by Mrs Jack Mundy while in New Hebrides. The Mundy family were farmers / settlers in the Snowy River area since c. 1880s. The original Mundy family moved to a land "selection" at Bete Bolong in the early 1880's from Buchan. Mundy familyHandmade grass skirt made of native plant fibres and held together with knotting along the top. Natural colour.nonegrass-skirt new-hebrides mundy costume-female native-materials