This child's white batiste apron was worn by Robert Barnard, son of Mrs W N Barnard of Portland, when he was a young child, circa 1912.This child's apron is representative of ladies fashion of the 1910s.Child's white batiste apron. Hand sewn, inserted front panel, ties to fasten, open back, sleeveless, ruffled hem. Circa 1912. Worn by Robert Barnard son of Mrs W N Barnard of Portland. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mrs w.n. barnard, w.n. barnard of portland victoria, robert barnard, child’s batiste apron c. 1912, child’s clothing c 1912, protective clothing

This child's white linen day dress was worn by Robert Barnard, son of Mrs W N Barnard of Portland, when he was a young child.This child's dress is representative of child's fashion of the 1910s.Child's white linen day dress; hand-sewn dress with pleated skirt, short sleeves and a plain bodice. The neckline and sleeves have a rick-rack braid and crochet trim. The back closure has four buttons, a hook closure and a short back seam. c. 1910. Worn by Robert Barnard son of Mrs W N Barnard of Portland. flagstaff hill, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, robert barnard, mrs w.n. barnard, w.n. barnard of portland victoria, child’s dress 1910’s, 1910, child's dress

This pair child's or infant's white shoes was worn by Robert Barnard, son of Mrs W N Barnard of Portland, when he was a young child, circa 1911.This pair of infant's shoes is representative of ladies fashion of the early 1910sPair of baby's or child's white linen shoes. Hand-stitched seams, embroidered upper, and top edges are crocheted and tied with pale blue ribbon. Worn by Robert Barnard c. 1911, son of Mrs. W.N. Barnard, Portland.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, mrs w.n. barnard, w.n. barnard of portland victoria, robert barnard, child’s white shoes c. 1911, child’s clothing c 1911, infant's shoes, baby's shoes, baby clothes, baby footwear

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.Azure blue late Victorian silk bodice with an insert of ruched cream silk organza at the front. The bodice shows signs of alteration over time, and there are additional pieces of fabric that may once have formed part of a larger outfit. The silk of the bodice is extensively pleated while the sleeves are in the horseshoe style. edith mary weir (nee betteridge), illapa -- 84 princess street -- kew (vic.), women's clothing, weir collection, dresses, bodices, fashion -- 1910s

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

The photograph shows the view from the front seat of a cable tram travelling along St Kilda Road with another cable tram on the other track. The photo shows, though out of focus, the median strip trees, street lights and the rock kerb markers known as "dragon teeth". The line was converted to electric traction in 1925/26. See also item 5894 for another image.Yields information about St Kilda Road, possibly in the 1910s.Photograph, black and white, plain papertrams, tramways, cable tram, st kilda road, grip car

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

This bodice was part of the wedding outfit worn by Grace Burland at her marriage to John Henty Hindson in 1912. Her husband's grandfather, 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.Silk crepe wedding bodice decorated with Mechlin lace, pearls and jet, which was worn by Grace Burland at her marriage to John Henty Hindson in 1912. A report in Punch [12 September 1912] described her outfit as “... white crepe de chene finished with Mechlin lace and pearl trimming; also pearl crescent brooch (gift of the bridegroom' s mother).” Mechlin lace or Point de Malines is an old bobbin lace, one of the best-known Flemish laces, originally produced in Mechelen, Belgium. Used for women's clothing, it was popular until the first decade of the twentieth century. The high silk net neckline is finished with pearls. These are repeated on the loose fitted diagonal ornamentation on the front and back which is finished with pearl and jet beading. Similar ornamentation finishes the elbow length sleeves. [The wedding skirt is not part of the donation]. wedding dresses, women's clothing, fashion -- 1910s, bodices, grace burland

Pair of women's leather boots given to the donor by Miss Denbigh of 18 Gordon Avenue, Kew in the 1950s. The Denbigh sisters were the daughters of John Denbigh, a pioneer of Kew, and the first resident of 'Wimba' in Cotham Road. The mid nineteenth century silk patchwork quilt in the collection also comes from the Denbigh family via a different donor.Pair of comparatively rare Edwardian women's bootsPair of women's black leather boots. Leather insoles and soles. Mid-calf length with a 2-3 inch heel. Inside in biro "3286 / G. Smitt"footwear, fashion and design --1900s, fashion and design 1910s