Baby's bonnet made of cream silk and hand crochet with lace trim and ribbon.costume, infants'

Pure silk camisole. Fine pintucks. 5 small pearl buttons; net inserts; tape tie at waist. Frayed ribbon round neck.costume, female underwear

Black bowler hat, ribbon on brim and ribbon bound. Cream silk lining with leather band inside.'The Prince' English manufacture - Crown established 1872. Joseph Wilson and Son Ltd, London, Paris and New York. Factory Denton, England.costume, male headware

Baby's Cream bonnet crocheted with rayon lined with silk and threaded with cream ribbon. Large cream ribbon ties and bows on corners.costume, infants'

Cream silk crocheted baby's bib with ribbon threadcostume, infants'

Long sleeveless dress. Empire line bodice. Skirt pale aqua background with lurex spots in shades of aqua. Deep aqua ribbon under the bust line with low and diamondé clip in a circle shape. Bodice is pale aqua silk with deeper aqua sequins around neckline.costume, female, handcrafts, dressmaking

Cream silk camisole with lace inserts. Blue ribbon in eyelet lace at neck. Four pearl buttons down front (one missing) concealed by lace, drawstring waist. Blue ribbon on sleeves.costume, female underwear

Silk matinee jacket embroidered down edge of front and sleeve edge in pink and blue flowers. Scalloped edging in blanket stitching. Ribbon tiescostume, infants'

Cream silk sleeveless matinee jacket with ribbon ties at neck. Crochet edging at embroidery on front.costume, infants'

Cream christening gown with silk underskirt. Fine lace and mesh dress with puff sleeves and white ribbon at bodice.costume, infants'

Wedding accessories when Bernice Prior married James Graydon on 11th April 1936 in the Methodist Church, Elsternwick.1. Wedding Photo Black and white. 2. Cream Silk Gloves. 3. Wedding decoration - Cream satin ribbon to which is attached seven silver wishbones and wax orange blossom . 4. Wedding decoration - cream satin ribbon to which is attached cream satin silpper inside which is a small doll and wax orange blossom. 5. Button hole boutonniere - orange blossom and silver leaves. 6. Buttonhole boutonniere-orange blossom with green leaves. 7. Returned to donor as it was acidic. 8. Photocopy of Marriage Certificate.costume, female ceremonial

Part of McNamara collectionCream silk baby matinee jacket edged with cream lace. Cream ribbon ties around neckline and wrists. Embroidered basket of flowers on each side. Cream silk bonnet with lace edging.baby clothes, lace, embroidery

Full length black mayoral ceremonial robe with centre front opening. Silk grosgrain with dark brown ermine fur edging on centre front opening and cuffs. Cream silk lining in sleeves. The cuffs are also trimmed with cream coloured machine made net and lace. Gathered/puckered detail at back. Black ribbons attached to shoulders.mayoral robe, robe, ceremonial wear, mayor, bayside, brighton, sandringham, mayoral regalia

This wedding dress was made for an unknown customer by a late 19th and early 20th century Richmond dressmaker known by her married name as Mrs Pamely. The dressmaker’s name is identified on Petersham ribbon on the bodice. (1877 was the first known use of a dressmaker’s name on a dress in Australia). The dress entered the Collection by donation. The donor, Netta Fuller, and her husband Alec, were long-term residents of Kew. 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 core of the parade consisted of a collection of 19th 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. Not satisfied with purchasing authentic costumes of the period, she also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century items of clothing to the Kew Historical Society. Some garments were parts of costumes such as bodices, while others were complete outfits. Many of the latter exhibit signs of old damage, however very few of the costumes have been modified to enable them to be worn in exhibitions. Known provenance is limited to donor information, although some of these donations may have originally formed 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. This is the only 19th century costume in the Collection where the maker's name and address is known. To date, no other costumes by this dressmaker have been identified. The maker's business activity (1888-1905) allow one to, with an assessment of style, be relatively certain about its late Victorian construction. This adds to the item's significance even though its condition has been compromised by later removals and additions of decorative fabric on the bodice.Cream satin wedding dress comprised of a fitted bodice and a full skirt with a long wide train. Both the skirt and the bodice feature extensive use of ruched silk. Originally the bodice was covered with silk net embroidered with small white flowers. While sections of the net remain on the rear of the bodice (and on the sleeves), that on the front has been removed, probably due to damage. The name of the dressmaker is stamped on Petersham ribbon on the bodice."Madame Pamely, Costumiere, 41 Stanley St. Richmond"wedding dresses, australian fashion - 19th century, women's clothing, dressmakers - richmond (vic), netta fuller, fashion manufacturers - mrs pamely

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 dress was owned and worn by Kew resident, 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.Cream silk evening dress with applied ribbon and flowers. The dress has a high round neck and buttoned sleeves and cuffs. It has a zip at the back with hooks and eyes at the neck.mcintyre collection, women's clothing, evening wear, australian fashion - 1970s, evening dresses, dione mcintyre

This dress 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 two-piece, moiré silk faille day dress, owned and worn by Mary Ann Henty, aged 59, while resident at Field Place, Kew. The fitted and panelled bodice on the day dress features wide velvet ribbon, hand sewn to form ‘V’ detailing at front and back. The front bodice hook and eye closure is decorated with handmade velvet covered buttons. The high round neckline is trimmed with pleated ivory fine tulle lace. The wide long sleeves of the bodice are also trimmed with velvet ribbon and buttons forming exquisite cuff detailing. The full length skirt and train are tucked into a fitted waistline band. The hemline is hand finished with wide velvet ribbon. A separate attached peplum is worn over the full bustle of the skirt. Measurements (mm): DRESS: Girth - Neck 355.6, Chest 889, Waist 673.1, Cuff 279.4, Hem circumference 4292.6. Vertical - Front neck to hem 1447.8, Front waist to hem 1117.6, Back neck to hem 1765.3, Back waist to hem 1346.2 , Sleeve length 590.55. Horizontal - Neck to sleeve head 196.85, Chest back 469.9, Underarm to underarm 457.2. PEPLUM Girth - Waist 711.2, Hem circumference 1066.8. Vertical - Back waist to hem 406.4.mary ann lawrence, francis henty, fashion -- 1880s, day dresses, women's clothing

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.Outstanding black silk crepe cocktail dress with extensive use of glittering silver and red metal sequins. The sequins are used on either side of the red ribbon bordered neckline, on the sleeves and on panels of the skirt. The dress incorporates an attached fabric tie at the neck and a separate belt.cocktail dresses, weir collection, fashion - 1920s, edith mary weir (nee betteridge), illapa - 84 princess street - kew (vic.)

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.Black-coloured fitted jacket made of silk and lace with added satin ribbons.women's clothing, fashion - melbournesne - 1880s, bodices, jackets, netta fuller

R&M Dower was a major millinery partnership located at 146 High Street, Kew in the 1940s and 1950s. Examples of this millinery firm's hats are in other major public collections, including the National Gallery of Victoria.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Small brimless woman’s hat retailed by R & M Dower of High Street, Kew. The structure of the hat is made of stiffened net, covered with multicoloured flowers, leaves and a purple ribbon.Label: R & M Dower, 146 High St., Kew. Phone WM 8527.r & m dower, milliners -- kew (vic.), women's clothing -- hats, headwear

The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.A natural undyed straw woman’s hat with a rounded crown and a wide brim. At the base of the crown there are added decorative elements comprising silk rosebuds and leaves and a purple ribbon. A band of cream tulle surrounds the floral decoration.Nilwomen's clothing -- hats, sun hats, straw hats, headwear

The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.White coloured hat using pieces of the same fabric as bands and as an abstract bow. The padded interior includes ribbon and lace on the internal rim. Label: Neal Evans neale evans, women's clothing -- hats, headwear

A hand muff belonging to the family of George Ward Cole in the late 1800s. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished. A hand sewn dark blue silk velvet muff, circa late 1800s. This cylindrical muff features a central lightly padded area for the hands with the sides extending un-padded a further five centimeters. A six centimeter black grosgrain and satin ribbon decorates the front. Attached from the wearers right at the edge of the padded area and falling diagonally to the left edge of the padded area, where it finishes in a decorative bow.st ninians, george ward cole, muff, late 1800s, brighton, margaret morrison ward cole

The donor and family of this gown were long-term Brighton residents, and the gowns were held by them as family heirlooms prior to donation to Brighton Historical Society. Originally owned by Elizabeth Emma Adams and Cecilia Elizabeth Adams, it is believed that the dress was brought to Australia by either a half brother, James Smith Adams, or a younger sister, Sophia Charlotte Louisa Adams (later known as Mother Rose Columba Adams). Elizabeth and Cecilia were the daughters of James Smith Adams (a squire, 1780-1860) and Elizabeth Emma McTaggart (1793-1843) of Tower House, Woodchester in Gloucester, a property which Elizabeth later inherited. Originally a monastery, Tower House had been converted into a stately home after the Reformation. According to information originally provided by the donor, both this dress and the dress T0004.3 were made for Elizabeth and Cecilia, to be worn at the young Queen Victoria’s first 'drawing room ball' following the end of court mourning in 1838 for her uncle William IV who died in 1837. In 1838 Cecilia would have been twelve years old and Elizabeth would have been ten years old. It is possible that the dress T0004.3 was worn by one of the girls to this event as it is of appropriate dimensions for a child of that age, although its design is very formal and adult. However, it is unlikely that either of the girls wore this dress at the ball due to the size and styling of the dress. It is likely that the dress belonged to one of the girls, but was worn at a later date. Elizabeth was born on 30 June 1828 at Tower House and died on 1 May 1909. She created a scandal when she eloped with her first husband, Thomas Charles Gardiner at the age of 18. The validity of the marriage was later formally investigate and, while it was confirmed as valid, a second church wedding was subsequently held. Thomas died in 1878. Elizabeth subsequently remarried Reverend R. E. Blackwell, but was widowed again by 1889. Cecilia was born on 17 December 1826 and died in 1902 a spinster recluse in England. At the inquest into Cecelia's death in 1904 it was revealed that she had clearly come from a family of means as her home was filled to the brim with highly valuable goods, many in boxes. She was buried in the family vault at Woodchester. Elizabeth and Cecilia's sister Sophia converted to Roman Catholicism in 1851 and became a nun, taking the religious name 'Rose Columba'. In 1883 Mother Rose Columba led a group of eight to Australia, answering a call for Dominican sisters to nurse the sick in Adelaide. Upon arrival, she founded St. Dominic's Priory and the Church of Perpetual Adoration in North Adelaide, using her inheritance to build the chapel. Elizabeth's second son, George Henry Somerset, who inherited the Adams family estate dropped the 'i' in Gardiner and added the maiden name of his grandmother. Therefore, the family name has now become Gardner McTaggart. These Adams family entries have been updated with information provided by Dr Herbert Gardner McTaggart, great-grandson of George Henry Somerset in April 2016. Mr McTaggart contacted the society after finding our entries online.A hand sewn white purple, pink, green, blue and yellow floral silk chiffon dress from circa 1870. The dress consists of two pieces worn together as a dress. This dress has received a great deal of mending and alteration and so it is difficult to be sure of what constitutes its original state. The following description is of its current state. The bodice has a high neck with a simple shallow band collar, an olive braid and a press stud closure. The bodice fastens down the centre front with ten hook and eyes closures and two sets of ribbon ties . The bodice has three darts providing shaping into the waistline. The bodice finishes at the waist and gently tapers towards the front creating a 'V' line. Down the centre front from the neck to the waist concealing the bodice opening is a pressed pleated ruffle of the dress fabric and a line of olive braid. The dress features pagoda sleeves finished at the hem with pressed pleated ruffle of the dress fabric, a line of olive braid and a silk fringe of 4 cm pale pink and white. The skirt part of the bodice section attaches to the front of the dress with two hooks and eyes on the left hand side of the waist. The fabric drops down to approximately the knees at the front, curving up and splitting on either side over the hip. The edge of this piece is also trimmed with a pressed pleated ruffle of the dress fabric and a line of olive braid. Just below the hip on either side is a large bow of pink, cream, purple and green taffeta. The bodice at the back is shaped with four panels into the waistline. Where it joins the bodice skirt the skirt is pleated, creating fullness. The skirt of the dress ensemble secures at the waist on the left hand side. At the front it has two pleats (that may have been repositioned during repair), and is fully gathered at the back. At the front the dress falls to the floor whilst at the back it is longer to accommodate the bustle and possibly a small train.cecilia elizabeth adams, elizabeth emma adams, 1870s fashion, tower house, woodchester, james smith adams, elizabeth emma mctaggart, mary rose columba adams, sophia charlotte louisa adams

This gown, one of two similar items in the collection, belonged to one of the daughters of George Ward Cole, Miss Margaret Morison Ward Cole or Miss Agnes Bruce Ward Cole. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished.A black and mint green wool, velvet, lace and silk dress from circa 1882. The bodice features a wired, standing collar, finishing just under the chin and open at the front of the throat. On either side at the front of the throat it features long black lace ties with black jet bead fringe. The centre front of the dress from the neckline to the base of the skirt features an insert panel of mint green corded silk. The silk is gathered and the neckline and waist and overlaid a panel of gathered lacy net. Inserted into the seam at either side of this panel at the waist are two velvet ties. The dress secures closed with eight black buttons and one hook and eye down the right side of the mint panel to mid thigh. The edges of the collar and black front panels are finished with a looped ribbon trim. The remainder of the dress is made of a black wool fabric woven a checkered pattern of larger and looser threads and smaller and tighter threads creating a seersucker like pattern. The bodice features a natural shoulder line and an Amadis sleeve of full cut gathered to the bodice at the shoulder and finishing at the elbow with a large black lace flounce. The front panels of the dress are flat and shaped neatly to the body from neck to hip line and gently out to create the Victorian silhouette. On the back of each shoulder the dress features a leaf like, small jet beaded embellishment with multiple long loops of jet beads falling down the back to the waist. Underneath this embellishment is a pleated black ribbon that runs from the shoulder to the back of the pelvis. Over the pelvis are another two jet beaded embellishments of a floral design with two tassels. The skirt is full and pleated in under this embellishment and fulls to the floor with a small train. The base of the dress is finished with a ruched band of the main dress fabric.st ninians, george ward cole, visiting gown, brighton, miss margaret morison ward cole, miss agnes bruce ward cole, 1880s

This dress is a 'Dolly Varden' or 'shepherdess" style costume worn by Ida Annie Wallace (1890-1976) on a sea voyage to China accompanying her parents in 1911. The BHS has a photo of Ida wearing this dress when she was a guest at a dance for young people given by the Lord Mayor of Melbourne (possibly T. J. Davey). This party may have been held on the ship or it may have been a seperate event. This style dress was a popular choice for fancy dress in the late 1890s and early 1900s. The style is named after the character Dolly Varden in Charles Dickens, 'Barnaby Rudge' 1841. Around 1872, Dolly Varden-inspired costumes and paraphernalia were very a popular craze. Family information states that the silk for this dress was purchased by Ida and Marjorie's grandfather's sister (great aunt) in England circa 1840. The dress was donated by Marjorie Wallace (1901-1999), Ida's sister. Marjorie did not accompany the family to China, but stayed home with a governess. Marjorie lived in Brighton between 1923 and circa 1950 and attended Firbank Church of England Girls Grammar School.A dress consisting of bodice (.1) and skirt (.2). The bodice is made from beige silk with sprays of red and blue flowers and originally laced down the centre front with pink ribbon. The lower part of the bodice is modelled on a late 18th century polonaise design. The bodice is boned and features waist tapes. The elbow length sleeves are finished with beige hand made Maltese lace featuring Maltese crosses. The mid calf length skirt is made from pale pink silk which has been quilted and lined to create a stiffened form. Also with the dress is a piece of scrap floral fabric (.3) that is the same as the bodice fabric.dolly varden, marjorie wallace, barnaby rudge, charles dickens, fancy dress, ida annie wallace

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 1930s dress in 1983 to wear to her sister's Registry Office wedding in William Street, Melbourne. It was the first vintage clothing item she ever purchased and was the starting point of a lifelong love of collecting, preserving and promoting historical clothing. She subsequently wore the dress to a great number of events and considered it an important piece in her wardrobe. c1930s black cotton filet net dress with white cotton embroidered flowers. The dress fastens centre front with three hook and eyes, eleven black silk covered buttons and finished with black acetate ribbon band pussy bow at the neck , is slim fitting and finishes at approximately knee length. The head of the sleeve is gathered with a small shoulder band and finishes above the elbow with a black silk band. filet net, 1930s, di reidie, vintage clothing

This bodice, which originally had a matching skirt, belonged to Phoebe Richardson (nee Brinsmead, 1885-1956), who married Charles William Richardson in 1911. The family lived in Geelong. Brinsmead Lane, off the Bellarine Highway in Leopold, is named after Phoebe's family, being the original location of the family home. The bodice was likely made by a seamstress as the family were quite fashion-conscious. Phoebe's daughter Edna Baker (nee Richardson, b. 1914) wore this bodice as a dress-up as a child. She donated it BHS in the 1980s and provided additional information on it when visiting the Society in 2004.Khaki green silk bodice, boned around waist. Ecru cotton lace overlay on sleeves and high neck. More lace over shoulders, gathered and tapered down front of bodice. Stripes of velvet ribbon around yoke. Four more stripes of velvet ribbon around upper sleeve, and three around each cuff. Velvet bows and metal buckle at waist. Tape at waist with hooks to attach to skirt. Lined with brown fabric. 20 mother-of-pearl buttons down front.phoebe richardson, phoebe brinsmead, edna baker, 1900s

One of a series of four boards of mounted replica medals of the Australian Defence Forces. This board shows medals pertaining to conflicts including Korea and Vietnam. The boards were on display in the Melbourne Legacy Foyer cabinets until June 2017.A record that Legacy holds some war memorabilia as Legatees were once solely returned servicemen.Replica medals from several conflicts mounted on silk inserts into green boards plus additional ribbons and bars.Title inscribed in brass plaques say: Korea, Australian Active Service Medal 1945-1975, United Nations Service Medal for Korea, Korea Medal South East Asia, Australian Active Service Medal 1945-1975, Naval General Service Medal 1915-1962, General Service Medal 1918-1962, General Service Medal 1962. Vietnam, Australian Active Service Medal 1945-1975, Vietnam Medal, Vietnam Logistic and Support Medal. Australian Service Medal 1945-1975 Australian Service Medal 1945-1975. Australian Defence Medal, Pingat Jasa Malaysia. Anniversary of National Service 1951-1975 Medal, South Vietnam Campaign Medal.medals, vietnam war, korean war, national service