Elizabeth Morrison, was born in 1874 and died in 1963, aged 89 years. She was the schoolteacher at Warrigal until she married the donor's grandfather and moved to Melbourne to take up residence with him. Her husband Edward was a porter on the train from Melbourne to Adelaide. Together they had three children: two boys and a girl. The donor's father was the youngest who was born in 1911.  The eldest son, Kenneth Morrison, was a Monsignor in the Catholic Church, and an Air Force Chaplain during the Second World War, while the daughter was a spinster who owned a few haberdashery and children’s clothing stores. The donor's father had a newsagency in Bridge Road, Richmond. He and his wife lived in Carson Street, Kew for about 50 years and had four children, two of whom were to become lawyers, another a surgeon and the final child social worker/family therapist. The donor's father lived until he was 100 years of age.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 costume, which may have been used as a mourning dress is comprised of a matching heavy black silk skirt and top. The styling of the short bodice is accentuated by pleating and by the use of spirals of Parisian jet (black glass beads) on the bodice and cuffs. Chiffon lace is attached to the cuffs and is of the period. The dress is made of silk damask with a woven design of joined lines and circles. The rigidity of the fitted bodice is achieved by the use of baleen and by a heavy striped cotton fabric. The wide skirt, in contrast, has a stiffened brown cotton lining. There is a small insertion on the inside of the bodice that may have been used for a watch. The dress is in excellent condition. elizabeth morrison, australian fashion - 1890s, women's clothing

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.Very fine, lightweight silk two-piece pink and white striped dress comprising a long skirt and a short fitted jacket. The jacket is edged with cream lace at the collar and front. On examination, the lace, while appearing to be in a later style has been judged to be of the period.There is a small faded label on the rear collar of the dress, on which is hand printed the name of the dressmaker. The name has been variously interpreted as reading Miss Gibbens, Miss Gibbons, or Miss Gibbuis. women's clothing, day dresses, australian fashion - 1900s

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 handmade evening dress, worn by Kaye Cole, former mayor of Kew in 1979-80, has strong local provenance to the district.Purple caftan with embroidery and beading at the neck and on the sleeves, given to the donor by Kaye Cole, former councillor and Mayor of Kew 1979-80. The costume is believed to have been worn at various civic functions.kaye cole, mayor of kew 1979-1980, evening dresses, fashion - melbourne - 1970s

Cream doeskin leather shoes with glass and metal bead floral decoration on vamp and decorative bow. Label stamped in gold on sock (inside lining): FROM / R. White / Melbourneshoes, 19th century, r white, melbourne fashion

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. An early example of swimwear from when men were able to legally swim topless in the 1930s. The fashion originated in France in the early 1930s, and slowly caught on in other countries, although was often controversial. In Australia this was less so, and by 1940 it was common attire at the beach. Pair of dark blue, woollen bathing trunks. Front skirted flap. White woollen belt with silver-coloured metal buckle. White label with blue stitched text attached to rear. Label: "Alpha" Size: SMswimwear - men's, alpha swimwear, alpha - menswear designer

The Queen: The Ladies Newspaper and Court Chronicle or simply The Queen was a magazine created in 1864 in London. The title became "Queen in the 1950s, then "Harpers and Queen" in the UK and then part of the British Harper's Bazaar. In 1861 Samuel Orchart Beeton ("Mrs Beeton"'s husband) had founded a paper named "The Queen" about fashion and culture for upper class women of society. Edward William Cox bought the title the following year and at the same time he bought the Queen's rival that was named "The Ladies' Paper". He merged the two publications into "The Queen: The Ladies Newspaper and Court Chronicle" in 1864. The Queen, The Lady's newspaper was delivered to Australia from UK during colonial times. The fashion page shows designs of dresses that were worn in late 19th century.A rectangular hardboard with a page from a newspaper atatched to one side of it, and a very small one line cut out from a newspaper glued to the other side. There are marks from sticky tape and old paper around the page. The page is of 3 fashion design drawings, titled Smart Autumn Gowns, sketched by our artist at Messrs Redmayne's, 19 , new bond street, w. flagstaff hill maritime museum and village, great ocean road, shipwreck coast, the queen, the lady's newspaper, fashion drawing, messrs redmayne, 1891

This item of underclothing, called a "combination" is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. Combination undergarments combined the chemise and drawers into one garment. The combination is divided, or bifurcated, from the waist to the crutch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. Their primary use was to protect clothing from perspiration and because they were made with cotton or linen, were easy to wash. Although they were worn under the corset, next to the skin (and therefore not meant to be seen), they were often decorated with lace and embroidery. Although these combinations are made with a plain cotton fabric, Eliza Towns has incorporated pin tucks, hand embroidery and crocheted lace to embellish her garment. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear.Women’s white cotton and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has three buttons in the front and a handmade drawstring cord around the square neckline. It is trimmed with crocheted lace (with a floral design) on the neckline, sleeves and pants. It had pintucks and feather stitching on the bodice and the left and right sides are divided from the waist to the crutch. The back of the garment is plain with a gathered section at the lower back.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, victorian era, combination undergarment, all-in-one underwear, combination, ‘combinations’, one-piece underwear, one-piece undergarment, chemise and bloomers, combination chemise and bloomers, divided, bifurcated, split, chemise and drawers, women’s underwear, ladies’ underwear, undergarment, women’s clothing, women’s fashion, lingerie, 19th-century undergarment, handmade clothing, handmade lace, crocheted lace, towns family, nhill, eliza towns

A baleen whale has hard bristly baleen that hangs from its upper jaw inside its mouth instead of teeth. Baleen is made from a protein called keratin, just like human hair and fingernails, and its colour can vary between species, from black to yellow or white. The whale uses the tough, flexible baleen like a sieve to catch its food, filtering the small sea creatures out of the sea water it releases from its mouth. In the19th Century, whales were hunted for the products that could be made from their bodies, such as oil for lubricating machinery, soap making, lamps, heaters and fuel for the lighthouse lights. The flexible baleen was used for whip handles, carriage springs and umbrella ribs. It was also used for the skirt hoops, hat ribs, and rigid ‘stays’ in tightly fitting bodices to enhance their figures. The Southern Right Whales, as well as Blue Whales and Humpback Whales, are baleen whales. The Southern Rights annually visit the ocean off the southwest coast during the breeding season. In the early 1800s whalers hunted along this coastline in their dangerous pursuit of money for the precious cargoes of whale oil and bones. The population of these large animals dwindled quickly and by the late 1840s the whaling industry dwindled. Whaling recommenced from the 1940s to the 1980s when the whale products were used to make margarine and dog food. The baleen sample has been used to educate people about whaling and about the properties of baleen. The baleen sample is significant for its association with 19th century women's fashion. It helps to understand how garments were supported to shape a woman's figure. The baleen sample represents a period when whales were hunted and killed to provide income and products for for the local settlers and for the export industry.Baleen sample from a whale's jaw. Its black shiny hard yet flexible surface is slightly rippled and textured. One end is fringed and the other and a smooth cut edge. The colour varies in places, with stripy brown colouring. flagstaff hill maritime museum and village, great ocean road, shipwreck coast, baleen, whalebone, baleen whale, keratin, 19th century, whaling industry, women's fashion, stays, bodice, women's figures, fashion, clothing, whale oil, baleen colour, whale hunting, whale products, southern right whale, blue whale, humpback whale, southwest victoria, whalers, whale bones

This handmade blouse with its matching belt was donated along with a note that says, "This jacket was owned by Marion Leishman who married Captain Eadie. They lived in Warrnambool and are buried at Tower Hill Cemetery." The spelling on the headstone is "Edie" rather than "Eadie". Marion Leishman Edie was born in 1835 and died on August 7, 1914. She married Captain Richard Wilson C Edie in 1865. Capt. Edie drowned at sea on 16th June 1883 aged 49 years. Marion Leishman Edie died on 7th August 1914 aged 79 years. Her sister Alison Keishman Sprod, died in 1863, aged 25 years, and is also buried in the same grave at Tower Hill. The fine satin blouse and matching belt is an example of clothing worn by women in the mid-to-late 19th century. It demonstrates the beautiful and talented skills applied to handmade garments. The decoration indicates that the blouse or jacket was worn for a special occasion.Blouse of black satin, decorated with lace and sequins. Long sleeves are puffed at the shoulder fitted at the lower arm and cuff. The belt has sequins and tassels. Black lace is added around the neck and bodice, fastened at the front with hook and eye.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, costume, blouse, belt, female adult, clothing, fashion, satin, lace, wonem's clothing, marion leishman, captain eadie, tower hill cemetery, marion eadie, jacket, black satin jacket, sequins, marion edie, richard wilson c edie, drowned at sea, marion leishman edie, handmade, black jacket, sequined satin jacket

This album has been produced in Germany at the end of the 19th century for the Warrnambool tourist market. It was sold in the book shop of Walter Davies. The father of Walter Davies, also called Walter, was a law clerk and accountant who established the book and stationery shop in Timor Street in the late 1860s. The business was operated by Walter Davies Senior, then his son and later the grandsonThis album is of interest for several reasons:- 1. It is an interesting example of the type of tourist souvenir available to visitors to Warrnambool in the late 19th century. 2. It contains 13 photographs of Warrnambool in the late 19th century and these are of considerable historical value. 3. It is a good example of the type of articles sold by Walter Davies at his Timor Street shop in 1894. This is a hard cover folder containing 13 black and white photographs of Warrnambool and surrounds. The photographs are on several sheets of white paper joined together in concertina fashion to fit into the folder but they have become detached from the folder. Some of the photographs are torn at the edges. The cover of the folder has embossed gold lettering and the narrow spine is faded and the front cover is a little torn and stained. The inscription. ‘Xmas 1894’ is handwritten in black ink. ‘Picturesque Views of Warrnambool Victoria’ ‘Walter Davies, Bookseller & Stationer, Timor Street, Warrnambool’ ‘Printed in Germany’ ‘Xmas 1894’ picturesque warrnambool,, picturesque views of warrnambool, walter davies

The first issue of The Young Englishwoman was published in December of 1864 and was directed toward a young, female, middle-class audience and treated mostly household matters such as needlework, recipes, house-hold management tips and fashion. The Young Englishwoman started out as a weekly magazine but, as editors and publishers changed over time, it became a monthly periodical.This items is used to illustrate the popularisation of fashion styles in the 19th centuryFramed fashion plate - 'The Newest French Fashions': modelled for the Young Englishwoman. fashion illustration, young englishwoman

Cigarette cases were first used during the 19th century. At first they were basic, utilitarian items but during the Victorian era manufacturers began to decorate them, some very ornately. Materials such as sterling silver was used and the cigarette case became a fashion accessory.This cigarette case highlights the time when cigarettes were a common item for many people, especially men, to use. They are part of the history of functional items designed to be a fashion accessory.Silver coloured cigarette case. Opens in a clam shell design. The metal is tarnished and discoloured. It is a simple design with a vertical indented line running vertically from the top to the bottom of the case on the right and left side. This is on both the front and back o the case.cigarette, cigarette case, smoking, accessory, fashion, male accessory, portland, glenelg shire

Each postcard folder in this set has no address, message or postage stamp. Postcard folders such as these were popular as holiday souvenirs in the early to mid-20th century and were kept in good condition by collectors. The size is convenient for posting to friends and relatives and packing as holiday luggage. Postcards in the early-to-mid-19th century were an inexpensive way to remember and share holiday scenes, as few people could afford a camera and the price of developing the photographs. The images on these postcards were produced from black and white lithographs of photographs taken at Warrnambool and the surrounding district during the early to mid-20th century. Publishing firms such as Melbourne-based Valentine and Rose purchased photographs from local photographers and reproduced them for sale. This set of postcard folders shows that more than one publishing company had access to the same or almost the same images. The photographs include street scapes, the Warrnambool Breakwater and Pier, Botanical Gardens, beach scenes, cliff formations, the Hopkins River, municipal buildings, the Post Office and the Soldiers’ Memorial. The postcard folders in this set of three are significant as a record of local history from the late 19th century to the mid-20th century. The locations of the images match photographs and postcards in our collection that were taken at different times and provide a historical record of the Warrnambool and southwest Victorian locations, growth and changes.. The images record changes in the coastline, land, bay, buildings and other structures, roads, transportation and even the fashions of the times. Set of three postcard folders containing black and white images of photographed scenes showcasing Warrnambool and district between 1880 and 1942. The images were produced from lithographs of the original photographs and are printed on both sides of long strips of white photographic paper that are Z-folded into covers of textured card. Some of the images are repeated in all three folders. Folder 8665.1 - the cream-coloured folder was produced by The Valentine Publishing Co. Pty. Ltd. Melbourne and contains 15 photographs, some of which are also in the blue and the green folders. Folders 8665.2, the green folder, and 8665.3, the blue folder, were published by Rose Stereograph Co, Armadale, Vic. Each contains the same twelve images, but they are presented in a different order. flagstaff hill maritime museum and village, great ocean road, shipwreck coast, warrnambool, flagstaff hill, flagstaff hill maritime museum, flagstaff hill maritime village, warramble, postcard, postcard folder, warrnambool scenes, picturesque views of warrnambool, picturesque views of warramble, lady bay, port of warrnambool, breakwater, warrnambool breakwater, viaduct, merri river footbridge, merri river suspension bridge, suspension footbridge, merri river mouth, hopkins river mouth, proudfoot's, fanny nelson, nelson's boatsheds, nelson's boathouse, boathouse, hopkins river boathouses, flett's boathouse, flett, george rose, image of a rose, rose series, rose stereograph co, rose stereographic company, lighograph, armadale victoria, lady bay beach, beach scene, lower light, concrete footbridge, 1922 footbridge, viaduct road, rose postcard, new concrete bridge, 1945, 1890, 1922, small footbridge, 1872 footbridge, 1872, merri river estuary, stingray bay, postcards, shipwrecked coast, maritime museum, souvenir, warrnambool local scenes, hopkins river, botanic gardens, soldiers’ memorial, pier, post office, municipal buildings, merri river, proudfoot’s, the cliffs at shelly beach, the road to sandy beach, tourism, photographs, visitors, travel, scenes, local history, mid-20th century, 1940s, 1950s, rose stereograph co armadale. vic, valentine publishing co. pty. ltd melbourne, valentine publishing co. pty. ltd sydney

Revised edition documenting European Lace collecting and lace making.Hardcover book Red dust cover with B/W writings. Contents: - Lace fashion in the 19th century - Machine made lace in England, France and elsewherePatricia Wardle Victorian Lace, Revised second edition ISBN 0 903585 138lace collecting and making, european

Joseph Butterworth COOMBS (1842-1901), was an accountant who founded a successful mercantile trading company. At the time of his marriage to Caroline Mary MICHEL in 1869, Coombs had already purchased ten acres of Studley Park. The acreage included land on the west of Fenwick Street that extended along lower Stawell Street to the corner of Yarra Street, all of it connected directly to the Yarra environs. A right of way to Studley Park Road was on the title, though Coombs went on to purchase more land, some of which faced Studley Park Road. In addition to owning the Studley Park acreage, Coombs later acquired 1,201 acres of land abutting the Acheron River. While retaining the Kew property he became a Taggerty Councillor and was Shire President for a time. J.B. Coombs died at Acheron Station in 1901 (aged 59 years). A few months after, tenders were called to repair the Kew dwelling, the Fenwick Street property now appearing in records with the name ‘Hope Mansell’. Caroline Coombs remained at Hope Mansell until she died in 1924, survived by three sons and five daughters. Not long after her death, advertisements appeared for the sale of the Studley Park land. The sale seems to have been a mechanism for distribution of the Estate, as the following year the original ten acre holding was transferred to members of the family. The eldest daughter Mabel married William Younger who, with his brother Alexander, developed Younger and Mackie Courts, both south of Studley Park Road. [Research: Kerry Fairbank]In 1961, the granddaughter of Joseph and Caroline Coombs, Mabel Isola (Younger) Grattan, donated ten 19th century dresses and parasols to the Kew Historical Society. The costumes, now known as the 'Coombs Collection', were the earliest recorded items of clothing to enter the Society's collection. Each of the items in the Coombs Collection, of which this item forms a part, is historically, aesthetically and socially significant. As a collection, the costumes includes outstanding examples of morning wear, day dresses, wedding dresses, and clothing accessories, providing evidence of outstanding dressmaker skills in Victoria during the mid to late Victorian period. Two-piece white silk wedding dress comprised of a short tailored bodice and a bell shaped skirt. The most prominent feature of the bodice is the wide pagoda sleeves, with false undersleeves of muslin. The edge of the sleeves includes small posies of orange blossom. Separate panels of lace, dropping from the waist are the only form of decoration on the skirt. The round high neckline was later converted to v-line in the 19th century.coombs collection, women's clothing, australian fashion, fashion & design collection, costumes, wedding dresses

Fashion by Oggi, as the sign above the door proclaimed, was located at the Paris End of Collins Street, on the south side, virtually opposite Lilian Weightman’s Le Louvre boutique. Janet Brock, who at the time was working in the Central Business District of Melbourne, had stopped to admire a mauve version of the dress that was displayed in the window, and, on making inquiries from the proprietress, ordered a made-to-measure cream-coloured copy. Her marriage occurred shortly after the death of her father, and took place on 18 December 1971 at the Kew Presbyterian Church in Cotham Road, where the Rev. Peter Mackie was the celebrant. 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.Wedding dress, purchased by Janet Elizabeth Brock in December 1971 from Oggi of Collins Street. The wedding dress, reaching just below the knee, is lined in silk with a double outer layer of organza. The striking decoration of the monochromatic cream dress is achieved through the use of wide ruffled organza frills at the neck, on the sleeves and at the flared hem of the dress. The dress has a discrete v-neckline with small, self-covered buttons at centre front. At the back, the dress is closed with a nylon zip. In addition to the elaborate stiffened frills, the dress features a wide fabric belt with a double bow, worn at the front. oggi - 103-105 collins street - melbourne (vic), women's clothing, wedding dresses, janet (brock) walker, australian fashion - 1970s

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. Golda Whelan, a designer with Hartnell of Melbourne designed this wedding dress for her daughter Liane Whelan. Liane married John Merry at St John's Anglican Church in Toorak in 1969.The dress was manufactured in the 'house' of Hartnell of Melbourne, a leading Melbourne Fashion House in the 1950s and the 1960s.White slim line lace wedding dress, featuring eleven self-covered buttons down centre back Off centre rear opening done up by metal press studs. The dress has a silk satin lining and netting underskirt.hartnell of melbourne, golda whelan, wedding dresses, lace dresses

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This dress is one of a number donated to the 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 white raw silk dress with beading and sequins applied to a high neck and short sleeves.women's clothing, australian fashion - 1960s, evening wear, mcintyre collection, dione mcintyre

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.Three quarter length dress of ecru needle-run lace with pearl buttons at front to waist and green under slip.women's clothing, australian fashion - 1930s, cocktail dresses, lace dresses

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. 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

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 Marjorie Don who married Algernon Garlick, 1928Cream coloured crepe-de-chine wedding dress with a dropped waist comprised of a wide band of ribbon. The bodice is gathered at the top in narrow bands. Rows of pearl buttons extend to the waist from the neckline. The front of the skirt below the waist is made of a contrasting self patterned striped fabric.fashion - melbourne - 1920s, flapper dresses, wedding dresses, marjorie don, algernon garlick

One pharmaceutical enterprise which put greater emphasis on the manufacturing side of its business and whose successors strengthened this emphasis was Faulding's. A pharmacist, Francis H. Faulding, started his shop in Adelaide in 1841 and formed a partnership with an English physician, L. Scammel, in 1861. From its beginnings the firm showed a flare for innovation. After Simpson's discovery of the anaesthetic properties of chloroform in 1847, Francis Faulding was the first to import chloroform; in 1858 he distributed cocaine preparations; in 1864 he produced the first olive oil from South Australian olives and, after J. Lister's reports in Lancet on the reduction of mortality after surgery with the use of phenol, Faulding began production of antiseptics ('Solyptol') in 1867. Faulding was also the first to utilize the medicinal and antiseptic properties of eucalyptus oil which was obtained from distilleries on Kangaroo Island The Second World War in Europe disrupted the supply of cod liver oil, an important source of Vitamin A. Faulding chemists found an alternative source in white schnapper shark, which sustained supplies in Australia as well as generated exports to the UK . When supplies of I.G. Farben's newly discovered sulpha drugs ran out, Faulding became involved in the national program organised by the Medical Equipment Control Committee (MECC) and, jointly with universities, synthesised sulphanilamide. Following the transfer of American knowhow. Faulding's was also the first private enterprise to produce yet another life saving drug of military importance, penicillin. After the war basic synthesis of antibiotics became difficult to sustain by private enterprise because of the gigantic scale advantages of competing US producers, and competition in the synthesis of new drugs demanded huge investment in R & D; Fauldings maintained their business by a combination of marketing, wholesaling and producing consumer and medical products. In the 1970s, however, Fauldings set a remarkable precedent in research strategy and achievement in the Australian pharmaceutical business. They decided to concentrate their research on drugs which had proven efficacy, but which also suffered from certain shortcomings restricting their clinical usefulness, and to seek advances overcoming these shortcomings. This was an imaginative new strategy, a way of grafting Australian knowhow on to major products, in keeping with local resources and yet offering opportunities for sophisticated skill. At the same time it promised to open internatiSurgeon and onal markets, since the major producers of the basic drugs could hardly ignore significant advances. https://www.samhs.org.au/Virtual%20Museum/Medicine/drugs_nonsurg/Fauldings_drug/Fauldings_drugs.html This decorative gift box once containing Faulding’s Old English Lavender soap or powder belonged to Dr. Angus' wife, Gladys. It was donated to Flagstaff Hill Maritime Village by his daughter, Bernice McDade. It is part of the “W.R. Angus Collection” that includes historical medical equipment, surgical instruments and material once belonging to Dr Edward Ryan and Dr Thomas Francis Ryan, (both of Nhill, Victoria) as well as Dr Angus’ own belongings. The Collection’s history spans the medical practices of the two Doctors Ryan, from 1885-1926 plus that of Dr Angus, up until 1969. Powder or soap in boxes such as this was perfumed and used as part of a women’s personal grooming in the early to mid 20th century. Faulding’s Company began in Adelaide, Australia, in 1845 and made a wide range of cosmetic and perfume products as well as pharmaceuticals. The company is still in operation today. ABOUT THE “W.R.ANGUS COLLECTION” Doctor William Roy Angus M.B., B.S., Adel., 1923, F.R.C.S. Edin.,1928 (also known as Dr Roy Angus) was born in Murrumbeena, Victoria in 1901 and lived until 1970. He qualified as a doctor in 1923 at University of Adelaide, was Resident Medical Officer at the Royal Adelaide Hospital in 1924 and for a period was house surgeon to Sir (then Mr.) Henry Simpson Newland. Dr Angus was briefly an Assistant to Dr Riddell of Kapunda, then commenced private practice at Curramulka, Yorke Peninsula, SA, where he was physician, surgeon and chemist. In 1926, he was appointed as new Medical Assistant to Dr Thomas Francis Ryan (T.F. Ryan, or Tom), in Nhill, Victoria, where his experiences included radiology and pharmacy. In 1927 he was Acting House Surgeon in Dr Tom Ryan’s absence. Dr Angus had become engaged to Gladys Forsyth and they decided he further his studies overseas in the UK in 1927. He studied at London University College Hospital and at Edinburgh Royal Infirmary and in 1928, was awarded FRCS (Fellow from the Royal College of Surgeons), Edinburgh. He worked his passage back to Australia as a Ship’s Surgeon on the on the Australian Commonwealth Line’s T.S.S. Largs Bay. Dr Angus married Gladys in 1929, in Ballarat. (They went on to have one son (Graham 1932, born in SA) and two daughters (Helen (died 12/07/1996) and Berenice (Berry), both born at Mira, Nhill ) According to Berry, her mother Gladys made a lot of their clothes. She was very talented and did some lovely embroidery including lingerie for her trousseau and beautifully handmade baby clothes. Dr Angus was a ‘flying doctor’ for the A.I.M. (Australian Inland Ministry) Aerial Medical Service in 1928 . Its first station was in the remote town of Oodnadatta, where Dr Angus was stationed. He was locum tenens there on North-South Railway at 21 Mile Camp. He took up this ‘flying doctor’ position in response to a call from Dr John Flynn; the organisation was later known as the Flying Doctor Service, then the Royal Flying Doctor Service. A lot of his work during this time involved dental surgery also. Between 1928-1932 he was surgeon at the Curramulka Hospital, Yorke Peninsula, South Australia. In 1933 Dr Angus returned to Nhill and purchased a share of the Nelson Street practice and Mira hospital (a 2 bed ward at the Nelson Street Practice) from Dr Les Middleton one of the Middleton Brothers, the current owners of what previously once Dr Tom Ryan’s practice. Dr Tom and his brother had worked as surgeons included eye surgery. Dr Tom Ryan performed many of his operations in the Mira private hospital on his premises. He had been House Surgeon at the Nhill Hospital 1902-1926. Dr Tom Ryan had one of the only two pieces of radiology equipment in Victoria during his practicing years – The Royal Melbourne Hospital had the other one. Over the years Dr Tom Ryan had gradually set up what was effectively a training school for country general-practitioner-surgeons. Each patient was carefully examined, including using the X-ray machine, and any surgery was discussed and planned with Dr Ryan’s assistants several days in advance. Dr Angus gained experience in using the X-ray machine there during his time as assistant to Dr Ryan. When Dr Angus bought into the Nelson Street premises in Nhill he was also appointed as the Nhill Hospital’s Honorary House Surgeon 1933-1938. His practitioner’s plate from his Nhill surgery is now mounted on the doorway to the Port Medical Office at Flagstaff Hill Maritime Village, Warrnambool. When Dr Angus took up practice in the Dr Edward and Dr Tom Ryan’s old premises he obtained their extensive collection of historical medical equipment and materials spanning 1884-1926. A large part of this collection is now on display at the Port Medical Office at Flagstaff Hill Maritime Village in Warrnambool. In 1939 Dr Angus and his family moved to Warrnambool where he purchased “Birchwood,” the 1852 home and medical practice of Dr John Hunter Henderson, at 214 Koroit Street. (This property was sold in1965 to the State Government and is now the site of the Warrnambool Police Station. and an ALDI sore is on the land that was once their tennis court). The Angus family was able to afford gardeners, cooks and maids; their home was a popular place for visiting dignitaries to stay whilst visiting Warrnambool. Dr Angus had his own silk worm farm at home in a Mulberry tree. His young daughter used his centrifuge for spinning the silk. Dr Angus was appointed on a part-time basis as Port Medical Officer (Health Officer) in Warrnambool and held this position until the 1940’s when the government no longer required the service of a Port Medical Officer in Warrnambool; he was thus Warrnambool’s last serving Port Medical Officer. (Masters of immigrant ships arriving in port reported incidents of diseases, illness and death and the Port Medical Officer made a decision on whether the ship required Quarantine and for how long, in this way preventing contagious illness from spreading from new immigrants to the residents already in the colony.) Dr Angus was a member of the Australian Medical Association, for 35 years and surgeon at the Warrnambool Base Hospital 1939-1942, He served as a Surgeon Captain during WWII1942-45, in Ballarat, Victoria, and in Bonegilla, N.S.W., completing his service just before the end of the war due to suffering from a heart attack. During his convalescence he carved an intricate and ‘most artistic’ chess set from the material that dentures were made from. He then studied ophthalmology at the Royal Melbourne Eye and Ear Hospital and created cosmetically superior artificial eyes by pioneering using the intrascleral cartilage. Angus received accolades from the Ophthalmological Society of Australasia for this work. He returned to Warrnambool to commence practice as an ophthalmologist, pioneering in artificial eye improvements. He was Honorary Consultant Ophthalmologist to Warrnambool Base Hospital for 31 years. He made monthly visits to Portland as a visiting surgeon, to perform eye surgery. He represented the Victorian South-West subdivision of the Australian Medical Association as its secretary between 1949 and 1956 and as chairman from 1956 to 1958. In 1968 Dr Angus was elected member of Spain’s Barraquer Institute of Barcelona after his research work in Intrasclearal cartilage grafting, becoming one of the few Australian ophthalmologists to receive this honour, and in the following year presented his final paper on Living Intrasclearal Cartilage Implants at the Inaugural Meeting of the Australian College of Ophthalmologists in Melbourne In his personal life Dr Angus was a Presbyterian and treated Sunday as a Sabbath, a day of rest. He would visit 3 or 4 country patients on a Sunday, taking his children along ‘for the ride’ and to visit with him. Sunday evenings he would play the pianola and sing Scottish songs to his family. One of Dr Angus’ patients was Margaret MacKenzie, author of a book on local shipwrecks that she’d seen as an eye witness from the late 1880’s in Peterborough, Victoria. In the early 1950’s Dr Angus, painted a picture of a shipwreck for the cover jacket of Margaret’s book, Shipwrecks and More Shipwrecks. She was blind in later life and her daughter wrote the actual book for her. Dr Angus and his wife Gladys were very involved in Warrnambool’s society with a strong interest in civic affairs. He had an interest in people and the community They were both involved in the creation of Flagstaff Hill, including the layout of the gardens. After his death (28th March 1970) his family requested his practitioner’s plate, medical instruments and some personal belongings be displayed in the Port Medical Office surgery at Flagstaff Hill Maritime Village, and be called the “W. R. Angus Collection”.Fauldings Company is a very historical Australian company, still in operating today. The powder box is an example of fashion and grooming in the 1930's in Australia. The W.R. Angus Collection is significant for still being located at the site it is connected with, Doctor Angus being the last Port Medical Officer in Warrnambool. The collection of medical instruments and other equipment is culturally significant, being an historical example of medicine from late 19th to mid-20th century. Dr Angus assisted Dr Tom Ryan, a pioneer in the use of X-rays and in ocular surgery.Container, wooden powder box with separate lid. Round box is made from light coloured timber and was sold containing Faulding’s Old English Lavender cosmetic powder. The wooden bowl is light in colour and the lid has a decal with text and images of two ladies facing each other, a gentleman looking over his shoulder at them, and red roses. From the W.R. Angus Collection.Faulding's Old English Lavender, and picture of old English men and women in period costume.flagstaff hill maritime museum and village, great ocean road, shipwreck coast, warrnambool, shipwtreck coast, dr w r angus, faulding's, lavender, powder, cosmetic