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

Skirt was worn by Maria Mackinnon, a volunteer for fifteen years at the National Wool MuseumWaverley Woollen Mills/ LAUNCESTON TASMANIA AUSTRALIAwaverley woollen mills national wool museum, tartan

Uniforms worn by the soldiers in the illustration suggest that the item was used by Australians in World War One. Soldiers had to purchase the item.Rectangular hinged tin with a coloured illustration on the top. Illustration features three soldiers in an outdoor tented campsite. Illustration is bordered in black. Title in black and white lettering includes the text, CAMP POCKET CANDLESTICK./A SOLDIER’S FRIEND. Sides of the tin feature a yellow and green tartan pattern. Base of the tin is silver coloured with traces of the yellow and green tartan pattern. Inside of the tin has compartments for a candle and matches and a holder for a lit candle. Round hole in base is part of the candle holder. Candle and matches missing.personal equipment, candlestick, world war one, troop comforts

Said to have been used at Sunbury Pop Festivals between 1972 - 1975 held on George Duncan's propertyRed tartan steel portable cooler. Separate white lid with white handle on top and white metal carry handle. Bottle openers at each end. Willow brand each side. Drain plug at one end."WILLOW/"S"/..."sunbury pop festival, duncan, george, george evans collection

A series of colour photos showing the interior of the Original St Martins Church, Belgrave Heights, prior to a wedding in 2013. There are white bows with tartan ribbons on the pews, and vases of flowers throughout the church. Photos by Susan Heywood-Downard.

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

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

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, celebration

This apron was used on Pastie Night at St Mungo's Church, Harvey TownSocial A net lace frilled apron with heart shaped bodice. There are three blue satin bows, one on LHS of bodice and two on added pockets to the skirt. There is a net lace frill around bodice and around apron skirt and a separate over frill above joined with blue satin ribbonclothing, pastie apron

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

Worn by patients at Sunbury Asylum. The calico/flannel petticoats were standard issue up to the 1930s.Bodice unbleached cotton, sleeveless, fastened at back with four metal buttons (one missing), skirt grey flannel.Partially legible "F7" in black ink on left front shoulder - stamp or stencil.costume, sunbury asylum, george evans collection

Kilt (Skirt) Deeply pleated reaching from the waist to the knees. Manufactured by North Western Woollen Mills Stawell.stawell clothing material

Two piece blue and white outfit by Rosy. (.1) top and (.2) skirt. Materials: Polyester, Metal, Plastictennis

Alice Louisa (Louise) Jackson was one of 12 children of George James Jackson and his wife Alice Eleanor (nee Taylor); both of whom were jewellers. One of her brothers, George Hall Jackson, served in WW1. The family lived at 'Handsworth', 7 Russell Street, Surrey Hills. Alice was born 25/9/1892 and died 25/8/1983. She was buried in Box Hill Cemetery - CE-*-2010. REF: Personal communication (email) Ruth Theodoridis, her niece, 30/5/2018: Alice trained at the Austin Hospital prior to WW2. She worked there after graduating and became the charge sister of the ward for terminally ill patients, many of whom were TB patients. After she retired from the Austin she nursed elderly and dying people in the Surrey Hills area. She had had a tricycle made especially for her as she could not ride a bicycle. She would always ride in the centre of the road in case the trike tipped over. She left her estate to the hospital. A black and white photograph of a lady standing in her nurses uniform, consisting of a skirt, blouse, and a veil on her head.louise jackson (miss), alice louisa jackson (miss), russell street, surrey hills, george james jackson (mr), alice eleanor jackson (mrs), alice eleanor taylor (miss), nurses, austin hospital, box hill cemetery

Portrait of a semi-nude woman with black hair, black skirt and black and white robe against a yellow background. Signed mid-left 'Angela' and (L.r) 'Clifton '80'clifton pugh, painting, portrait, angela, female nude, dunmoochin

Portrait of a seated woman with short red hair, black turtle neck and blue skirt with multiple figures in background. Signed and dated lower right 'Clifton Feb 55'. Label on reverse: 'Lauraine Diggins/ Cat no. 29/ Portrait of Pat Tozer/ Oil on Particle board/ exhibited - The Antipodeans'.clifton pugh, painting, portrait, pat tozer

This wedding dress belonged to Rayleen Haig OAM, nee Janetzki, who married Donald Haig in Geelong on 15 August 1964. The dress was designed for Rayleen and made by Deon's of Melbourne, which specialised in wedding gowns (she believes it was above Sportsgirl in Collins Street). It cost about one hundred pounds. The reception was held in the Carlton Hotel, Geelong. A longtime local resident, Rayleen was a Brighton councillor (1983-92) and mayor (1989-90). She was awarded the OAM in 2007 for "service to local government and to the community through health, historical and aged care organisations, particularly within the City of Bayside, and to the National Council of Women of Australia".Cream silk dress with boat neck, short sleeves and back zip. Guipure lace flowers on sleeves and skirt.wedding dress, rayleen haig, rayleen janetzki, donald haig, deon's of melbourne, brighton council, mayor

Four page knitting pattern booklet featuring a woman wearing a grey and apricot top and white skirt on the cover.front: [printed] THOROBRED / scheepjeswol / Denise Rothfield / MELBOURNE / D22thorobred scheepjeswol, fashion, design, knitwear, home made, wool, pattern book, denise rothfield

- Belonged to donor's Grandmother Alice Smith - 1960's - Worn at cousin's wedding 26/06/1971- Navy lace evening dress with burgundy slip - 3/4 sleeves - Cummerbund waist feature - Full skirt'Created by Simone'wedding, lace, evening dress

Kurt Winker was born in Germany in 1902 and was a survivor of the "Arandora Star". He was sent to Australia on the "Dunera" where he was interned at Tatura 1940-1945.Profile head and shoulders portrait of probably a male internee dressed as a woman. Wearing a straw hat with netting around it. Rimless glasses. A green scarf around the neck that looks like plaid or tartan and a pink/burgundy coloured coat.Tatura Summermodel 1941 on mat board above the painting "The Happy Groom" Kurwin 42 on mat board under the painting Tatura 42 on bottom left hand side of paintinginternee, groom

Gas and Fuel Fashion,Food,Fitness. 5 people on a stage - From Left to Right: Female in black skirt and grey top, man in suit, female in long dark skirt dark top and jacket holding a microphone, female in evening dress, female in a wedding dress. Date and location unknown.event, social, gas & fuel fashion, food, fitness

long cream silk skirt with cotton petticoat sewn in. Silk decorated with crocheted rosettes, tiny pleats running 3/4 way down the skirt, and 9 tiny pleats running around the circumference of the base. Petticoat same colour with ruffle around base. Clasped with hook and eye at waist.No visible markingscostume, female, skirt, silk, cream, petticoat, clothes