Bright pink ball gown , with lace sleeves and floating panel. Long straight pink satin dress with lace sleeves and scoop neck. Princess line with lace under the bodice and across the back. Long back zip and a pleated chiffon attached train.Black label across the top 2 inches x 1 inch.ball gown, reid family

Long blue/pale green (or aqua) sleeveless gown with floating panels. Gloves are long and plain blue (or aqua). Bag has a chain and is made of the same material as the gown. Pale green embossed satin, short sleeves, long skirt. Fitted waist and bodice. Four gored skirt. Lined with taffeta. Scoop back with a chiffon tail. Matching satin long to the elbow gloves. Matching evening bag. Made of the same material and with a silver clasp.ball gown, reid family

Long gown of Pink Brocade with cap sleeves. Stiff material with a tie around the waist. Long pink with gold embossing brocade. Fitted bodice with cap sleeves. Full skirt with large pleats. Corded pink waistline with a pink bow.ball gown, reid family

Full length long sleeved red crimplene dress with a high neck and a long flat zip. It has long sleevesball gown, reid family

Long gaberdine black frock with a black and white floral bodice with capped sleeves. It has a matching black and white border on the skirt.ball gown, reid family

Long flowery gown -pink flowers with black background. Long bright pink 'sash'. Long sleeves. Kimono style. Long princess line, pink, black and white floral dress with V neckline. A fine cotton material with a bright pink chiffon sash.Tag: "Snazzi" "Follow the Dot with Dash" "Sydney"ball gown, reid family

Long emerald green gown with long sleeves and a semi circular skirt. The material is jersey. Bodice - Gathering of material under the bust with a deep V neck. The dress has a straight semi fitted mid riff. ball gown, reid family

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.Shot silk purple ball gown, featuring a fitted silk bodice with puff sleeves and a wide full-length skirt. The dress has coloured guipure lace at the neck and the cuffs, which has been identified as being of the period. The brush braid on the hem has probably been replaced at a later date. Dated to 1899-1900. ball gowns - 1900s, australian fashion - 1900s, costume

Purchased by Valma Allaway (nee Adamson) in Knightsbridge, London, 1956No maker label.clothing, evening wear

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 gown is believed to have been owned and worn by a member of the Smart family of 'Turinville', in Barnard Grove, Kew.Two-piece dress comprised of a bodice and floor length skirt made of a soft, lightweight cerise coloured silk fabric. The bodice features a v-shaped rear neck. A wide velvet cummerbund is part of the outfit. Dated to c. 1901. (Measurements: Length 132 x Waist 62-73, Chest 76 cm)australian fashion - 1900s, ball gowns - 1900s, evening dresses, evening wear, women's clothing

This hooped petticoat or underskirt was worn in the 1950's under full skirted evening wear. Mt Beauty had a vibrant social life during this period with many balls and dances throughout the year.This garment was worn by Margaret McKendrick (nee Vyner) who was born and lived in Tawonga, then Mt Beauty.White cotton tiered under skirt with double hoops at the bottom. The skirt is gathered at the waist and falls to the floor. The waist has a drawstring (ribbon) which is tied at the back.The name "M.McKendrick Mt Beauty" is written in blue ink or texta around the inside of the waistband.petticoat. underskirt. hoop. evening dress. ball gown. mt beauty. entertainment.

Dark cream coloured gathered overskirt to be worn around waist of a dress (see 11400.123 ). Deep scalloped hemline with purple edging (2.5cms). Purple satin waistband (5cms). Four purple decorative satin bows down front of skirt. Two purple bows at top of scallops. Two bows missing. Side opening with two hooks and eyes. Hand made.costume, female, overskirt for ball gown

Growing up in Sandringham, Joy Bosomworth learned to sew at the knee of her mother Elsie Myra Keefer, a seamstress. By the time she was an adult, she was making most of her own clothes. She made this shot velvet evening dress, along with a matching stole and bag, in 1961 to wear to a ball at the Royal Melbourne Hospital, where she worked as a radiographer. An evening outfit consisting of a matching dress, stole, bag and gloves. Sleeveless one-shoulder evening dress of blue velvet shot with metallic red. The dress is gathered at the proper left front waist and is lined with red synthetic fabric. Fastens with a zip and hook at the side. Stole of blue velvet shot with metallic red, lined with red synthetic fabric. Handbag made from blue velvet shot with metallic red. The bag has a gold metal frame and clasp, with a shot gold metal chain attached. The interior is red synthetic fabric, with a single side pocket. Elbow-length red nylon evening globes.joy myra bosomworth, joy myra keefer, evening dress, ball gown, 1960s

1860's dress worn in 1920 by Ava Jane Hall, granddaughter of W. Lansell. Photo taken by Bartlett Bros in the 1920s. The gown was worn to a ball in the Bendigo Town Hall in 1920.Dark cream coloured dress with bodice and gathered waltz length skirt. Back opening on bodice with six hooks and eyes. Back opening on skirt with two hooks and eyes at waist. Bodice lined with ivory coloured cotton. Short puffed sleeves. Frill around bottom of skirt is edged with purple trim top and bottom. Frill around neck front and back. Decorative purple loops on sleeves and around neckline. Dress worn with a decorative overskirt, (see 11400.124), hand made. 1860's dress worn in 1920 by Ava Jane Hall, granddaughter of W.Lansell. Photo taken by Bartlett Bros in the 1920's. The gown was worn to a ball in the Bendigo Town Hall in 1920.costume, female, ball gown

Part of the Bennetts Collection. See catalogue No. 9726P for details of service for "Alva Marie Bennetts".Black and white photograph of three couples seated. men are in uniform and the women in ball gowns.Handwritten on the back in black ink: 'Taken at Commonwealth O.R.'s Club Ball, held on Princess Elizabeth wedding day. From left:- Junior Ward, Dulcie Kerr, Frances Richman, Max Mercier, Alva Bennetts, Bill Napier. Eta Jima 19/12/47'.bennetts collection, alva bennetts, photograph, bcof

A photo of a junior legatees in elaborate ballgowns and old fashioned outfits, and wigs dancing on stage at the Annual Demonstration. Central characters appear to be a queen and a girl in a tutu as part of a dramatic dance routine. Legacy clubs ran classes for junior legatees for many years such as gymnastics, swimming or dancing classes. It was part of providing for the children of their deceased comrades. The skills they learned were show cased in an annual demonstration usually at the Melbourne Town Hall. It appears to be photo taken professionally of the Annual Demonstration. Year unknown.A record of a way Legacy provided classes for junior legatees and the skills learned were displayed in the Annual Demonstration.Black and white photo of junior legatees in ball gowns dancing on stage at Melbourne Town Hall.Stamped "Leslie Thomspon / 8 Keystone Cres / East Kew WL 3078" in purple ink. Handwritten 'Legacy P2' in blue pen.junior legatee, annual demonstration

Black and white photo of many couples dancing. The ladies dressed in ball gowns and the men dressed in suits. It was East Loddon Shire's 100th Year Celebration which was held in the Calival Hall.entertainment, dance, ball, peter ellis collection, ron vinnecombe, east loddon shire, mr & mrs h painter, cr h w twigg, mrs twigg, mr t j rudkins, mrs rudkins

The photograph wqas taken at a Belle of the Ball which took place in Sunbury on 2 October 1953. The people in the photograph are from L-R: Ken Nevant, Flora Lloyd, who was the daughter of the local chemist, Norman Hoiles, Pat Barrow, Jean Hall and Lachlan Mason, who was Ken Nevant's half brother. The Belle of the Ball was a popular annual event, usually organized by the football club in Sunbury. The event took place in the Memorial Hall.A black and white photograph of three couples at a ball. The girls are dressed in ball gowns and their partners are in suits. The names of the six people along with the date of the ball have been written in black pen across the top of the photograph.dances, belle of belles, nevant, ken, lloyd, flora, hoiles, norman, barrow, pat, hall, jean, mason, lachlan, returned servicemens league, george evans collection

This is a photograph of young women from the Orbost district, dressed in ball gowns in 1955. The occasion was the Orbost Hospital Ball MISS SPRINGTIME CANDIDATES, 1955. Names are included. This photograph is significant because it dates from 1955, shows the ball-gowns from that era, and has all of the young women named.A b/w photocopy of an original b/w photo. The photo has been laminated. It shows 11 young women in long ball-dresses. MISS SPRINGTIME CANDIDATES, 1955. l to r. Miss Lorna Rankin, Miss Sandra Ingram, Miss Beverley Reed, Miss Maria Lavell, Miss Marion Wilkinson, Miss Edna Wait, Miss Margaret Cavagna, Miss Dorothy Seehusen, Miss Velma Brooks. Centre front. Miss Wendy Lynn, Miss Judith Tracy.orbost hospital ball, miss springtime candidates, 1955

Production Number 66 by the Heidelberg Repertory Group - currently known as the Heidelberg Theatre Company Inc. The program lists names of actors and roles,, backstage, technical crew, creative and administration positions. Special mention of Lois Connor for 'general assistance with costumes and designing and making Mrs. Cheveley's ball gown.'All in Good Condition. The Program is rather fragile.None1961, 66, city of heidelberg repertory group, heidelberg theatre company inc, directed by alice o'donnell

From its beginnings in 1958, the Society has mounted exhibitions and/or displays, in early days in shop window and in community spaces located in the Kew City Hall (later Kew Library), and since 2010 at the Kew Court House. Exhibitions typically coincided with the annual Kew Community Festival in March, but after 2013 evolved into three new exhibitions yearly at the Kew Court House. Smaller displays continue to be mounted in the Kew Library.This photograph confirms that the purple ballgown is/was part of the Coombs family donation of Victorian era costumes made to the Society in 1961. Therefore it is important for establishing the item's provenance. Display of costumes from the collection of the Kew Historical Society, exhibited during the Festival of Kew in 1979. Recognisable items include from left the 1890s purple ball gown, the 1860s white satin wedding dress and the blue two-piece 1880s outfit. All items are clearly from the Coombs donation of 1961, there being no other record of costumes occurring before 1979. Inscribed verso: "Taken during Festival of Kew 1979 / Kew Hist contribution / Exhibition of Family Treasures / Donated by Janet McDermott 1979"kew historical society -- exhibitions, festival of kew -- 1979

Booklet - "Popular Conductress Competition - Gala Ball" - Melbourne Town Hall 31/8/1944 - 8pm to 2am. Gives details of the event, the entrants, Red Cross work for some 23,000 Prisoners of War and their thanks to the Australian Tramway and Motor Omnibus Employees Association. Includes a photo of each entrant and written in ink is the amount raised by each conductress. Programme number 703. Has an advertisement for Black and White cigarettes on the back cover. See 8823 for a photograph of the entrants in their ball gowns.Demonstrates work to support the Red Cross Prisoner of War fund raising.Eight page booklet, printed centre stapled.most popular conductress, sylvia mitchell, tramways, red cross, events, union, atmoea, secv, memorabilia

A newspaper clipping about the 'Gown of the Year' from a book compiled about the Legacy children's residence called Stanhope. The newspaper clipping shows a photo of junior legatee girls on the steps of Stanhope watching Justine Silver model a ball gown. The caption says 'Legacy girls "Ooh" and "Ah" over this ruched gown which could have come straight from the pages of Cinderella. The flowing gown, worn by Justine Silver, is in chiffon.' The note below the picture adds 'Grey tulle (50 yds) over old gold'. The Gown of the Year was annual event modelling the latest ball fashions with the proceeds going to Legacy. Stanhope was supervised by Matron Dorothy (Dorrie) Vines from the time it opened in 1946 until she retired in December 1966. It is likely she compiled this notebook as she is referred to as 'self' in one photo. Individual pages of photos or newspaper clippings have been added separately. Items 01817 to 01834. Stanhope was a residence run by Melbourne Legacy to take care of children whose fathers were deceased servicemen, and who may have been left orphans, or whose mother may have been unable to care for them herself, or they needed to stay in Melbourne for further education. Generally Stanhope looked after girls over 14. The children were cared for until they were old enough to become independent. A record of Stanhope being used as the setting for publicity for the Gown of the Year gala.Newspaper clipping of a girl modelling a gown for girls on the steps of Stanhope in October 1959.stanhope, gala performance

3 A4 pages stapled together. Peter's Eulogy. We have lost a giant from the folklore scene. The huge crowd here today shows how much Peter meant to so many people. He has been my friend and band leader for the past twenty five years. Peter was the glue for our band. He planned the musical program in conjunction with the MCs. He listed all the tunes to be played and where to find them for those who read the dots. Peter was great fun to be around and I'd like to mention just a few things to show that. Peter was always an exuberant player. He would bounce around on his seat. This caused a near disaster at a drought relief benefit we were playing. The band was on a platform but our pianist Olive was at ground level as the piano could not fit. Peter bounced around so much his chair leg slipped and Peter ended up on top of poor Olive. Peter loved to entertain. He would play bones or swanee whistle at the drop of a hat. He would demonstrate the Charleston, can can or bunny hop for groups. For a big man he was very light on his feet. He loved to stand and circle his concertina, a memory I won't forget. I have to confess I have slept with Peter. Twice. The first time was at Port Fairy Folk Festival when the band slept in the nunnery at Koroit. Peter, Dean Swift and I shared a room. Peter's snoring was so bad Dean grabbed a blanket and a pillow and went to sleep in the mini bus. I went into another room but even with two closed doors found it difficult to sleep. As recently as this year's Illawarra Folk Festival Peter was in a tent in the performer's area. I noticed the tents either side quickly became vacant. The next time was in Canberra when Peter and I were at one end of a caravan and Mary Smith was at the other. I don't think poor Mary got much sleep that night. On another occasion in Canberra Peter was Half asleep in his van when another well known female performer (not from the band) came in and stripped off. She realised she was in the wrong van and grabbed her stuff and took off. She returned very red faced the next morning to collect her shoes. Peter maintained he saw nothing. One freezing cold night in Canberra Peter ad I had been at a terrific session in the bar. We had to support each other across the oval towards our caravan. Peter tried to straddle the fence and got stuck. There was a real Canberra frost on the fence and a sensitive part of Peter's anatomy was in grave danger of frost bite. Peter took an eternity to extricate himself. I couldn’t help him as I was laughing so much. We'll never forget making Harry McQueen's bull boar sausages at Nariel. Peter had already organised the meat and intestine casings from the butcher in Corryong. He was such an organiser and the sausages were brilliant. Peter was quirky. He always made a morning cuppa complete with tea cosy. It even left Martin Pearson speechless in the breakfast tent at Illawarra this year. Another example was when he sold his beloved FJ which is parked out the front today. As the new buyer drove off down the road Peter stood there playing 'Now is the hour' and 'wish me luck as you wave me goodbye' on his concertina. Peter loved a joke. He knew Shirley Andrews loathed the tune Danny boy so he played it in her hearing any chance he go. He even gave her a cd with a dozen different performers doing their versions of the song. We once played at the Rifle Brigade Oktoberfest and Peter was just a bit under the weather after being there for two days (the band got free drinks). The late night crowd was getting restless so Peter tried to shut them up by holding his finger up. They got more restless. Peter couldn’t understand it. 'it worked for Grummy Ross,' he wailed. It was the only time we ever over rode him and started playing without him. He wasn’t happy but disaster was averted. The dance club once had a reverse deb ball. Peter shave his beard, got his sister Robyn to make up his face and came to the ball in a lovely gown. It took ages for people to realise who it was.Margaret Hogan said the other night 'Peter let me see and do things I never would have done otherwise.' I think that is true of all of us in the band. We performed in major festivals regularly, travelled widely and had experiences such as playing at the opening of Melbourne Museum or State Parliament. Experience we'd never have had without Peter. I'm glad Peter didn’t suffer. He told me last Monday morning on my last visit he was in no pain. For that I am grateful. He passed away that night. He was taken far too young and has left a huge hole in all our lives. Personally I have lost a great mate, but then we can all say that. We'll miss you Dirty Pierre. John Williams.person, individual, peter ellis oam

The motor vessel "Kanimbla" from Mcllwraith, McEacharn Ltd was brand new in 1936 and was used several times for charity balls. "Kanimbla Ball" (Australasian (Melbourne, Vic. : 1864 - 1946), Saturday 28 November 1936, page 12) Over 1,000 people were present at a very successful ball given on board the m.v. Kanimbla this week, to aid the funds of the Limbless Soldiers' Association and the Victorian Mission to Seamen. The ship was gaily decorated with balloons and international code flags, while vases of mixed flowers gave charm to the supper tables in dining saloon. His Excel- lency the Governor and Lady Huntingfield attended by Lieutenant A. W. P. Robert-son, were present, and were received by the chairman of the ball committee (Major-General Brand) and Mrs. Brand, Admiral Sir Francis and Lady Hyde, Com- mander and Mrs. Smith, the chaplain of the mission (the Rev. F. L. Oliver), Mr. and Mrs. James Kelso, the president of the Limbless Soldiers' Association (Mr. T. S. Gray) and Mrs. Gray, and the honorary secretary of the ball committee (Mr. C. R. Laragby) and Mrs. Laraghy. Lady Huntingfield wore a becoming gown of copper-red crepe, with a faint silver stripe. and was presented with a bouquet of deep red gladioli.Padre Oliver had a friendly relationship with the captain of the Kanimbla.Digital copy of a colour poster advertising for a ball on board the MV Kanimbla.m.v. kanimbla, ball, mission to seamen, 1936, mcilwraith mceacharn ltd, frank leslie oliver, lord huntingfield, limbless soldiers association

The origin of debutante balls was that the woman was old enough to be married, and part of the purpose of her coming out was to display her to eligible bachelors and their families with a view to marriage within a select circle. These balls were popular on the Island and held at the Shire Hall in Thompson Ave.HistoricalBlack and white photo of group of debutantes in white gowns with posies, dance instructor and Mrs Leggatt, wife of local MP Sir William Leggatt. Allan Murray was the photographer.List of names of debutantes, dance instructor, dignitary and photographer. Also notes re problems with photos from the night.Charlotte Cleeland's deb photo 1949. also names as above.photograph, charlotte cleeland, debutantes phillip island, allan murray, john claringbold, val spokes, joan westley, ruth grayden, heather burton, gwen jackson, margery forrest, fay redpath, mrs mcadie, mrs dorothy leggatt, verna gawith, eileen jones, mrs anderson

Ava JAne Hall was the daughter of Thomas Hall and Pheobe Lansell who married in 1896. Pheobe (1874-1899) was the daughter of Wootton Lansell.Bendigo Advertiser ''The way we were'' from 2000. Wooton Lansell's granddaughter, Ava Jane Hall, wears a gown made in 1860 in this photograph taken by Bartlett bros. in the 1920s. The gown was worn to a ball at the Bendigo Town hall in 1920. (Photograph courtesy of the Bendigo Historical Society). The clip is in a folder.newspaper, bendigo advertiser, the way we were

1950. The St Matthew's Church of England, Cheltenham, Cinderella Dance in aid of the Church Tennis Club. The Dance was held in the Cheltenham Mechanics Institute and Temperance Hall. This building was demolished in 1960 to be replaced in the same year by the Cheltenham Hall and Library. Photograph is black and white. There are rows of men and women, either holding hands, or just standing. All the women are in gowns and the men are in suits. Also have flags of various countries hanging from the walls.Top of Mount : The hall is the 'Cheltenham Mechanics Institute and Temperance / Hall" demolished in 1960 to be replaced by the Cheltenham Hall / and Library / in 1960 Base of Mount : St. Matthews Church of England Cheltenham / Cinderella Dance in aid of the Church Tennis Club 1950cinderella dance, st. matthew's church of england, cheltenham, hall, 1950, methodist church, dancing, ball gowns, fashion, market gardeners, early settlers, city of moorabbin, temperance halls, mechanis institutes,

253 p.; 25 cmnon-fictionThere is no other store like David Jones... and there is no other consultant like Sheila Scotter! Known variously as the Kangaroo editor (by Diana Vreeland), the black and white lady from Albert Park, and the Silver Duchess, this is the autobiography, scrapbook-style, of one of Australia's doyennes of style. For Sheila Scotter's seventeenth birthday her parents put on a 'coming out ball' in the United Services Club in Calcutta, where they lived at the time. The teenager wore a pale turquoise silk taffeta ball gown. Sheila no longer remembers what happened to that dress, but she does know that it is responsible for the black-and-white wardrobe that has been her hallmark ever since, with the exception of one occasion and one occasion only. For her seventieth birthday party, close friend John Truscott conned her into wearing red, insisting that the theme for the event was all red. And what did the guests all wear? Black and white! This anecdote lite, stylish, idiosyncratic is typical of the many that make up Sheila Scotter's autobiographical assortment. Most Australian women know Sheila Scotter through her Women's Weekly column 'Sheila Scotter Suggests' which ran between 1975 and 1980 and totalled some 235 instalments. The fact that this column is still vividly remembered 17 years later attests to the sacred place it held in every Australian household. A feminist before the word was invented, Sheila has had a formidable career. Two chapters are devoted to her career in fashion, including her time as the editor-in-chief of Vogue and founding editor of Vogue Living. The art of fundraising is also treated in some depth. In snippets, we hear of her love of cricket (which she once played); we find out how she came to live in Australia in the first place and why she has made Melbourne her home. Not surprisingly, the book reflects the personal contradictoriness of its author/subject on the one hand an aristocrat, on the other a rogue who does not respect rank; blithely mixing innate feminism with blatant coquettishness; outrageous yet scrupulously stylish; in the know yet discrete; courting notoriety while at the same time needing solitude a Like all celebrity autobiographers Sheila reserves her right to privacy while basking in the limelight. But she has used this book to set the record straight on a number of issues, including why she left Vogue, her many romantic involvements, her much-publicised spat with socialite Lillian Frank, and what was wrong with David Jones, to whom she consulted during 1994-95. The book contains the expected wining, dining and partying, as well as the inside story on some recent scandals. Sheila Scotter is glamorous and alluring, a forthright mover and shaker who inspires fear in some, awe and respect in others, and admiration and loyalty in most. No matter what you think of her, you simply cannot ignore her. Friends and enemies alike are awaiting this book with bated breath for one reason: when Sheila Scotter speaks, people listen. Contents Foreword (by Ruth Cracknell, a personal friend) Before I Begin a (explaining the rationale for the book) 1 Thursday's Child (birthdays) 2 Christmases to Remember 3 In Fashion (career in fashion) 4 A Matter of Style (Vogue Living and its influence) 5 Marriage and Other Liaisons 6 A Mixed Salad of Letters (letters, personal and business, from prominent people) 7 Fundraising: Are Committees Really Necessary? 8 Loved Ones Departed (or Why I Envy the Angels) 9 Disappointments and Other Disasters (scandals and inside stories) 10 London, Paris, Sydney, Melbourne (the places she has lived) 11 Not the Last Instalment (a look ahead) Postscript (a tribute to some special men read between the lines) Source: Publishersheila scotter, fashion