Fine white cotton, round neck with three embroidered cotton panels inserted in bodice. Gown front is one piece of fabric from shoulder to hem, with a panel sewn across the front (12cm X 3 cm) giving the appearance of a bodice and skirt. This panel extends into long ties which tie at the back. Long sleeves are edged with lace and braid. This braid also edges the bodice panels, and fine lace edges the neckline. Narrow pleats between the lace bodice panels, give fullness to the bodice.Written in ink on inside of bodice panel - A. Geuer. (Merle's Grandmother)costume, children's, baby's white cotton nightgown

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 silk and lace bodice.victorian fashion, netta fuller, bodices

Alice Frances (Henty) Hindson's grey silk bodice is believed to be part of her 'going-away' outfit after her wedding to John Hindson on 15 April 1875. The bodice must have been a family favourite as it was used and amended over the years. Alice was the youngest daughter of Francis Henty and Mary Ann (Lawrence) Henty. Alice's father, 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.The yoke is a bustier bodice, made of silk and silk organza with an insert of hand-tatted lace. The bodice is carefully boned and has a little padding in the bust line. It includes the name of the maker of the bodice as ‘Madame Jay, Brighton, 38 London Road’. The silk organza sleeves have hand shirring, trim, and frilled cuffs. The bodice is finished with a large, frilled bow at the back. Believed by the Henty family to be part of the ‘going away’ outfit worn by Alice Henty in 1875. Measurements (mm): BODICE: Girth - Neck 304.8, Chest 762, Waist 571.5, Cuff 127 Vertical - From neck to hem 381, Front waist to hem 152.4, Back neck to hem 419.1, Back waist to hem 228.6, Sleeve length 254. Horizontal - Neck to sleeve head 165.1, Cross back 457.2, Underarm to underarm 431.8.Mme Jay, Brighton Road, London [dressmaker]bodices, women's clothing, alice (henty) hindson, alice francés henty

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.Late Victorian highly remodelled black silk bodice with pleated silk to neck. The bodice has distinctive sleeves in two sections, the lower part constructed of black lace. The bodice has an original arm pad with makers name in it.fashion -- melbourne -- 1880s, bodices, women's clothing, netta fuller

Historically the bodice is representative of a style from the early 1900s.As a hand sewn item it is significant to demonstrate the craftsmanship and textiles used in that time period.Deep pink bodice with velvet and lace at collar. Velvet ribbon and lace border on bodice edge next to sleeves, the edging goes from the front of the bodice and over to the back. Seven white mother-of-pearl buttons down the front and pintucks across the top back of the bodice. The sleeve cuffs have a lace border and are closed using hooks and eyes. The bodice is lined, with the lining visibly stitched to the back of the bodice at waist level. The bottom of the bodice is designed as a peplum.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bodice, ladies bodice, hand sewn, edwardian

Worn by patients at Sunbury AsylumPetticoat - skirt: light grey flannel (unbleached?) with blue stripe, pleated into bodice of unbleached calico.Bodice is sleeveless and fastens at back with three metal buttons."F5" "40in bust" written on bodice front in black ink.costume, sunbury asylum, george evans collection

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 silk bodice with leg-of-mutton sleeves. Date: ca. 1890s.australian fashion -- 1890s, bodices, dresses, netta fuller

This bodice, belonging to Alice (Henty) Hindson has traditionally been identified as a travelling jacket by her descendants. Alice Hindson was the youngest daughter of Francis Henty and Mary Ann (Lawrence) Henty. Alice's father, 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.Alice (Henty) Hindson's midnight blue sateen bodice is highlighted using velvet lapels, cuffs, and a rear bow. The velvet, in contrast to the plain midnight blue sateen, is embellished [in the weave] with pink and navy spots. Joined at the front with 23 round domed buttons, hooks and eyes are used to close the neckline. The bodice also features coffee-coloured lace at the front and on the cuffs, which may have been added later. The bodice has some condition issues, missing one cuff and the lace on the cuffs needing re-attaching. The inside of the bodice is heavily boned, complete with a floral chintz lining. Measurements (mm): BODICE: Girth - Neck 355.6, Chest 812.8, Waist 660.4, Hip 685.8, Cuff 228.6 Vertical - From neck to hem 406.4, Front waist to hem 152.4, Back neck to hem 546.1, Back waist to hem 228.6, Sleeve length 533.4. Horizontal - Neck to sleeve head 114.3, Cross back 266.7, Underarm to underarm 368.3.alice hindson, alice henty, bodices, women's clothing, alice (henty) hindson

This dress belonged to Louris White, nee Larsen-Disney, whose wedding dress from 1948 is also in the collection. Louris and her husband lived at 49 South Road, Brighton, just a few doors down from her family.Strapless pink organza cocktail-length dress. Finely pleated bodice and skirt laid on to a heavy vilene. Decorated around the waist with pink organza flowers and two bands of pink satin, one around the bodice and the other around the lower part of the skirt.Label: printed black on cream acetate side front bodice: "Original / Margeaux / REGD. / of Melbourne / IMPORTED FABRIC"evening dress, 1950s fashion, louris holly white, brighton, margeaux of melbourne, joseph haskin

Bodice of wedding dress worn by Elizabeth Jane ('Lil') at her wedding to Stephen Robinson Turner at Christ Church Kilmore in 1885.Clothing related to early Kilmore families.Red velvet bodice.wedding dress, hartnell, turner collection

Unknown provenance.Coffee-coloured cotton and chiffon evening gown. Net yoke with vertical pintucks and high neck. Pintucked bodice. Trim of meadering cream cord bordered on either side, around yoke, waist, shoulders, cuffs and down centre of skirt. Printed on interior of bodice: "Professional & Civil Service Supply Association / 80 George Street Edinburgh".Printed on interior of bodice: "Professional & Civil Service Supply Association / 80 George Street Edinburgh".1900s

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 silk velvet, long-sleeved, waisted padded winter bodice with black lace and beading at cuffs and at basque. women's clothing, bodices, fashion - melbourne - 1880s, netta fuller

Royal blue rayon knee length dress made of rayon fabric. Bodice is sleeveless with three shoe string straps on each side. Straps have a decorative knot at shoulder joining the three straps. The neckline is an inverted U shape across the front. The bodice is lined with the royal blue rayon fabric. The front of the bodice has two pleated panels running diagonally from the top with the right side overlapping diagonally. The skirt is an A line shape attached to the bodice with two pleats on either side of the front and back. The skirt is lined with brown paper stiffening fabric. A 9cm horizontal band with three pleats is attached above the waist line. On each pleat is a row of decorative buttons (6, 5, 6) made of strings of clear glass beads coiled into a spiral shape. The central back opening has a 36cm zipper.Tag sown inside back of bodice on RHS - Styled by Jeffrey of Melbourne All Rayoncostume, female daywear, dress

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.Late Victorian black cotton bodice with narrow sleeves. The creator of the bodice has made extensive use of beading at the front and on the sleeves. The bodice is unusual in that it includes an overlay at the front of black sequined tulle over a cream silk insert. The bodice has a black velvet waistband. The edging of the bodice includes pin tucking. Two long 'swallow tails' of lace (sic) hang from the neck of the bodice at the front. The bodice was owned by one of the donor's maternal ancestors.australian fashion, women's clothing, bodices, lace, victorian fashion, micky ashton

Two piece ivory satin evening dress. Bodice (.1) is decorated with central panel of finely pleated chiffon and embellished with ready-made strips of beading and artificial pearls. Short puffed sleeves. Russet coloured velvet band applied to waist of bodice and finished with a metal rosette. Plain gored satin skirt (.2) with cream velvet binding around hem. Label, printed grey on cream cotton, centre back bodice waist: Bussell, Robson & Bussell / MELBOURNE.evening dress, bussell robson & bussell, 1890s

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.Long black silk sleeveless bodice with a wide band of lace on the edging and at sleeves. Silk bow at rear. It has been provisionally dated to the 1880s-90s.women's clothing, bodices, fashion -- melbourne -- 1880s, netta fuller

This nightgown was owned by Kallista woman, Beryl Collett (1925-2018) who was a skilled lacemaker from her youth. It first belonged to her mother (Hettie Collett nee Thorn) who was a very talented milliner and from whom Beryl learnt handicraft skills as a young person. The nightgown is part of a large and varied range of objects relating to Beryl which has been donated to the Museum. The Dandenongs have been the chosen home of many creative people who, like Beryl, have found inspiration in the natural beauty of the area. Much of Beryl's own handiwork was created by her following her retirement from her accountancy job in 1980 and so epitomises the potential of the retirement phase of people's lives.This nightgown is a lovely example of women's sleepwear in the early 20th century.Long, white cotton nightgown. Empire line with round neckline, lace inserts in bodice and 4 concealed buttons at bodice. Buttons have been covered with white fabric. Three-quarter length sleeves with lace cuffs. Made with a sewing machine.Inside bodice opening, hand-written: 'H. Collett' which has had a line struck through it. Underneath that first inscription is hand-written 'Thorn' beryl collett, clothing, 1900s

This lady’s silk bodice is an example of the dressmaking skills of the women of the pioneer settlers families, in Moorabbin Shire c1900Early settlers and market gardeners established their families in Moorabbin Shire and this item shows the skill and craftsmanship of the women of these families. The Blackburn family were early settlers in Moorabbin Shire A lady’s silk bodice with pin-tucking and drawer-string waistclothing, brighton, moorabbin, dressmaking, market gardeners, early settlers, blackburn nance, craftwork

In 1880 Melbourne hosted its first major international exhibition the "Melbourne International Exhibition". In 1888 Melbourne hosted its second major international exhibition the "Melbourne International Centennial Exhibition".Two-piece evening dress comprising separate bodice and skirt made of gold-coloured silk damask woven with large curvilinear design in cream. Cream tulle trim around neck embellished with beads and artificial pearls. Similar trim down centre front and around lower edge of bodice. Short puffed sleeves Neckline trimed with wide gold satin riboon and bows. Bodice is boned and fastens centre back with hooks and eyes. Gored skirt pleated into waist. .1 - bodice . 2 - skirtLabel, woven blue on cream, centre back bodice: QUOD FACIMUS VALDE FACIMUS, George & George Ltd / Federal Emporium / Melbourne, International Exhibition Melbourne, Costumes and Mantlesgeorge and george, evening dress, georges of collins street, 1888

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.Ornamental cream crocheted bodice of ribbing, flowers and leaves.edith mary weir (nee betteridge), illapa -- 84 princess street -- kew (vic.), women's clothing, weir collection, bodices

Worn at the Sunbury AsylumInmate's dress in off-white canvas (?) with a red stripe. Round neckline reinforced at front. Bodice and skirt pleated into waistband. Back opening from neck to thigh with three pairs of eyelets, sealed with brass rings. Skirt hem hand sewn inside out.Handwritten in black ink on bodice back "canvas dress" and F7 (partly destroyed by lacing eyelet)costume, sunbury asylum, george evans collection

Bodice from donor's mother. Her parents lived in Camberwell and then Box Hill from 1950's.Long sleeved, cream square necked, cotton blouse with a lace insert. Sheer, geogette sleeves gathered in at cuff and with a frill over hand, the bodice is gathered at the bottom. A sheer geogette tie at the waist is anchored at each side of bodice and has tasseled ends on the corners.cotton, blouse, georgette, long sleeved

Wedding dress bodice of Mary Rebecca Poulter ( 1879- )who married Hector (George?) Chapman (1871-1932) in 1901 at Christ Church, Kilmore.Clothing related to early Kilmore families.Deep blue bodice, tucks entire length of bodice. Bodice boned below bust to narrow waist, sleeves flaring at cuffs. Cotton lining, remnants of a lacy fabric at neckline. High collar, side fastening, dark blue braid trim at cuffs, collar & front. Hand sewn throughout. Front fastenings - metal hooks & eyes. Very fragile & poor condition. Not repairablepoulter, chapman, wedding dress

1870s women's fashion placed an emphasis on the back of the skirt, with long trains and fabric draped up into bustles with an abundance of flounces and ruching. The waist was lower in the 1870s than the 1860s, with an elongated and tight bodice and a flat fronted skirt. Beige coloured silk top with narrow mauve stripes. The top has a piped mandarin collar. The top has satin trimming. women's clothing, fashion - melbourne - 1870s, bodices

Bodice of a blue linen dress made by Elfriede Girschik for her daughter, Helga, in Camp 3. c1942 (early). The singer sewing machine it was made on came with her into the Camps.Blue linen bodice which has been part of a dress. The bodice has sleeves gathered at the top and slots for elastic (not there) at the lower edge. 6 handmade buttonholes down the opening at the back with 6 small buttons. Hand embroidery on the front, 2 ladybirds, sprays of yellow, blue, pink and orange flowers. The bodice has been separated from the bottom of the dress and hemmed up to make into a top.bodice, embroidery, camp 3, tatura, ww2 camp 3, internment camp handwork, helga griffin, helga girschik

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in a mansion, originally named Illapa, at 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937), his wife Edith Mary Weir (1867-1948) and their children. George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.This garment is part of a collection of women’s clothing, owned and worn by Edith Mary Weir (nee Betteridge) - born in Clare, South Australia 1867, died Kew 1948 - and also by her daughter. The garments date from the 1880s to the 1930s. The collection includes day dresses, evening dresses, evening coats, capes, and undergarments. As the wife and daughter of a mine manager, the collection includes representative examples of clothing worn by upper middle class Australian women in domestic circumstances, and at social and civic events. A number of the costumes from the 1920s to the 1930s are of a particularly fine quality, being both rare, representative and intact examples of Australian fashion of the period. The garments in the Weir Collection were donated to the Kew Historical Society by a granddaughter of Edith Weir in 2017.Azure blue late Victorian silk bodice with an insert of ruched cream silk organza at the front. The bodice shows signs of alteration over time, and there are additional pieces of fabric that may once have formed part of a larger outfit. The silk of the bodice is extensively pleated while the sleeves are in the horseshoe style. edith mary weir (nee betteridge), illapa -- 84 princess street -- kew (vic.), women's clothing, weir collection, dresses, bodices, fashion -- 1910s

Social A wedding skirt and bodice in blue satin and blue velvet with gold stripes. The bodice is of blue satin with velvet collar and cuffs. There are 19 pearl buttons at centre front affixed by hooks sewn inside to the backs of the buttons. The buttons commence at 7.5 cm from the top of the collar, the first button of 1cm smaller than the rest of 1.2 cm and buttons are spaced at .8cm apart. The bodice is styled to fit into the waist with a flare over the hips. At the rear there is an opening at centre waist and there is a 15cm x14cm pleated panel inserted with capacity to flare open to 48cm. The bodice is calico lined with extra lining at the underarms. The skirt is made in three layers. The base layer is of brown satin/cotton hemmed in 12 cm blue satin on the outside and blue cotton on the inside. The second layer has a 40 cm pleated base in blue satin with pleats folded to 5cm. This is sewn onto a brown satin/cotton lining reaching to the waist. The outside layer has a velvet panel at front sewn to a 3 cm dark blue satin waist band. The rear of the skirt is gathered into a 6 cm dark blue satin waist band. The pleated satin layer is visible 3 cm below the front velvet panel and the front layer has side openings to 40 cm allowing the pleated layer to show. A 31 cm opening on the RHS of the skirt is affixed with hooks and eyes.In Ink on calico attached label inside bodice "Chris Mackenzie" and calico label in ink on inside of skirt "Mackenzie Christine "clothing, wedding dress, late 19th century

Vogue sewing pattern - Ladies skirt and bodice (1 piece) and jacketPaper dress making pattern and envelope Vogue Dress making pattern No. 8002 -Lady suit and bodice 32" Bust Size 14 The First Learn-as-you-sew BookBoguedress making in the home

This ankle length black dress with pleated skirt , buttoned bodice, self belt and long sleeves is an example of the dressmaking skills of the women of the families of the pioneer settlers and market gardeners of the Moorabbin Shire c1910The Blackburn family were early settlers in Moorabbin Shire. The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of many items that exhibit the skill and craftsmanship of the women in these familiesA lady’s ankle length, black dress with a pleated skirt, buttoned bodice, a self belt and long sleevesclothing, brighton, moorabbin, pioneers, dressmaking, dendy henry, market gardeners, craft work, blackburn nance

Probably 1890's to early 1900's. The Dress and Mantle Makers departments was part of F. Davey and Co. and the department was run by Miss Middleton, formerly of the Beehive. F Davey and Co. sold their View Point premises in Oct 1904.Bodice (Wedding dress), hand and machine stitched. Silk lined with polished cotton. Slim ruched sleeves - ruched at inner and elbow side of sleeve (hand sewn). Elbow edge of ruching forms two ''frilled pleats'' down the sleeve to the wrist. Wrist edge lily pointed and finished with a 9 cm underfill of cotton lace. Top of sleeves have a leg-o-mutton balloon effect panel sewn at the shoulder and the upper arm. This balloon effect hangs down over the sleeves almost to the elbow. Top of sleeve has an embroidered lace frill hanging over armhole. Two silk bows are placed at the shoulders. Stand-up collar,5 cm deep is finished on each side with a pearl and glass beaded bow motif- 6cm in diameter. Hook and eye fasteners down front-metal loops covered with button hole stitch. Bodice boned with thirteen (13) ''bones''. Each pocket finished with a fan pattern stitching. Linen panel, with a diamond shaped weave stitched at each underarm. Front bodice is pleated from shoulders to centre front. Right front laps across left to fasten with a hook on the left shoulder. This panel is heavily beaded with glass beads and sequins. Over panel from right shoulder fastens with hook and eye at left hip line,with the pleated panel circling the waist.Matching skirt 11400.315.F.Davey & Co, Dress & Mantle Makers, View point, Sandhurst Label stitched at inside waistline of bodice.costume, female, wedding dress bodice