Various partiesReference, Research, InformationKHS OrderWorking Brief (Jan 1996) and Interim Report of and to the City of Boroondara Memorabilia Working Group on which the representatives of Kew were Jill O’Brien and Dorothy Benyei. The Brief described the items under consideration to include: “historic artefacts, photographic material, books, works on paper, textiles and a number of outdoor items”. The response in the Interim Report September 11, 1996 noted that in contrast to the submission by the Kew representatives for Kew-related material to be relocated to the Kew Library, the Society had been given a scarf, a ceremonial cover, and a cup and saucer. The items that the Kew representatives wanted returned to Kew included five paintings and a photograph. These are itemised in the report.city of boroondara - collections, kew historical society - collections, city of kew - collectionscity of boroondara - collections, kew historical society - collections, city of kew - collections

The Emerald Avenue of Honour Was officially opened on ANZAC Day, 1921. The ribbon used in the ceremony was cut by Mrs Mahony, wife of Cr J. Mahony. This Avenue of Honour was later removed to facilitate the widening of the road, the trees were much later replaced. The original metal plaques are now housed at the Emerald RSL.the object is historically and socially significant as it is the only known remnant of the ribbon used in the opening ceremony of the Avenue of Honour in Emerald.Remnant of the ribbon which was used in opening the Emerald Avenue of Honour - Several sections of purple ribbon mounted on a piece of heavy cardboard, ribbon appears to originally glued to the board a repair has been made with whaat appears to be “invisible”tape.Remnant of Ribbon Shown in Photograph shwon on left 1921 ANZAC Dayavenue of honour, emerald, anzac

A christening gown made of worsted cotton from the early 20th century is a distinctive artifact that reflects both the textile practices and ceremonial traditions of the time. Unlike the more commonly used fine cottons or silks, worsted cotton—known for its smooth, tightly spun yarn—would have given the gown a slightly firmer texture and greater durability while still maintaining a refined appearance. This choice of fabric suggests a practical yet elegant approach, possibly indicating a middle-class family valuing both quality and longevity in ceremonial garments. The gown likely featured traditional design elements such as a long, flowing silhouette, delicate lace or embroidery, and possibly hand-finished seams or pintucks. These garments were often handmade and passed down through generations, serving as cherished heirlooms. The use of worsted cotton may also reflect regional textile availability or a preference for sturdier materials that could withstand repeated use and laundering. Historically, such a gown embodies the intersection of faith, family heritage, and domestic craftsmanship, offering insight into early 20th-century social customs and material culture. This early 20th-century christening gown, crafted from worsted cotton, is a rare and valuable example of ceremonial infant clothing that reflects both the social customs and textile practices of its time. The use of worsted cotton—a durable, finely spun fabric more commonly associated with suiting or outerwear—distinguishes the gown from the more typical fine cotton or silk examples, suggesting a unique blend of practicality and refinement. Its construction likely involved skilled handwork, including lace, embroidery, or pintucks, indicative of domestic craftsmanship and the importance placed on family rites of passage. As a garment used in baptism, a significant religious and cultural event, the gown embodies themes of purity, tradition, and familial continuity. Its preservation offers insight into early 20th-century material culture, class sensibilities, and the evolving role of textile choices in everyday and ceremonial life.Worsted cotton christening gown from the early 20th century.christening gown, 20th century, worsted cotton