The City of Brighton Mayoral robe features embroidered Coat of Arms on the sleeves, which were granted in 1970 by the British College of Heraldry. It includes two figures, the market gardener heralding back to Brighton’s early history in farming, and an aboriginal man, symbolising the original inhabitants of the area, the Bunurong people of the Kulin Nation. This robe was worn by the City of Brighton Mayor until Brighton’s amalgamation into City of Bayside in 1993.Full length mayoral robe with centre opening. Red wool with light brown fur edging on centre front opening and cuffs. The cuffs are also trimmed with wide bands of black velvet and each shoulder has an embroidered polychromatic roundel featuring the Brighton Coat of Arms. The bottom edge of the robe also has black velvet trim. city of brighton, mayoral robe, robe, ceremonial wear, coat of arms, r.w. bredin & son, ede and ravenscroft, bayside, mayoral regalia

Full length black robe with centre opening. Constructed from black polyester cotton fabric with black velvet edging and reverse. Black braid with silk tassels attached to sleeves and at back of robe.city of brighton, robe, ceremonial wear, r.w. bredin & son, town clerk, town clerk's robe

Full length black robe with centre opening. Constructed from black silk grosgrain with black velvet edging and reverse. Stitching visible where patches and tassels have been removed from the sleeves and at back of robe.city of brighton, robe, ceremonial wear, town clerk, town clerk's robe, ede and ravenscroft, brighton, mayoral regalia

Plain black knee length ceremonial robe, centre front opening with buttons and tucking/pleating on sleeves. Pleats on three quarter length sleeves; pleats kept in place by 3 sets of vertical ribbons (10cm in length) with a metal press button at each end. Pleated/gathered around back neckline.robe, ceremonial wear, town clerk, town clerk's robe, bayside, city of bayside, sandringham, brighton

Plain black three-quarter length ceremonial robe, centre front opening, pleated/gathered around collar. Pleats on three quarter length sleeves; pleats kept in place by 3 sets of vertical ribbons (10cm in length) with a plastic button at each end.robe, ceremonial wear, town clerk, town clerk's robe, bayside, city of bayside, sandringham, brighton, david lack

Knee length black mayoral ceremonial robe with centre front opening. Black wool with dark brown faux fur edging on centre front opening and cuffs. Blue silk lining in sleeves. Gathered/puckered at back and fur collar connected to back with black plastic button and loop.city of brighton, mayoral robe, robe, ceremonial wear, r.w. bredin & son, raymond w. bredin, brighton, mayor, bayside, mayoral regalia

Full length black mayoral ceremonial robe with centre front opening. Black wool with dark brown ermine fur edging on centre front opening and cuffs. Dark blue silk lining in sleeves. Gathered/puckered at back and fur collar connected to back with black plastic button and loop.city of brighton, mayoral robe, robe, ceremonial wear, r.w. bredin & son, raymond w. bredin, brighton, mayor, bayside, mayoral regalia

Full length black mayoral ceremonial robe with centre front opening. Silk grosgrain with dark brown ermine fur edging on centre front opening and cuffs. Cream silk lining in sleeves. The cuffs are also trimmed with cream coloured machine made net and lace. Gathered/puckered detail at back. Black ribbons attached to shoulders.mayoral robe, robe, ceremonial wear, mayor, bayside, brighton, sandringham, mayoral regalia

Full length black mayoral ceremonial robe with centre front opening. Dark brown ermine fur edging on centre front opening and cuffs. Decorative piping edging and white satin lining in sleeves. Gathered/puckered detail at back. mayoral robe, robe, ceremonial wear, mayor, bayside, brighton, sandringham, j. ravensdale, mayoral regalia

Full length black wool mayoral ceremonial robe with centre front opening. Dark brown fur edging on centre front opening and cuffs. Blue acetate satin lining in sleeves. Gathered/puckered detail at back. mayoral robe, robe, ceremonial wear, mayor, bayside, brighton, sandringham, r.w. bredin & son, bredlin, mayoral regalia

This chain was part of the official regalia worn by the Mayor of the City of Brighton before the amalgamation into Bayside City Council in 1994. The chain was seen as an outward sign of power, authority, and responsibility and was a formal, full-dress type of regalia that was worn by the mayor over their robes at ceremonial functions. The large central drop medallion featured the design of the council seal and the links of the chains detail the name and date of each appointed Mayor. This council seal features the Brighton coastline with a pier extending to the water, a sail boat in the distance and a train on the right of the pier. It was displayed by Council on its flag and letterhead and in municipal buildings and can still be seen on the portico of Brighton Town Hall. The seal was used from 1919, when Brighton was declared a city, until 1970, when an official crest was issued by the British College of Heraldry. Brighton was first incorporated as a borough on 18 January 1859, it became a town on 18 March 1887 and was proclaimed a city on 12 March 1919.9 carat yellow gold and enamel mayoral chain for the City of Brighton. Consists of 61 small oval links, with a scroll listing significant dates in Brighton's history as a centrepiece and a large 'drop' medallion of the City of Brighton seal below. Each oval link has a central plaque inscribed with a mayor's name and dates of their office surrounded by a thin coiled edge and a thick decorative border. The earliest Mayor is W.P. Francis 1918-19 and the latest is K.D. Oliver 1994-95. The links are joined by cable chain and form a long circular chain with two crosspieces of additional links at the back, the upper crosspiece contains four links, while the lower piece contains three links. The chain has a large oval medallion/pendant of the City of Brighton seal which is surrounded by a thin coiled gold edge, a border containing raised lettering 'CITY OF BRIGHTON' above and a Coat of Arms below. This is also surrounded by a coiled edge. The oval piece is then wrapped around with a thick laurel wreath with small berries. The central part of the medallion contains a coloured enamel image of the Brighton coastline with sand in the foreground, a pier extending out into the water, a sailboat in the distance and a train on the right of the pier. The small Royal Coat of Arms of the United Kingdom below includes a coloured enamel shield flanked by a lion and unicorn with a motto inscribed on a ribbon underneath 'DIEU ET MON DROIT'.mayoral chain, city of brighton, lega, ceremonial wear, seal, medallion, mayor, coat of arms, crest, bayside, mayoral regalia

This chain was part of the official regalia worn by the Mayor of the City of Sandringham before the amalgamation into Bayside City Council in 1994. The chain was seen as an outward sign of power, authority, and responsibility and was a formal, full-dress type of regalia that was worn by the mayor over their robes at ceremonial functions. The large central drop medallion features the design of the council sea, and the links of the chains are made of cutwork initials of each Mayor. The Sandringham seal was designed by Sans and McDougal had been selected in 1917, by a special committee and its main features are the Sandringham pier and breakwater, with a yacht in full sail as an inset, supported by two dolphins. The motto reads 'Omni Opere' which translates to ‘With all earnestness.’9 carat yellow gold mayoral chain for the City of Sandringham. Consists of two concentric circles of 57 small oval links, with an Australian Coat of Arms as a centrepiece and a large 'drop' medallion of the City of Sandringham seal below. Each oval link is made up of the cutwork initials of a mayor, the surrounding oval border has an inscription above the initials which gives the mayor's name; an inscription below gives dates of office; the earliest is Cr. B.J. Ferdinando 1917-18, and latest is Cr. S.T. Russell 1993-94. The ovals are surrounded by decorative scrolls and are joined by small curb chains. The outer circle contains 31 links, while the inner contains 26. On both shoulders sit decorative bars, joining the front of the chain to the back. The main medallion has an oval central panel that features the coloured Sandringham seal in enamel depicting two sailboats in the water, a pier protruding from the left, a coastline on the right with two pine trees. Above the scene are decorative triangles in light blue and yellow, above which is another section in dark blue containing a third sailboat. The seal is flanked by two engraved dolphins and above it sits an engraved St Edward's gold crown filled with red enamel. Below the seal, there is a ribbon containing the Latin motto 'OMNI OPERE' which is engraved and filled in dark blue enamel. The pendant is surrounded by cutwork lettering reading 'CITY OF SANDRINGHAM / 1919' and leaf decorations. The medallion is inscribed on the reverse with important dates in Sandringham's history. A fleur-de-lys joins the medallion to the Australian Coat of Arms centrepiece above. The Coat of Arms features a shield, depicting symbols of Australia's six states, in enamel, flanked by an engraved kangaroo on the left and emu on the right. Below it sits a ribbon engraved 'ADVANCE AUSTRALIA'.mayoral chain, ceremonial wear, seal, medallion, mayor, coat of arms, crest, bayside, blashki & sons, city of sandringham, sandringham, omni opere, blashki, mayoral regalia, motto, st edward's crown, sans and mcdougall

Triangular shaped black velvet ceremonial headwear with black ostrich feathers attached from each corner/point to centre. Gold coloured brocade and decorative button on the left-hand side, atop black pleated fabric. Satin-like lining, adjustable drawstring, with hard head support under the material.tricorne, hat, mayor, ceremonial wear, city of brighton, bayside, headwear, ostrich feathers, r.w. bredin & son, mayoral regalia

This pair of embroidered badges were worn on the sleeves of the red City of Brighton mayoral robes until Coat of Arms were granted in 1970 by the British College of Heraldry. Brighton was first incorporated as a borough on 18 January 1859, it became a town on 18 March 1887 and was proclaimed a city on 12 March 1919.Two oval shaped City of Brighton mayoral robe badges, embroidered and mounted on red felt. The badges have a black border with CITY OF BRIGHTON embroidered on the top and the British Coat of Arms on the bottom. The centre image depicts the City of Brighton seal of the Brighton coastline with a pier extending to the water, sail boats in the distance, a train on the right of the pier, and buildings on the left and right sides. coat of arms, mayoral robe badges, badge, mayoral robe, city of brighton, ceremonial wear, mayoral regalia, bayside, crest, british coat of arms, brighton, seal

British Army Red with Blue stripe double buckle Stable Belt with metal length adjuster. Ceremonial Military wear.No Markings Insciptions.

In the early 19th century, infant baptismal gowns worn by male and female infants began to be modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.A mid-nineteenth century christening (baptismal) gown, constructed of sturdy white cotton featuring a long skirt, high neck and long sleeves. The gown is constructed by hand, and there is evidence of home-finished needlework, The bodice is loosely pleated with gathering at the high waist, A later cotton tie was attached at the centre waist and commercial lace added to the neckline and cuffs.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.Long, fine white cotton christening gown. The short bodice includes a v-shaped lace insert bordered by a scalloped collar. Lace is also used on the neckline, short sleeves, and hem. The lace on the sleeves is attached in rows of overlapping fabric. The fabric below the high waistline is gathered to produce a full long skirt.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.Long, white cotton christening gown, ornamented with a v-shaped panel of lace on the bodice. Lace is also used on the upper part of the short sleeves and on the neckline. The fabric of the skirt is gathered below the waist.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.A white cotton and lace christening gown. The primary decorative elements of the gown are at the front which includes multiple layers of lace on net that extend from the neck to the hemline, which are then bordered with ruffles of the same lace. The bodice has a high neck, bordered with lace, and two short sleeves.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.Long, white muslin christening gown. The gown features lace on the front of the bodice, neck, and on the short, puffed sleeves. The skirt at the front has pleating separated with inserts of lace and horizontal hanging scalloped bands of lace christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.Simple fine, white cotton petticoat used underneath an outer christening gown. The petticoat uses the same silhouette as the gown. The sleeveless bodice is held up by shoestring straps at the shoulder. Gathered fabric at the waist creates volume as an undergarment. Six bands of decorative horizontal pleating are used in the lowest section of the skirt as well as a scalloped hem.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.Long, white cotton christening gown. Handmade featuring lace on the layered short sleeves, as well as at the neckline. The gown has a tie above the waist. The bodice is designed to form a number of horizontal and vertical panels, most prominently including tapered pleating at the front. The fabric comprising the skirt is gathered at the waist, allowing the full skirt to flare towards the hem. The lower part of the dress features a scalloped double hemline above which are four bands of folded fabric.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.Long, white cotton christening gown featuring an elaborate hand-worked bodice. The bodice has diagonal bands of lace as well as sections of fabric that imitate the effect of a bolero. These, as well as the sleeves are also hand embroidered and bordered with tatted lace. The fabric is finely gathered below the waist. The lower part of the gown includes inserted bands of different kinds of lace. The longer sleeves might indicate that the gown was made for an older infant. christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.Very long, white cotton christening gown. The bodice is distinguished by an intricate panel of handmade lace that forms a semi-circle at the neck. On either side of the lace insert are folded lapels, each bordered with lace. The short sleeves are constructed of two overlapping pieces of fabric. Below the waist the fabric is pleated to allow for the large amount of fabric in the skirt to flare outwards. The extraordinary detail within the gown is extended to the lower section of the skirt where the maker has created five pleated bands, each comprising four layers. The hem also features a band of lace. christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.Long, white cotton christening gown. The bodice includes a number of pieces of lace, most notably a panel of broderie anglais at the centre of the bodice. Bands of lace are also used at the neck and on the sleeves. The skirt is gathered below the waist allowing the fabric to form folds.The lower section of the skirt five pleated bands and a hem also created from broderie anglais.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.A long, white cotton christening gown designed and made using a number of decorative elements. These include an embroidered lace v-shaped insert at the front of the bodice that extends below the waist. Bands and layers of lace are also used at the neck and on the double-panelled sleeves. A broad band of lace has been used to form the waist, below which the fabric of the skirt is very finely gathered. The front of the skirt includes thirty-two horizontal pleated bands. christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.A handmade, sturdy white cotton christening gown. The bodice is made from a number of separate pieces of fabric. At the front there is a flat, pleated panel that extends well below the waist. The longer half-length sleeves are attached to the neckline rather than from a shoulder. Each sleeve is bordered with crocheted lace. Crocheting is also used as a decorative element on the front of the tie. The skirt is simply hemmed. christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.A sturdy white cotton christening gown that confirms to a number of conventional design rules. These include pleating on the bodice and at the front of the skirt. The width of the pleats below the waist would indicate a later rather than earlier manufacture. Lace is used in a vertical band at centre front, on the neck and at the waist. christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.The christening gown of Dione McIntyre, local architect and life member of the Kew Historical Society. The colour and fabrics used in the gown were recycled from Ilma Diamond's [her mother's sister] wedding dress, when she was christened in 1931. As the smallest of the christening gowns in the collection, this would indicate that she was baptised at a very early age. The fragile baptismal gown is made from a silk slip, above which is an outer layer of embroidered net separated by bands of chiffon. The lace at the hem is also scalloped.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life, mcintyre collection, dione mcintyre

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.Long, white cotton christening gown. The high necked, short sleeved bodice has a number of decorative elements. These include two panels of fabric, the lower of which includes pleating, and inserts of lace that extend beyond the waist. Ties extend from the front to the back of the bodice. Lace is also used on the neckline and on the edge of the folded sleeves. The skirt is pleated at the front extending to the hem.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life