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 coat dress is one of a number of items donated to the Fashion Collection by Dione McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Three quarter length hot pink Thai silk coat dress. The pattern of the fabric includes and abstract floral design encased in borders of flowersLabel: Dominexdominex, women's clothing, australian fashion - 1960s, coat dresses, mcintyre collection

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.Full length long sleeved dark green silk velvet evening coat buttoned to three quarter length at the front with buttons of the same colour and fabricwomen's clothing, australian fashion - 1930s, evening wear, coat dresses

This garment reflects the apex of the Australian "Youthquake" movement between 1967 and 1968. During this tight window, international mod influences from London's Carnaby Street fused heavily with local Australian manufacturing. Melbourne emerged as the absolute epicenter of the nation's revolutionary ready-to-wear "rag trade," led by visionary young designers who rebelled against traditional haute couture. Kenneth Pirrie, starting his label in 1959, became a crucial vanguard of this shift. By 1967, Pirrie was heavily commissioning his own exclusive textile prints—capitalizing on newly popularized, easy-to-launder synthetic crepes, crimplenes, and lightweight blends that mirrored the fast-paced, modern lifestyles of younger working women. The high collar and structured button-front design seen here explicitly capture the brief design transition where military tailoring elements met bright, counter-culture psychedelia.This coat dress stands as a stellar, physically intact index of mid-century Australian fashion innovation. It documents a pivotal socio-cultural era when locally manufactured ready-to-wear labels successfully captured and redirected global youth subcultures specifically for the domestic market. The piece demonstrates the high-caliber printmaking and structured garment construction that earned Kenneth Pirrie national acclaim. It provides an excellent material baseline of the late-1960s shift away from structural, monochromatic mod toward organic, vivid flower-power palettes. The dress, owned by Melbourne architect, Dione McIntyre, possesses exceptional local provenance. It highlights the local domestic and commercial history of Kew and greater Melbourne, recording what the fashion-conscious public actually bought, wore, and preserved during a period of massive industry transformationAn A-line, knee-length woman’s garment designed to function as a standalone dress or light structured coat. The piece is constructed from a dark base fabric featuring a densely populated, screen-printed psychedelic floral motif. The pattern exhibits stylized white, pink, magenta, and purple blossoms with golden-yellow centers, typifying the iconic "flower power" aesthetic of the late sixties. The garment features a structured, high Nehru collar closing directly down a central front-button placket. It has tailored, long inset sleeves terminating in clean cuffs, a fitted torso that gently flares outward from the hips into a minimalist A-line skirt, and an overall sharp, geometric silhouette.Label: Kenneth Pirriekenneth pirrie, women's clothing, australian fashion - 1970s, mcintyre collection, day wear, coat dresses

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced by English Vogue and contains knitting and crochet patterns for womens garments.VOGUE KNITTING / No. THREE / 3/- / THE KNITTED / LIFE IN / AUTUMN / FASHION / DRESSES WITH EASE / AND ELEGANCE / FOR ALL AGES / SIMPLE LINES IN / TOWN AND / COUNTRY / SWEATERS / COAT-DRESSES / AND COATSknitting crochet fashion, vogue - english, knitting, crochet, fashion

This knitting pattern book was published by Coats Patons and contains reprints of knitting patterns for baby clothes.PATONS / FAVOURITE DESIGNS FOR / BABIES REPRINTED / No. R.26 / Patons / KNITTING BOOK / No. R.26 / BABIES' JUMPERS, JACKETS, CARDIGANS / COATS, DRESSES, TWIN SETS, UNDERWEAR / 2'3knitting handicrafts - history, coats patons (australia) limited, knitting, handicrafts - history

Part of a selection of garments knitted by ‘Tina Knitwear’. Tina Knitwear was a successful made to order knitwear business in Brighton from the mid-1960s to around 2010, run by Assunta and Franco Liburti. Daughter Melissa Persi writes: Our parents Assunta (Mum) and Franco (Dad) Liburti ran a successful made to order knitwear business in Brighton from the mid-1960s to around 2010. Assunta was affectionately known to her family as Assuntina, therefore the business was named "Tina Knitwear" after her. Assunta and Franco were born in the beautiful seaside town of Terracina in Italy in 1933 and 1930 respectively. As was so common in Italy in the 1950s, Assunta who was in her late teens and early twenties learnt the intricate skills of machine knitting, dressmaking and pattern making. Franco on the other hand, learnt the building trade with his 2 brothers and specialised in bricklaying and tiling. As was so common after the war, Assunta and Franco yearned for a better life so they decided that they would get engaged and then migrate to Australia to be married and raise their family in Australia, a land of much opportunity which they no longer felt their beloved Italy held for them. Assunta migrated to Australia first in 1957 and later Franco joined her in 1958 where they were married. For the first few years, Franco (also known as Frank) worked as bricklayer /tiler on buildings such as the Robert Menzies building at Monash University in Clayton and various buildings in the Melbourne CBD. Assunta on the other hand put her machine knitting skills to use working in factories doing piece machine knitting for various knitwear companies. The hours were long, the conditions were difficult, and travel was onerous without a car. After their 2 older children were born, it was decided that dad would leave the building trade and they would start their own made to order knitwear business. That way they could work from home and raise their family together. Mum taught dad everything he needed to know so he could operate the knitwear machinery. They purchased COPPO knitting machines from Italy and a Linking machine from Germany. Initially they had a knitwear shopfront in Bay Street Brighton where a store assistant would take the orders and client’s measurements and Assunta would then make the garments from a small workshop in their home. Unfortunately, the assistants were not skilled dressmakers and often measurements and orders were incorrectly taken. Assunta being the perfectionist and highly skilled machinist that she was, decided that she needed to oversee the entire process from meeting the client, to taking their order, right thru to the fittings and completion of the garment. It therefore made sense that they should close the shop front and run their business from their own home in Brighton and hence “Tina Knitwear” was born. Together, for more than 40 years they ran their very respected and successful business and were well known in the Bayside area. They specialised in made to order knitwear for both men and women using mainly pure wool (from Patons, Wangaratta Mills, Japan and Italy) but also lurex and estacel. Over those years, many of their clients became their close friends. It wasn't unusual for clients to come to order garments and then end up in the kitchen chatting over a cup of Italian espresso coffee and homemade biscuits. Some of their clients were especially memorable and became lifelong friends. Mrs Connell was a dear friend of mum’s, each year she would buy tickets for the “Gown of the Year” fashion show. She would insist on taking Assunta and her 2 daughters so that we could see the latest fashions. Then there was their dear friend Ms Griffiths. She had been a Matron nurse at the Queen Victoria Hospital when she met my parents in the 1970s. She returned to live in New Zealand in the 1980s but came back to Melbourne every year to stay for 2 weeks with the sole purpose of visiting my parents (she adored them) and order garments. For those 2 solid weeks, mum and dad would only knit for Ms Griffiths and she would go back to New Zealand with at least 5 or 6 new outfits. I actually think she enjoyed mum’s homemade pasta almost as much as her new clothes! Over the years, my parents learnt to speak English very well given that majority of their clients were not Italian speaking. Their oldest child John born in 1960 learnt to speak English with the help of those clients who were such a big part of our childhood. Mum and dad always went above and beyond to ensure their clients were satisfied. Mum was an absolute perfectionist and it showed in her attention to detail and the quality of their beautiful work. You only need to look at the garments that have stood the test of time or speak to their clients to know that this is true. Their clients would always comment on how well their clothes would last and much of their clients came via word of mouth and recommendations. Occasionally there would be disagreements because mum had found an error in dad's knitting (either a wrong stitch or a sizing mistake mainly) and would ask him to redo a piece, he would argue back saying that it was fine, but we always knew who would win the argument and that the piece would get remade! Similarly, we recall discussions where mum would ask dad to find a particular colour of wool in the garage where the stock was kept. He would try to convince her that they were out of stock of that colour and that the client should choose a different colour. She would insist they had it and then after hours of searching, he would return into the house sheepishly holding the wool! Our childhood is full of beautiful memories of mum and dad always being present, clients coming and going, mum humming her favourite songs as she worked often late into the night and sometimes, we even fell asleep to the hum of the machinery. They put their heart and soul into "Tina Knitwear" and took pride in providing only the best quality garments for their clients. In Italian there is a saying “lei ha le mani d’oro” which literally translated means “she has hands of gold”. Franco enjoyed his work but for Assunta, it was more than just work and there is no better way to describe her skills, passion and dedication to her machine knitting… she truly did have “hands of gold”. We will forever be grateful that our parents’ life journey gave us the opportunity to live in a home filled with creativity, dedication and passion, amazing work ethic and mutual respect, lifelong friendships and a lifetime of love. Red princess seam coat dress with ten self covered buttons down centre front and crew neck. knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Multicoloured knitted long coat dress. The garment has a high round collar and full-length sleeves. It is buttoned at the front.grace james, women's clothing, dressmakers - surrey hills (vic), fashion design, fashion -- 1970s

Baby Layette consisting of hand knitted woolen dress, coat, hat and bootees with satin ribbons that was worn in City of Moorabbin c1960. Women were accomplished knitters, craft workers and dressmakers as they cared for their families. Typical hand knitted woollen clothes for a baby c1960 in City of Moorabbin Baby Layette consisting of hand knitted cream woollen dress, coat, hat and bootees for baby 1956clothing, baby layette, knitting,craftwork, wool, early settlers, city of moorabbin, bentleigh, ormond, moorabbin, post war settlers, world war 11 1939-40 sharp valma,

Coates in formal dress."Alfred John Coates Home Missionary Service, Alexandra 1896 to South Melbourne 1919"alfred coates, methodist, home missionary

Sir Albert Ernest Coates (1895-1977), surgeon, was born on 28 January 1895 at Ballarat, Victoria, eldest of seven children of Arthur Coates, letter carrier, and his wife Clara Annie, née Eustice, both Victorian born. Although their worldly possessions were few, Arthur and Clara raised their family in an affectionate atmosphere and instilled in them the virtues of honesty, industry and education. They were strong supporters of the Methodist Church. (Australian Dictionary of Biography extract). Arthur apparently was a Home Missionary at one stage of his life.Coates in formal dress.coates, arthur

c 1880sA coat dress, cut on a Princess Line with twelve button holes down the front. Panelled each side of the buttons in heavy ribbon braid and lace overlay. Standup lace collar and|cuffs. Large bow at back.costume, female

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 item was owned, worn and donated by Dione McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Turquoise coloured raw silk coat dress. The dress includes a belt of the same fabric and colour. Renny Pty Ltd was a major fashion house in Melbourne in the 1960s winning awards for innovation in design, particularly those awarded by the wool industry.Label: Rennyrenny, women's clothing, australian fashion - 1960s, mcintyre collection

RAAF Uniform, 1XGreat Coat (dark blue), 1XService Dress top coat (light blue), 1XService Dress pants with belt (light blue). 1X Hat Peak with RAAF badge (light blue).uniforms, ballarat rsl, ballarat

Simplicity Pattern No. 1930 - size 12 Bust 32 Ladies short sleeved dress - flared skirt 3/4 sleeved swing back coatSimplicity Pattern No. 1930 size 12 Bust 32 Ladies' one-piece dress and coat Short sleeves dress - softly pleated 3/4 sleeved coat - swing back Dress - V-Line neck - flared skirt Coat - softly rounded neckline 15 piecesSimplicity Pattern No. 1930home dressmaking

Donated by Cpl Bramley who was in charge of our Catafalque party ANZAC Day 2006Blue Dress coat. Corporals stripes on shoulder. Black plastic buttons.Sewn Patch ADI Vic 1992, 8410-66-105-.1389, Size 80, Service No W514342, Name M. Ackroyd clothing, coat

Dress worn by Ellen Kelly aunt of donorBlue and black Coat and Dress. Four cm black trim around all edges, and two patch pockets, eight black buttons down front.Aphrodite Australian madecostume, female

Women in the City of Moorabbin knitted, sewed and crocheted clothes for their babies as they established their families in the new settlements in Ormond, Bentleigh and Moorabbin that followed World War 11. Typical of a Baby Layette of hand knitted woollen dress, coat , hat, and bootees with satin ribbon worn in City of Moorabbin c 1960 Women were accomplished knitters, craft workers and dressmakers as they cared for their families Baby Layette consisting of cream woollen hand knitted dress, coat, hat and bootees with ribbon knitting, craftwork, baby clothes, baby layette, sharp valma, wool, city of moorabbin, ormond, bentleigh, moorabbin, post war settlers, world war 11 1939-40, baby boomers,

See cat 5678.3 for service details.1. Dress coat - khaki colour cotton twill. Buttons - black colour bakelite with metal shankMakers label - black colour embroidery on cotton fabric "V241 MADE IN/AUSTRALIA/1943/SIZE"uniforms, raaf, ww2

Unknown woman [likely 1900-1920s in France] Nettie Cannes written on reverse [unable to locate information]Photographic postcard depicting people walking along a tree lined avenue [likely in France]. There is a woman walking towards and smiling at the camera wearing a long coat, dress and hat, holding something in her left hand. The postcard has a thin white border around the photo and on the reverse is printed 'Carte Postale, Correspondance, Adresse'. The card has previously been glued to something as in all corners and the middle of the long edges have remnants of other paper and adhesive.'"Nettie" Cannes [?]' [Pencil on reverse of postcard]wwi, world war one, ww1, postcard, france

Jinoel of Melbourne was a highly successful Australian fashion house launched by Jill and Noel Kemmelfield in 1957. Eleven years later the designers won the [Melbourne] Gown of the Year award. Jill and Noel Kemmelfield were later to launch Marty and Martine, their mid-market labels. They closed their business in the 1980s. The evening coat was owned, worn and donated by Dione McIntyre.This garment is a representative example of high-end Australian boutique fashion from the late 1960s to early 1970s, designed by the prominent Melbourne fashion house Jinoel. Known for sourcing luxury textiles and tailoring sophisticated silhouettes for the contemporary Australian woman, this piece highlights the transition from late-1960s tailored structure into early-1970s dramatic maxi lengths. The use of a bold fabric reflects Melbourne's mid-century cosmopolitan fashion identity and boutique manufacturing era.A structured, full-length maxi-length evening coat dress made from heavy, vibrant yellow silk. The garment features long, slightly tapered three-quarter sleeves and a deep V-neckline framed by a broad notched lapel collar. It features a continuous column closure running down the center front. The waist is defined by a wide, self-fabric matching belt with a prominent rectangular covered buckle, flaring out slightly to a structured, sweeping A-line skirt.Label: Jinoel of Melbourneaustralian fashion, melbourne designers, 1970s fashion, maxi dresses, coatdresses, corduroy, jinoel, flinders lane, dione mcintyre

Possible dates: b. 12/10/1868, d. 14/10/1947. Married Alfred Coates in 1888. Alfred Coates was Home Missionary in Diamond Creek from 1910 to 1913 and in Bacchus Marsh on 18/3/191, according to the Argus, p. 19, 18/3/1916.B & W studio portrait of Sister Bessie (Emma Elizabeth Coates nee Dau) dressed in the clothing of a Methodist Missionary sister.dau, emma elizabeth, sister bessie, home missionary, methodist central mission

Date may possibly be 1927 as typing has been changed.HistoricalFramed photograph of group of women, 3 seated.at front, dressed in coats, furs and hats.,Taken at the Ventnor sports 10.4.26. Front row sitting- Mrs John McIlwraith, Mrs M. Evans, Mrs Janet Morrison. Standing- Mrs Morrison [ Fanny West ], Mrs Henderson [Minnie West], Mrs McDonald [ Alice West], Mrs J. Forrest [ Elsie Findlay ],Mrs Charlie West [ Annie Leeson ],Mrs Warren [ Janet Anderson ]ventnor phillip island, west family, forrest family

The Reverend John Mpaayei Chairman of the United Bible Societies General Committee and Africa Regional Committee. The Bible Society in Australia PO Box 507 Canberra CityRev. John Mpaayei is dressed in coat and tie, seated at a desk with a typewriter in front of him.The Reverend John Mpaayei Chairman of the United Bible Societies General Committee and Africa Regional Committee. The Bible Society in Australia PO Box 507 Canberra City New Spectator 11 September p6rev. john mpaayei; united bible societies; africa regional committee

In 1982 Les Pobjie became the Editor of "Forward", the newspaper of the NSW Synod of the Uniting Church.Head and shoulders portrait of Les Pobjie, dressed in coat, tie, wearing glasses and a beard.Les Pobjie December 1981les pobjie; forward; nsw synod of the uca

Possible dates: b. 12/10/1868, d. 14/10/1947. Husband, Alfred Coates was Home Missionary in Diamond Creek from 1910 to 1913 and in Bacchus Marsh on 18/3/191, according to the Argus, p. 19, 18/3/1916.B & W studio portrait of a seated Sister Bessie (Emma Elizabeth Coates, nee Dau) dressed in her Home Missionary uniform.dau, emma elizabeth, sister bessie

Possible dates: b. 12/10/1868, d. 14/10/1947. Husband, Alfred Coates was Home Missionary in Diamond Creek from 1910 to 1913 and in Bacchus Marsh on 18/3/191, according to the Argus, p. 19, 18/3/1916.B & W studio portrait of a seated Sister Bessie (Emma Elizabeth Coates nee Dau) dressed in her Home Missionary uniform.dau, emma elizabeth, sister bessie, methodist central mission, alfred coates, home missionary

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 dress is one of a number of items donated to the Fashion Collection by Dione McIntyre. It belonged to her mother Lilian Cohen.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Two-piece pink silk outfit comprised of a round necked, knee length dress and plain matching silk coat. The dress is scalloped at the waist and bordered with pink glass beads. The dress has the label “Ecstasy Creation : a fine fabric”.“Ecstasy Creation : a fine fabric”.women's clothing, mcintyre collection, australian fashion - 1960s, cocktail dresses

Possible dates: b. 12/10/1868, d. 14/10/1947. Husband, Alfred Coates was Home Missionary in Diamond Creek from 1910 to 1913 and in Bacchus Marsh on 18/3/191, according to the Argus, p. 19, 18/3/1916.B & W waist length studio portrait of Sister Bessie (Emma Elizabeth Coates nee Dau) dressed in her Home Missionary uniform.dau, emma elizabeth, sister bessie, methodist central mission, home missionary, alfred coates

Possible dates: b. 12/10/1868, d. 14/10/1947. Husband, Alfred Coates was Home Missionary in Diamond Creek from 1910 to 1913 and in Bacchus Marsh on 18/3/191, according to the Argus, p. 19, 18/3/1916.B & W waist length studio portrait of Sister Bessie (Emma Elizabeth Coates nee Dau) dressed in her Home Missionary uniform.Verso: "Presented to the Junior Department of the Carlton Methodist Mission by: Ruby Farrell, Marjorie P. Saynor, Ruth I. Lane, Daphne Blanthorne, Thelma Jessop, Margaret McCutcheon, Elva Taylor, Phylis McCrohan, Dulcie Bolton, Eileen Colk, Teacher Junior (Supt.) Eva Reed, Sister Louie, 2 Thessalonians 1. 11,12 1927dau, emma elizabeth, sister bessie, methodist central mission, home missionary, alfred coates