William Ingram with possibly his wife Pamela Thomas and family members. William is second from left with pipe, the others unidentified. The family lived in Birmgham, England. William, a baker died in 1905. William and Pamela had six children; William George Grove (1861-1939), Elizabeth (1865), Evan Thomas (1867-1956), Joseph (1868-1934), Louis (1870-1941) and John (1872-1958). John Ingram learnt his trade from his father but following a quarrel with his father, he ran away and worked his passage to Australia as a ships baker. His elder brother Evan was already in Australia living in Malvern. It was here that he met Ada Key. John and Ada were married in Fremantle, Western Australia. They travelled to England then Cape Town, a family already started. They returned to Melbourne and in 1901 bought land at Research where he worked to establish an orchard and worked at night asa baker in Eltham. The fashion and hairstyles appear trypical of around 1880ingram family, birmingham, william ingram, baker, pam thoonen (nee ingram) collection

A collar is the part of a shirt, dress, coat or blouse that fastens around or frames the neck and may be permanently attached to the main body of the garment (e.g. by stitching) or detachable. Names for specific styles of collars vary with the vagaries of fashion. In the 1930s and 1940s, especially, historical styles were adapted by fashion designers; thus the Victorian bertha collar, a cape-like collar fitted to a low scooping neckline, was adapted in the 1940s but generally attached to a V-neckline. This item is a type of shawl collar for a V-neckline that is extended to form lapels, often used to enhance cardigans, dinner jackets and women's blouses. A lady's, detachable, white, nylon machined ribbon lace shawl collar with lace trim C1950clothing, collars, ornamental collars, moorabbin, cheltenham, bentleigh, lacework, dressmaking, fashion, formal wear, shawl collar

A capelet is a small cape, usually worn around a person's shoulders and often chosen to wear with an evening outfit. The design may include a hood, collar or even ruffles. Fabrics range from fur, leather, velvet and wool to shear silk and net. Trimmings include buttons, lace, ribbon, and tassels. A capelet was a fashionable garment from the late 19th to the early 20th centuries.Capelet with collar. White fur lined with white fabric. flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, capelet, cape, evening wear, fur garment, fashion, edwardian, victorian, white fur

Belonged to Churchill Island Heritage Farm volunteer Jeff Cole's Aunt May Hart, a very stylish woman of the 1920s, keen on horse racing.One pair dark brown rabbit skin (?) gloves. Scalloped, overlocked edge. Three "S" shaped stitching decorations with small punched holes along thumb side of stitching on each gloveCAPE LAMB (?)/ MURRAY GLOVES/6 1/2/ MADE IN AUSTRALIA stamped inside left glove. $15 hand written inside left glove. "721" stamped inside left glove. "20"stamped inside right glove.gloves, fashion, ladies gloves, churchill island heritage farm, may hart

I have lived in Box Hill now City of Whitehorse since 1970 I have belonged to Box Hill Spinners and Weavers Inc. since 1990.During the 90s' Box Hill Spinners and Weavers participated in the Annual Sheep and Woolcraft Show, at that time held in the Melbourne Showground. As well as submitting individual entries we always entered the Group Competition, known as the '5 articles' the entry had to have 5 separate articles made by a group and displaying different woolcraft techniques . In 1997 our Box Hill entry focused on 'The Planets' featuring five capes. The red one representing Mars the red planet. It was woven. The dark cape represented Jupiter. It was also woven. the Neptune cape was felted in blue and greens. The Earth cape featured knitting and crochet. My contribution was the Venus cape featuring spinning from raw merino fleece and silk. Once completed this wool/silk yarn was fashioned using hairpin lace. I was adept at spinning by this time but knew nothing about the old technique of hairpin lace. Box Hill Spinners and Weavers won First Prize. Margaret Dimelow.Cream coloured cape spun from raw merino fleece and silk, technique is hairpin lacecostume, female

UnknownRare survivor of 1890's fashion Female black lace cape. Guipure - small collar fastened with black grosgrain silk ribbon with bow - 2 beaded flower motif.female evening and/of morning wear

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in the mansion originally named Illapa, 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937) and his wife Edith Mary Weir (1867-1948). 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.These shoes are significant as they are part of a 30-piece collection of women’s clothing owned by Edith Mary Weir (nee Betteridge), who was born in Clare, South Australia in 1867 and who died in Kew at the age of 81 in 1948. The items of clothing in the collection date from the 1880s to the 1940s and constitute outstanding examples of dressmaker’s skills from each of these decades. The collection includes day dresses, evening dresses, evening coats, capes, shoes and undergarments. As the wife of a mining engineer, and later mine manager, Edith Weir’s clothing has historic significance as examples of clothing worn by upper middle class Australian women in domestic circumstances and at social and civic events. The costumes in the collection represent the periods when Edith Weir lived in Broken Hill, New South Wales, and in Kew, Melbourne. A number of the costumes from the 1920s to the 1940s 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 the granddaughter of Edith Weir. Pair of ivory silk shoes, worn by Edith Mary Betteridge at her marriage to George Weir in Broken Hill in 1891. The shoes were worn with her ivory silk wedding dress.edith mary (betteridge) weir, 84 princess street (kew), footwear, women's shoes, wedding shoes

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in the mansion originally named Illapa, 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937) and his wife Edith Mary Weir (1867-1948). 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 scarf is part of a 30-piece collection of women’s clothing owned by Edith Mary Weir (nee Betteridge), who was born in Clare, South Australia in 1867 and who died in Kew at the age of 81 in 1948. The items of clothing in the collection date from the 1880s to the 1940s and constitute outstanding examples of dressmaker’s skills from each of these decades. The collection includes day dresses, evening dresses, evening coats, capes, shoes and undergarments. As the wife of a mining engineer, and later mine manager, Edith Weir’s clothing has historic significance as examples of clothing worn by upper middle class Australian women in domestic circumstances and at social and civic events. The costumes in the collection represent the periods when Edith Weir lived in Broken Hill, New South Wales, and in Kew, Melbourne. A number of the costumes from the 1920s to the 1940s 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 the granddaughter of Edith Weir in 2017Very long, doubled chiffon evening scarf with a silk tassle at one end and multicoloured hand embroidered flowers at the other. The scarf was owned by Edith Mary Weir.edith mary (betteridge) weir, 84 princess street -kew, australian fashion, scarfs

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 watered silk cape with a wide border of machine made lace. The cape is extensively adorned with beads of black jet. Two long pieces of black lace fall from the neck at centre front. The cape was owned by one of the donor's maternal ancestors.capes, australian fashion, women's clothing, victorian fashion

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 silk taffeta cape featuring extensive use of high quality guipure lace on the front and at the back. While the lace is in excellent condition, there is extensive splitting of the silk fabric. The cape was owned by one of the donor's maternal ancestors.capes, women's clothing, australian fashion, victorian fashion, costumes, micky ashton

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in the mansion originally named Illapa, 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937) and his wife Edith Mary Weir (1867-1948). 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 significant as it is part of 25-piece collection of women’s clothing owned by Edith Mary Weir (nee Betteridge), who was born in Clare, South Australia in 1867 and who died in Kew at the age of 81 in 1948. The items of clothing in the collection date from the 1880s to the 1940s and constitute outstanding examples of dressmaker’s skills from each of these decades. The collection includes day dresses, evening dresses, evening coats, capes, and undergarments. As the wife of a mining engineer, and later mine manager, Edith Weir’s clothing has historic significance as examples of clothing worn by upper middle class Australian women in domestic circumstances and at social and civic events. The costumes in the collection represent the periods when Edith Weir lived in Broken Hill, New South Wales, and in Kew, Melbourne. A number of the costumes from the 1920s to the 1940s 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 the granddaughter of Edith Weir. An Edwardian slik, net and broderie anglaise bed jacket, bought by and worn by Edith Mary (Betteridge) Weir. Given the date of the item, the jacket was initially worn in Broken Hill where the Weir's lived, when her husband was Manager of the North Broken Hill Mine and later brought to Kew, ca. 1917 when the Weirs moved to Princess Street, Kew. The jacket was gifted by Edith Weir's grandaughter. It forms part of the Society's Weir Collection.edith mary weir (nee betteridge), 84 princes street (kew), costumes, fashion & design collection - kew historical society, women's clothing, weir collection

The Fashion & Design collection of Kew Historical Society includes examples of textiles dating from the 18th, 19th and 20th centuries. Some of the textiles, were used as items of clothing, others as items of household decoration, or simply as travel souvenirs. These textiles were created both domestically and internationally. Predictably with the growth of an ethnically and culturally more diverse community in Kew after the Second World War, textiles, clothing and objects in the collection inevitably reflected this diversity.Fitted black silk cape or shawl, joined at the neck, and incorporating embroidery of the same colour. The item includes extensive, double-row fringing. On examination of the piece, it would appear that it was constructed from a Manila de Manton (piano shawl). It has been provisionally dated to either the late-Victorian or Edwardian periods.fashion and textiles collection - kew historical society, shawls

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Cut velvet pelerine featuring multicoloured garlands of flowers in shades of gold, brown and blue on a pink ground. Chenille trim and long silk fringe, Centre front hook and eye closure, Lined with pale pink silk.women's clothing, outerwear -- capes, fashion -- 1890s, fashion design

The Fashion & Design collection of Kew Historical Society includes examples of textiles dating from the 18th, 19th and 20th centuries. Some of the textiles, were used as items of clothing, others as items of household decoration, or simply as travel souvenirs. These textiles were created both domestically and internationally. Predictably with the growth of an ethnically and culturally more diverse community in Kew after the Second World War, textiles, clothing and objects in the collection inevitably reflected this diversity. A pelerine is a small cape that covers the shoulders. It was most popular during the mid- to late nineteenth century. Cream net machine embroidered collar with ruffle of chemical lace. Machine constructed post World War 1. Worn in the evening women's clothing, lace, collars, pelerines

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.Floral jersey with matching cape and small coin pursefashion and textiles collection - kew historical society, grace james, women's clothing, dressmakers - surrey hills (vic), fashion -- 1970s, fashion design

Fur cape belonging to the donors's motherFitted fur cape. Possibly mink.fashion & design collection - kew historical society, costume accessories, furs

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.Heavy woollen cape designed by Prue Acton. The cape is tied at the front and features a wide band of woollen fabric simulating a collar.Label: "Prue Acton"prue acton, capes, outerwear, fashion design, fashion -- 1980s

Western fashion in the 1890s saw women's capes become an item of fashionable choice as they fell gracefully over an expansive sleeve. Capes often had a high neck, and were frequently trimmed with jet passementerie and fur. This capelet has a fashionable dog-collar neckline which became fashionable from c.1895, lasting as a style to c.1905. The capelet was probably part of a mourning ensemble.The capelet originally belonged to Catherine Francis Ellen Gulliver (nee Wells) who was born in Ballarat in 1874. The item was passed by descent to her daughter Catherine Francis Helen Taylor (nee Gulliver) [born 1896], and then to her granddaughter, Doris Catherine Kriesfield (nee Taylor) [1922-2015]. Victorian-era capelet, designed to cover the shoulders, and ornamented with a double band of jet passementerie. The capelet has a high dog neck collar, which is lined with leather. The original lace, of which some remains, has been removed in the past, probably due to damage, leaving some traces of its original style. The front of the capelet has large hooks and eyes.fashion design, women's clothing, outerwear, capes, capelets, fashion -- 1890s -- 1900s, mourning wear

Western fashion in the 1890s saw women's capes become an item of fashionable choice as they fell gracefully over an expansive sleeve. Capes often had a high neck, and were frequently trimmed with jet passementerie and fur. This capelet has a fashionable dog-collar neckline which became fashionable from c.1895, lasting as a style to c.1905. The capelet was probably part of a mourning ensemble.The capelet originally belonged to Catherine Francis Ellen Gulliver (nee Wells) who was born in Ballarat in 1874. The item was passed by descent to her daughter Catherine Francis Helen Taylor (nee Gulliver) [born 1896], and then to her granddaughter, Doris Catherine Kriesfield (nee Taylor) [1922-2015]. Victorian-era capelet, designed to cover the shoulders, and ornamented with shamrocks outlined in jet passementerie. The capelet has a dog-collar neck, that is lined with leather. The original lace, forms a wide border edging the satin. The front of the capelet has large hooks and eyes.fashion design, women's clothing, outerwear, capes, capelets, fashion -- 1890s -- 1900s, mourning wear, catherine francis ellen gulliver, doris catherine kriesfield

Doris Mercy Willmott was born in May 1896 in Stamford Hill, London, the eldest of three daughters of Albert and Minnie Willmott. The family lived in various parts of north London until the beginning of the First World War, when they moved to Redhill in Surrey. It was in Redhill that Doris met her future husband, Frederick John (Jack) Bennett. Jack had met Eric Mercy, a cousin of Minnie’s, in the Australian Imperial Force (AIF) and visited the Wilmotts with him whilst on leave from France. Although Jack Bennett returned to Melbourne in March 1919, he and Doris continued to correspond and they were engaged in March 1923. She came to Melbourne on her own, and was married in the Congregational Church in Canterbury on 23 December 1923. By 1931 Doris and Jack and their three sons - John Willmott, Winfield Robert Curtis and Peter Reginald Dane - moved to 21 Tooronga Road, Hawthorn but moved back to his father’s home, Therapia, 2 (now 6) Hepburn Street, Auburn, shortly before his father’s death. In 1937, the Bennett family moved back to the United Kingdom, spending the war years in Uxbridge and Torquay. The family returned to Melbourne in October 1946, after the deaths of Doris’ parents. The family lived at 12 Stanhope Grove, Camberwell and 51 The Ridge, Canterbury before Jack died in February 1952. After this Doris moved to 12 Stanley Grove, Canterbury, her home until c. 1970 when she moved to 25 Corhampton Road, North Balwyn. She died in May 1980 in Princeton Nursing Home, 3 Bellett Street, Camberwell. (Adapted from notes provided by Sue Barnett, the donor).The collection of evening clothes owned and worn by Doris Mercy Bennett, of which this item is one, date from the 1930s and may have been purchased in Australia or in the United Kingdom. Each of the items, apart from the evening dress, which has a few minor tears in the lace, is of fine quality and evidences Doris Bennett’s love of glamour and style. While the evening dress and the mantilla are of the same fabric, the two capes might have been worn with the dress as alternative fashion accessories. None of the items has a maker’s mark, however each displays evidence of fine dressmaking skills. It is however probable that the two fitted capes were commercially made.Long black lace, floor-length evening dress extending to a short train at the back. The dress has a belt at the waist that is joined by two white metal clasps studded with diamentes. With the dress there is also a matching lace square (2017.00921) that might have been used as a mantilla or as a shawl. The dress was owned and worn by Doris Mercy Bennett (nee Willmott) [1896-1980], and donated to the Society by her grandaughter. women's clothing, evening wear, evening dresses, doris bennett (nee wilmott)

Doris Mercy Willmott was born in May 1896 in Stamford Hill, London, the eldest of three daughters of Albert and Minnie Willmott. The family lived in various parts of north London until the beginning of the First World War, when they moved to Redhill in Surrey. It was in Redhill that Doris met her future husband, Frederick John (Jack) Bennett. Jack had met Eric Mercy, a cousin of Minnie’s, in the Australian Imperial Force (AIF) and visited the Wilmotts with him whilst on leave from France. Although Jack Bennett returned to Melbourne in March 1919, he and Doris continued to correspond and they were engaged in March 1923. She came to Melbourne on her own, and was married in the Congregational Church in Canterbury on 23 December 1923. By 1931 Doris and Jack and their three sons - John Willmott, Winfield Robert Curtis and Peter Reginald Dane - moved to 21 Tooronga Road, Hawthorn but moved back to his father’s home, Therapia, 2 (now 6) Hepburn Street, Auburn, shortly before his father’s death. In 1937, the Bennett family moved back to the United Kingdom, spending the war years in Uxbridge and Torquay. The family returned to Melbourne in October 1946, after the deaths of Doris’ parents. The family lived at 12 Stanhope Grove, Camberwell and 51 The Ridge, Canterbury before Jack died in February 1952. After this Doris moved to 12 Stanley Grove, Canterbury, her home until c. 1970 when she moved to 25 Corhampton Road, North Balwyn. She died in May 1980 in Princeton Nursing Home, 3 Bellett Street, Camberwell. (Adapted from notes provided by Sue Barnett, the donor).The collection of evening clothes owned and worn by Doris Mercy Bennett, of which this item is one, date from the 1930s and may have been purchased in Australia or in the United Kingdom. Each of the items, apart from the evening dress, which has a few minor tears in the lace, is of fine quality and evidences Doris Bennett’s love of glamour and style. While the evening dress and the mantilla are of the same fabric, the two capes might have been worn with the dress as alternative fashion accessories. None of the items has a maker’s mark, however each displays evidence of fine dressmaking skills. It is however probable that the two fitted capes were commercially made.With the black lace evening dress (2917.0093.1) there is also a matching lace square with long lace ties (2017.0093.2) that might have been used as a mantilla or as a shawl. The outfit was owned and worn by Doris Mercy Bennett (nee Willmott) [1896-1980], and donated to the Society by her grandaughter. women's clothing, evening wear, shawls, lace, doris bennet (nee willmott)

Doris Mercy Willmott was born in May 1896 in Stamford Hill, London, the eldest of three daughters of Albert and Minnie Willmott. The family lived in various parts of north London until the beginning of the First World War, when they moved to Redhill in Surrey. It was in Redhill that Doris met her future husband, Frederick John (Jack) Bennett. Jack had met Eric Mercy, a cousin of Minnie’s, in the Australian Imperial Force (AIF) and visited the Wilmotts with him whilst on leave from France. Although Jack Bennett returned to Melbourne in March 1919, he and Doris continued to correspond and they were engaged in March 1923. She came to Melbourne on her own, and was married in the Congregational Church in Canterbury on 23 December 1923. By 1931 Doris and Jack and their three sons - John Willmott, Winfield Robert Curtis and Peter Reginald Dane - moved to 21 Tooronga Road, Hawthorn but moved back to his father’s home, Therapia, 2 (now 6) Hepburn Street, Auburn, shortly before his father’s death. In 1937, the Bennett family moved back to the United Kingdom, spending the war years in Uxbridge and Torquay. The family returned to Melbourne in October 1946, after the deaths of Doris’ parents. The family lived at 12 Stanhope Grove, Camberwell and 51 The Ridge, Canterbury before Jack died in February 1952. After this Doris moved to 12 Stanley Grove, Canterbury, her home until c. 1970 when she moved to 25 Corhampton Road, North Balwyn. She died in May 1980 in Princeton Nursing Home, 3 Bellett Street, Camberwell. (Adapted from notes provided by Sue Barnett, the donor).The collection of evening clothes owned and worn by Doris Mercy Bennett, of which this item is one, date from the 1930s and may have been purchased in Australia or in the United Kingdom. Each of the items, apart from the evening dress, which has a few minor tears in the lace, is of fine quality and evidences Doris Bennett’s love of glamour and style. While the evening dress and the mantilla are of the same fabric, the two capes might have been worn with the dress as alternative fashion accessories. None of the items has a maker’s mark, however each displays evidence of fine dressmaking skills. It is however probable that the two fitted capes were commercially made.Black silk chiffon or georgette fitted evening cape,let entirely covered in silver metal rectangles and black sequins. The cape gives the appearance of being joined at the front, however it is made in one piece. The cape has open scalloped sections bordering the lower band of silver metal rectangles. The cape was owned and worn by Doris Mercy Bennett (nee Willmott) [1896-1980], and donated to the Society by her grandaughter. evening wear, capelets, doris bennett (nee wilmott), women's clothing

Doris Mercy Willmott was born in May 1896 in Stamford Hill, London, the eldest of three daughters of Albert and Minnie Willmott. The family lived in various parts of north London until the beginning of the First World War, when they moved to Redhill in Surrey. It was in Redhill that Doris met her future husband, Frederick John (Jack) Bennett. Although Jack Bennett returned to Melbourne in March 1919, he and Doris continued to correspond and they were engaged in March 1923. She came to Melbourne on her own, and was married in the Congregational Church in Canterbury on 23 December 1923. In 1937, the Bennett family moved back to the United Kingdom, spending the war years in Uxbridge and Torquay. The family returned to Melbourne in October 1946, after the deaths of Doris’ parents. The family lived at 12 Stanhope Grove, Camberwell and 51 The Ridge, Canterbury before Jack died in February 1952. After this Doris moved to 12 Stanley Grove, Canterbury, her home until c. 1970 when she moved to 25 Corhampton Road, North Balwyn. She died in May 1980 in Princeton Nursing Home, 3 Bellett Street, Camberwell. (Adapted from notes provided by Sue Barnett, the donor).The collection of evening clothes owned and worn by Doris Mercy Bennett, of which this item is one, date from the 1930s and may have been purchased in Australia or in the United Kingdom. Each of the items, apart from the evening dress, which has a few minor tears in the lace, is of fine quality and evidences Doris Bennett’s love of glamour and style. While the evening dress and the mantilla are of the same fabric, the two capes might have been worn with the dress as alternative fashion accessories. None of the items has a maker’s mark, however each displays evidence of fine dressmaking skills. It is however probable that the two fitted capes were commercially made.Black silk chiffon or georgette loose-fitted evening capelet, decorated with a wide border of silvred sequins. Sequins are also used in the body of the cape, either individually or in circles. The capelet was owned and worn by Doris Mercy Bennett (nee Willmott) [1896-1980], and donated to the Society by her granddaughter. women's clothing, evening wear, evening dresses, capes, susan barnett, doris bennett (nee wilmott)

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who owned and lived in the mansion originally named Illapa, 84 Princess Street, Kew, from 1918 to 1950. [The house is now incorporated by ‘Rylands’.] This historically significant collection includes items relating to both George Weir (1866-1937) and his wife Edith Mary Weir (1867-1948). George Weir, a person of national significance, was general manager of North Broken Hill Mine between 1903 and 1926. The collection includes a number of his patents. He married his wife, Edith Butteridge, in Broken Hill in 1891. The collection includes a number of costumes owned and worn by Edith, including her wedding dress. These costumes date from the 1880s to the 1940s and include items of outstanding aesthetic value.This parasol is significant as it is part of 26-piece collection of women’s clothing owned by Edith Mary Weir (nee Betteridge), who was born in Clare, South Australia in 1867 and who died in Kew at the age of 81 in 1948. The costumes in the donation date from the 1880s to the 1940s and constitute outstanding examples of dressmaker’s skills from each of these decades. The collection includes day dresses, evening dresses, evening coats, capes, a parasol, and undergarments. As the wife of a mining engineer, and later mine manager, Edith Weir’s clothing has historic significance as examples of clothing worn by upper middle class Australian women in domestic circumstances and at social and civic events. The costumes in the collection represent the periods when Edith Weir lived in Broken Hill, New South Wales, and in Kew, Melbourne. The garments in the Weir Collection were donated to the Kew Historical Society by the granddaughter of Edith Weir.Parasol - brown silk, pink lined with straight cane handle, owned by Edith Mary Weir (nee Betteridge) of Broken Hill, and later Princess Street, Kew. The style of the parasol, with overlapping outer 'scales' of heavy brown silk, would indicate that it was made in the late Victorian era.parasols, umbrellas, victorian fashion, weir collection

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.Beige silk theatre or opera jacket with multi-coloured guipure lace at the neck, on the front bordering the opening, and on the cuffs. The long sleeves have extensive old lace extending beyond the wide cuffs. The inside is lined with quilted pink silk, which has darker silk panels at the front. The jacket has a high neck. It is closed using three embroidered fabric buttons at the frontedith mary weir (nee betteridge), 84 princess street - kew, australian fashion, women's clothing, costumes, coats

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.Long black silk waisted dress, gathered at the waist with and featuring a full skirt. The short-sleeved bodice has a high round neck with a small amount of embroidery at the front in the form of abstract flowers. The skirt features an additional Chantilly lace overskirt that is scalloped at the hem. edith mary weir (nee betteridge), 84 princess street - kew, australian fashion, women's clothing, costumes, coats

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.Long navy blue crepe fitted dress featuring long narrow sleeves. The round-necked bodice includes buttons at the neck bordered by navy blue silk embroidery. The dress has a deep pocket in the same fabric at the right front beneath the waist.edith mary weir (nee betteridge), 84 princess street - kew, australian fashion, women's clothing, costumes, dresses

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in the mansion originally named Illapa, 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937) and his wife Edith Mary Weir (1867-1948). 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.Elegant knee-length black crepe dress with long sleeves with black silk georgette over-layer.edith mary weir (nee betteridge), 84 princess street - kew, australian fashion, women's clothing, costumes, dresses

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.Elegant knee-length black silk dress with short sleeves with black silk crepe de chine over-layer. Abstract double fern pattern in diamentes on skirt edith mary weir (nee betteridge), illapa - 84 princess street -- kew (vic.), women's clothing, australian fashion -- 1920s