Clothing. This garment has been severely damaged - the waistband has been removed, and a 45 cm diameter circle has been cut from the polished cotton lining. There is also fabric damage adjacent to the internal side pocket seam, velvet binding at hem, stiffened linen lines the inside at the hemline - 20 cm deep, and a narrow binding of black velvet encircles the lower hemline. While the waistband has been partly removed, the original two metal hooks, and three metal eyes are still in place. This garment is severely damaged, but it does still give insight into the inner construction of the garment. Ten ''gores'' or sections make up the circle of this skirt.costume, female, full length black skirt

A typical long black crepe skirt worn by women in Moorabbin Shire c1910 whilst doing housework during spring and summerTypical day wear skirt worn by women in the early settler families of Moorabbin Shire c1910 The family of Nance Blackburn were early settlersA woman's full length black crepe skirt with side fasteners, pleats and side inserted pockets blackburn nance, early settlers, moorabbin, cheltenham, bentleigh clothing, dressmaking, moorabbin shire

This is a plain black full length woollen skirt that women wore during winter in Moorabbin Shire when working around the house c1910. The early settler women were skilled dressmakers and made the clothing for their familiesA typical day skirt worn whilst doing housework by early settler women c1910. The family of Nance Blackburn were early settlers in Moorabbin ShireClothing, Lady's black long woollen skirt with a drawstring waist and a side inserted pocket blackburn nance, early settlers, moorabbin, cheltenham, bentleigh clothing, dressmaking, moorabbin shire

Clothing. Full length black silk-satin skirt, with a 4-pleat cummerbund waist sash - 10 cms deep. Two x 10 cm wide ''falls'' of satin, angled at the lower edge fall from the plackett left side, and are 51 cm long and 63 cm long at their peak. Two panels of the skirt fabric, 81 cm long and 23 cm wide are attached from the waistline at the centre front and centre back. Each panel has a beaded floral motif, 13 cmx 9.5 cm beaded with jet beads.costume, female, black silk skirt with beaded trim

This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s, but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The full-length black silk tailor-made skirt is one of three pieces of a ladies’ Edwardian mourning outfit. The skirt is made from black silky fabric. The garment has only two seams; at the side closure and the centre back. The whole skirt has sunray pleats; narrow pleats at the waist that fan outwards towards the hem. The top of the skirt is finished with a waistband that is shaped as an upward V shape in the centre. The side seam is closed with four self-fabric buttons with silver metal backing. The shirt has been machine sewn.flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, mourning dress, death mourning, sunray pleats, western district victoria, full-length skirt

This jacket would have been worn with a long black skirt by an elderly woman or by one in mourning, probably in early Edwardian times.This item is retained for display purposes.This is lady's black satin top with long sleeves. There are hooks and eyes for the full length of the front. with a fitted, boned waist. It has panels on each side of the opening on the front with black embroidered " frog" decorations. The sleeves are pleated with three bands of black velvet on the cuffs at the wrist. The garment is lined with black cloth. The cream lace around the neckline appears to have been added at a later time.vintage woman's clothing, edwardian era, warrnambool and district historical society collection

The photograph provides details relating to the student's dress and deportment in 1909. The girls wear full-length dark skirts with wide belts and white blouses. The blouses are not uniform but feature high necks, cuffed sleeves and lace decoration. Their hair is elaborately coiffured and adorned with large bows. The teacher is wearing a mortar-board and academic gown. Her skirt of light-coloured. The photograph has social significance due to its representation of fashions for young ladies in 1909. Black and white photograph with grey mount featuring the Clarendon Ladies College Form VI (Intermediate and leaving) class in 1909. Students are arramnged in three rows - first row on floor, second row seated and third row standing. 18 students and one staff.Printed on bottom left corner of front of mount: Richards & Co/Ballarat; Handwritten on back of mount: Clarendon/Form VI (Inter & leaving)/1909/E.L.R.1909, clarendon ladies college, richards co

Green and gold shot silk dress. Hemline is edged with a binding of black velvet - one cm wide. Bodice lined with cream linen, sleeves lined with cream cotton, skirt lined with cream linen(?) or cotton(?). Long sleeves are shaped in a ""semi-circular'' shape at the elbow, and taper in at the wrist. Sleeves are trimmed with green fringing, and a flat green satin bow. Wrist is trimmed a 2cm wide band of cream cotton lace. Top of sleeve at shoulder is also trimmed with green and fringing encircling the sleeve top.High round neck is faced with a 1cm band, and a row of the cotton lace. Two bands of fringing give a rectangular "style'' effect on the front bodice, which is fastened at centre front with ten metal hooks, and nine hand stitched ''holes'' to fasten, and one hand stitched loop at the neckline. Fringing continues over the shoulder, into a 5-sided shape across the shoulder blades. Skirt has two pleats on RHS front and two on left hand side of back and a 7cm centre panel of tight pleating. Skirt extends into a train at back. An inside pocket is accessed from under a pleat in the RHS skirt.costume, female, victorian full length dress with train

Very fine black and cream check silk lined in the bodice and sleeves with fine grey silk. Long sleeves are finished with a 4cm deep cuff, trimmed with a double row of cording, and a 1.5cm wide pleated frill. Two black shiny buttons trim the cuff(possibly plastic), which fastens with three press-studs. Waist is defined with one band of corded fabric. Two bands of cording outline the V neckline, which is also finished with a pleat frill. Cording, and three rows of hand - gathering outline a shaped frill at the hemline-alternately 31cm and 46cm deep. Seven black buttons fasten the front of the bodice. A placket extends into the skirt, fastened by four press-studs. Skirt has four knife pleats each side of the centre placket. Four knife pleats at each hemline, and six at centre back. These are all over-stitched with three double rows of stitching in a V shaped design. Hand stitched button holes.costume, female, black and cream silk dress

Clothing. High stand-up embroidered net collar-close fitting to the neck, and fastening at the back with now 4 metal hooks and loops (one hook missing) and edged at top and bottom with tiny black beads. Five metal ''curved wires'' 7 cm long, are spaced around the up right ''collar'' (to hold in place). The embroidered net forms a V shaped panel at the centre front, and has 15 silk covered oval buttons .8 cm long, from throat to lower bodice. This panel is bordered by embroidered and beaded braid, 7 cm wide and giving a cross-over effect. Cotton tape inside waist 66 cm long fastens with two metal hooks and eyes.Under this lace cross-over, the bodice is shirred and pleated, to give fullness for movement. Pleats are ''caught-in'' at the waistline. An elbow length over-lay of sheer silk fabric, edged with the beaded braid. The sleeves are silk fabric to the elbow, and then narrow in to a three hook plackett at the wrist. This lower sleeve with a 2.5 cm lace frill, and a spotted tulle fabric, and ''dotted'' at the upper side with a double row of tiny black beads. A false tucked effect at opprox knee level at back of skirt. Back hemline extends to a small ''train''. Hemline is heavily weighted.costume, female, full length long sleeved black dress

BHS CollectionWaist length dark green cotton bodice. Fabric has alternating stripes of pulled thread pattern and wider stripes of small dot pattern. Front opening with deep V to waist with lined lace insert extending from throat to waist. LHS of bodice fastened to lace insert with five press studs. Stand up collar of lined black lace (%cm) fastened with two hook and eyes. The bodice is made from five pieces. The two front sections have three knife pleats facing out and falling from the shoulder. The pleats are stitched down for twenty cms from the shoulders. On either side of the front opening is decorative embroidered black lace that extends across the shoulders to the back of the collar. There are two side panels from under the arm. The back section has three box pleats falling from the collars and tapering to the waist. The hem of the bodice is fastened with black cotton tape. Leg of mutton sleeves are trimmed with black embroidered brais at elbow and wrist. Lower sleeves have pintucks from elbow to wrist. The sleeves are lined with black cotton fabric. The back of the bodice is lined with black cotton fabric almost to the hem. A three cm piece of white and blue cotton tape is attached across the lower back with cotton ties at either end. The underarm panels are lined with brown cotton fabric and green satin inserted sections. The front has a separate lining with front opening and shaped with darts. Fastened with six buttons and buttonholes. Two shoulder pads on each side- one white piece under the shoulder and a green satin piece under the gathered section of each sleeve. Dark green full length skirt. Cotton fabric with alternating stripes of pulled thread pattern and wider stripe of small dot pattern. Skirt is made of three sections. Centre front panel widens slightly to hemline. Side panels continue around to join at centre back. Darts at both hips to shape sides. Panels widen to hemline. Inverted pleats at either side of back opening create fullness. Back opening(30cm) has insert of black satin joined to LHS of opening to enlarge the opening. Insert attached to waist band with two press studs. Two other press studs attach skirt to RHS of insert. Brown cotton waistband hand stitched to skirt. Ties attached to waistband at back opening- one cotton tape, one satin ribbon. Front centre panel has a piece of black satin stitched as lining from eighteen cm below waist (57cm deep). Stitched across and attached to side seams. Lower edge trimmed with black lace. Second piece of satin lining stitched to centre seam and stitched around the hip to partway across back.(Looks like a nylon petticoat cut in two pieces and stitched inside skirt as a lining). Hemline has fifteen cm piece of cotton lining attached and lower edge of hem has fringed cotton binding attached.. Side seams of front panel have decorative trim of embroidered braid extending seventy-six cms from waist. Braid then turned ninety degrees and continued in a horizontal zig zag line around to centre back seam (both sides) twenty cms above hem. Hand and machine stitched.costume, female, ladies dress- bodice.

Series of Black & White Photos Hill Family & Friends Post War Australia 4 in Total. Two males dressed in white trousers and shirts with dark jackets, one holds a parasol, the other two tennis racquets, gable roofed house in left background, lace work edging on the veranda, tree on nature strip, bushes and trees to right background, promenading Point Lonsdale Victoria Australia 1922. Jonah and child. Jonah wears a dark skirt and white blouse with light coloured coat, child wears full length body suit and is holding Jonah hands, garden setting. Doreen reading in garden, she wears dark clothing, sitting in a cane chair, corner of house veranda and garden in background. Herb, dressed in dark suit with white shirt and dark tie, standing on pier, moored yachts and one under full sail in background, St Kilda Pier Victoria Australia.Hilda Hill Personal Collectionaustralia, history, post war life

Series of Black & White Photos of Hill Family and Friends during the war and post war life. Total 8 Photos. Welcome Parade General Pa n Bendigo October 21, 1918, tram wiring post in street, large two storey building in the background named Stanley's Coffee palace at corner of Mitchell and Mollison streets, Large crowd on roadway, Covered wagon among crowd with Good Shepherd laundry written on the side, foreground shows General Pau being driven through the crowd, General Pan is wearing a Napoleon style hat. Doreen dressed in a light coloured dress with white collar standing before a hedge, at rear is part of a corrugated iron roof gable, S.H.L.C. 27 September 1918. Group of four ladies three dressed in white and other a darker colour all seated on the ground, distant background a row of trees along a fence line, tea time Hibernian picnic Axedale 13 November 1918. Three women and young boy all seated on the ground, the ladies are all in white and two wearing white hats, young boy is dressed in suit with white shirt and dark tie and his right hand is pointing to his open mouth, to their right is a wooden structure and distant background more people can be seen, dinner time Hibernian picnic Axedale 13 November 1918. Overdeveloped photo of two young men standing between two shrubs and in front of a full length external window blind, 'The Ranche' February 1918. Group of four males dressed in dark coats and grey trouser at the snow Mt. Buffalo July 1923. Baby Irene clothed in white with bonnet seated in an English style pram with large wheels, picket fence and shrubbery in background, may 1918. Gert dressed in white shirt dark cardigan and dark skirt standing in front of hedged garden and trees, a small part of a roof can be seen between the trees, Railway Reserve 1918.Hilda Hill Personal Collectionaustralia, history, post war life

During the reign of Queen Victoria, whose long and conspicuous grief over the death of her husband, Prince Albert, appropriate dress for men and women for the period of mourning was strictly prescribed and rigidly adhered to. Widows were expected to wear special clothes to indicate that they were in mourning for up to four years after the death, although a widow could choose to wear such attire for the rest of her life. To change the costume earlier was considered disrespectful to the deceased and, if the widow was still young and attractive, suggestive of potential sexual promiscuity. Those subject to the rules were slowly allowed to re-introduce conventional clothing at specific time periods; such stages were known by such terms as "full mourning", "half mourning", and similar descriptions. For half mourning, muted colours such as lilac, grey and lavender could be introduced.. Special caps and bonnets, usually in black or other dark colours, went with these ensembles. There was special mourning jewellery, often made of jet. By the late 20th century, this no longer applied, and black had been widely adopted by women in cities as a fashionable colour. A lady's full length black fine wool dress with pleated bodice and skirt. A beaded detachable collar sits over the dress forming a V shape back and front and is attached by hooks and eyes on right shoulder . Centre front from neck to point is a row of small black circular sequins. clothing, dressmaking, craftwork, cheltenham, market gardeners, pioneers, early settlers, moorabbin, bentleigh

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

Roselia Isabell Welch was an actress born 16 November 1838, probably in England. Father John Murrell Welch, mother Angela Towsey. Dress has been worn by her descendants.|This decorative day dress was worn by Roselia Welch to the 1872 Melbourne Cup. Roselia made her Cup Day dress by hand - she may have used a published dress pattern but her skill as a needlewoman is evident as the entire surface is decorated with narrow hand beaded black braid applied in a fern-like motif over the blue cotton fabric of the dress creating a lace-like effect.Dress worn by Roselia Isabel Welch to the 1872 Melbourne Cup. White lining inside dress, blue lining inside train. V neck, front hook and eye opening. Handmade hook holes down centre front. Set in sleeves with black piped armhole seams. Fitted bodice with black piped seams Flat front skirt, full bustle area at back with centre back opening. Floor length train. Blue printed label on lining of centre back panel, right side. Upper case letters 'SUP' visible. Brown tape at waist with hook. Two pairs of tapes either side of back opening for bustle. Black lace around neck, sleeve, train and back opening edges. Black cotton loop in centre of train. Inset pockets right side at hip level and very small one left side at waist level. Entire surface of dress decorated with black braid hand stitched in a fern-like pattern.

Trainee uniform 3rd year.Long sleeves worn until 1920s till 1947.Worn by Marjorie R.Hood.Grad 1927. (27.01) Catalogue work sheet missing.Thought to be one of the only examples of trainee nurses uniform of the 1920s era in the ahnl archive collection.Reasonable condition. Full length dress.Length from rt shoulder to hemline 125cms.From armpit to armpit of bodice 55cms.Full Length sleeves 66cms. Navy white cotton material in miniature houndstooth pattern.Small pocket LHS bodice.3 white fabric covered buttons on front of bodice.Press stud on neckline.X2 hook& eyes at waistband.x2 press studs off centre on skirt opening.Full length sleeves with 3cms cuff. Gathered at yoke,waist and sleeves.Slit pocket on RHS skirt. Re Apron 27-36.White apron made from Finleys sheeting.Yellow stain & repaired tear on skirt of apron.3 buttons on back to attach crossover straps. On waistline of apron Marjorie Hood written in black ink on back of waistline of apron. Re Apron 27-02 white Apron made from Finleys sheeting. Repaired midline tear from neck,10cms. From mid bib from waistline 11cm repaired (with modern day iron on white patch.) On Left side of apron another sown on patch repair. Minor ?ink stains on skirt. Some discolouration of skirt particularly over shoulders of apron straps on outside and underside of hemline. 3 canvas covered buttons on waistline to attach apron straps. Marjorie Hood written in black ink on back of waistline of apron. Re Collar: unstained white.Good condition.Square edge. Re cuffs x 2: Lt cuff has multiple rust stains.Rt cuff unstained.Rectangle yellowed cufflink studs. Re Belt.Yellow discolouration.Good condition. (K.M. Hiatt in blue embroidery on white label sown onto belt-more modern and used to complete ini form). Re 3rd year ArmBand.yellow discolouration.Solid Red coloured Maltese cross in felted wool attached.(in black ink 86.01 on back of armband) Oil marks front of skirt section.Evidence of fraying on RHS skirt.Discolouration stain 12cms x9cms approx on skirt over pocket RHS.

A dress belonging to the family of George Ward Cole in the late 1800s; possibly his wife Thomas Anne Ward Cole or one of his daughters, Margaret or Agnes. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished. A hand sewn, brown silk, evening dress, circa 1860, consisting of a bodice and skirt. The bodice features an off the shoulder neckline edged with cream lace. A chevron design of black velvet trim, passes from the shoulders to the centre front waist, then hangs loosely to the hip line. The black velvet trim on the sleeves and the skirt is edged with a black fringe. The bodice (.1) base is finished in a v-shaped front at the natural waistline. There are short puffed sleeves also feature the black velvet fringed trim and lace at the edge along with three epaulette style strips, which pass from the shoulder seam to the edge of the sleeve. Each strip finishes with a decorative bobble. The bodice lining is cream glazed silk with steel boning, cotton tabs sewn into both sides have four eyelets for lacing. The dress has a full, floor length unlined skirt (.2) which is slightly longer at the back creating a modest train. The skirt has horizontal bands of the velvet trim and finishes with a box pleated trim of the dress fabric. The dress is fastened at the back using two connecting rows of black velvet covered buttons.brighton, st ninian's, 1860s, evening dress, george ward cole, thomas anne ward cole, margaret morison ward cole, agnes bruce ward cole

This skirt belonged to Olga Black, a long-time Brighton resident. The linen used for the skirt were woven by Olga's great-grandmother Efstathia in the late-nineteenth century with flax grown on the island of Ithaca. In the 1950s, Olga made the fabric into a skirt, embellishing it with hand embroidery. Olga Maria Black was born in Melbourne in 1930, the daughter of Ithacan migrants Constantine and Toula Mavrokefalos. Constantine first emigrated to Australia in 1902, returning to Greece circa 1912-13 to serve his home country in the Balkan Wars. Toula's family had left Ithaca for Romania when she was only six months old, but she happened to be visiting the island at the very time that Constantine arrived, fresh from the war. Within three weeks they were married, and when Constantine returned to Melbourne in 1914 his new bride came with him. Constantine had trained as an accountant, but his qualifications were not recognised in Australia. Changing his surname to the Anglicised "Black", he started off working in his older brother Dionysios's cafés before going into business on his own. In 1917 he opened the Paris Residential Café at 54-56 Swanston Street, which offered both dining and accommodation. The business saw some years of success, but did not survive the Great Depression. Constantine died in 1944. Olga's mother Toula learned to sew as a child, while growing up in the Romanian village of Brila. She developed her skills making lace and embroidering items for her trousseau. Some of the linen she embroidered had been woven from flax on Ithaca by her own grandmother, Efstathia. During the Depression, when money was scarce, Toula embroidered at home, doing work for a factory in Flinders Lane. Using a cotton reel, a threepence and a sixpence she created and embroidered designs on hundreds of blouses. Olga spent her preschool days sitting at the table where her mother worked. Toula would involve Olga by allowing her to help choose the colour combinations. Toula lived with Olga in Brighton until her death in 1976. Olga inherited her mother's sewing skills. She re-invented some of Toula’s trousseau nightdresses and skilfully altered other clothing, making dresses which she wore around Brighton for many years.Ankle-length full cream linen skirt with multi-coloured cross stitch embroidery featuring mountains, birds and trees. Fullness is pleated into wide waist band. Left side opening. The fabric widths have been whipped together by hand probably at the time the cloth was woven in the late-nineteenth century. The skirt is machine stitched.skirt, linen, hand woven, embroidery, ithaca, migration, greek diaspora, olga black

This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Of all the items Di donated to the Society, this four-piece Easton Pearson outfit was her favourite. When she bought it around 1997-98, it was the first time she had spent a large amount of money on clothing, and she thought it only fitting to throw a suitably elegant party at which to wear it. James Cameron's hit movie 'Titanic' had just been released, and upon discovering the recipe book 'Last Dinner On the Titanic: Menus and Recipes from the Great Liner', Di was inspired to host a Titanic-themed party for her friends. Held at her home in Brighton in 1998, the event included a string quartet, an eleven-course meal prepared entirely by Di, and a life boat in the backyard swimming pool.A four piece outfit consisting of a blouse/cardigan, camisole, skirt and wrap. Double-layered silk wrap with an outer layer of silk chiffon. Both ends feature and embroidered band of brown and black cotton, copper wire, and copper glass beads. Camisole of black and copper shot polyester rayon with wide shoulder straps and small shoulder pads. Blouse of brown silk chiffon, with a v-neck and eleven silk-covered buttons and loops at centre front. Patch pockets over front hip and full length sleeves. The neckline and sleeve edges are trimmed with copper-coloured glass beads. Full-length double-layered straight skirt with black and copper shot polyester rayon lining and silk chiffon overskirt. The skirt secures centre back with a nylon zip and botton closure. The skirt features a centre front embroidered panel of brown and black cotton leaf and flower motifs, with copper wire and copper glass beads. manufacturer's label: "Oh! Easton Pearson", "Pure Silk", "Polyester Rayon", Care label, "M"costume party, titanic, easton pearson, pamela easton, lydia pearson, australian fashion, di reidie, 1990s

This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Di purchased this in 2012 at an auction of vintage clothing from the private collection of prominent Sydney fashion designer Lisa Ho, part of a wider sale of assets after Ho's business fell into deep debt. Ho began collecting vintage clothing and fabrics at the age of fifteen and her collection featured significant clothing items collected from around the world. For many years she drew on it as a source of design inspiration, particularly for print, in her highly successful fashion business. Di later wished she had purchased more at the auction!A full length slim fitting gown of gold metal thread and black thread self wave design fabric. The dress features a shawl collar, vertical pleat bodice, three panel, peaked front skirt. The dress secures with press studs at the centre front for modesty with a full left side opening secured by press studs. The sleeve features a front and back seam creating a squared shoulder head with fullness that is pleated in centre on the arm. the sleeve length is above the elbow. lisa ho, lisa ho collection, di reidie, vintage clothing, 1930s

Purchased from an opportunity shop, this dress is a stage costume bearing the label of Bonn & Mackenzie, a prominent UK costume designer from the 1950s to the 1970s. The dress appears to have been worn by June Bronhill (1929-2005), a prominent Australian opera singer and actress, whose name is handwritten on the label. Born June Mary Gough, she began using the stage name of Bronhill in 1952 in honour of her NSW home town of Broken Hill as a form of thanks to the local community who had helped raise money to send her overseas for professional training as a singer. Bronhill trained in London and gained early exposure with the English National Opera. She went on to star in many theatrical productions in Australia and the UK. She moved back to Australia permanently in 1976, and in 1980 was cast in her first television role as Mrs Crawford in the Australian version of 'Are You Being Served?'.Full-length short-sleeved dress of white cotton, lace and nylon, featuring elaborately ruffled sleeves and vertical stripes of lace on the skirt and bodice. The dress is open at the back, fastening with hooks and cotton ties to facilitate quick costume changes.Label, white cotton with red text: "BONN & MACKENZIE LTD. / TEMPLE BAR 1393". Handwritten underneath in black pen: "JUNE BRONHILL".june bronhill, bonn & mackenzie, theatre costume

Black and white photograph of three ladies wearing full length skirts with small bullock team pulling a drum, lady in front holding a whip on farm in Gippsland Victoriatransport, clothing

The Gown of the Year Program was a gala event in Melbourne's cultural calendar. Australia's supermodels of the day, such as Diane Masters (pictured), Bambi Shmith, and Betty Jackson modelled clothes by Melbourne's leading designers, Hall Ludlow, Le Louvre, and others. Diane Masters has played a seminal role in contributing to the Design Archives through her personal and professional fashion archive, her role in the Hall Ludlow collection and archive, the Laurie Carew collection, and her generosity in gifting items from the Frederick Romberg archive to the RMIT Design Archives. She has been and remains a key figure in Melbourne and Australian fashion. Suzanne Davies, 2017Black and white photograph features fashion designer Hall Ludlow (right), holding his trophies for winning the 1959 Gown of the Year at the Menzies Hotel, Melbourne. Model Diane Masters (right) is wearing the winning gown: a pale full length gown with short sleeves, scoop neck, and ruffled skirt. The matching coat also features small ruffled down its length.Verso: Stamped in black ink, bottom right: 'Photographed by/ ATHOL SHMITH/ F.R.P.S . . F.R.S.A/ 125 COLLINS STREET, MELBOURNE/ TELEPHONE MF 5[illegible]4australian fashion, fashion design, mid-century modern

This light woollen evening dress is made from Peppinella, a new fabric Norma Tullo introduced into her range in 1973. The fabric was used exclusively by Tullo, and came from the wool of Peppin Merino (first introduced into Australia in 1858 by the Peppin brothers). According to the papers of the day Tullo’s 1973 winter collection featured ‘St. Trinian’s styles to garments dripping lace, in bold plain colours to floral prints.” Shirley Lyle designed the floral fabric. Norma Tullo (1935-2019) was one of the leading fashion designers of her time, establishing her label in 1956. After establishing a business the Old Metropole Arcade in Melbourne in 1956, with three sewing machines, Tullo's ready to wear fashions for young women became sought after, and her business flourished. In 1966 the Japanese department store chain Isetan Co Ltd began to mass-produce her garments for their stores across Japan. Tullo closed her label in 1977, and later worked for Fletcher Jones. Ann Carew, 2020The dress is historically significant as a dress designed by Norma Tullo, a leading fashion designer of the 1960s and 1970s. During this period the Australian Wool Industry strove to promote wool, and to develop light woollen fabrics to compete with new synthetic fibres such as rayon. The garment is historically significant for the use of a merino wool showcasing its versatility for dress fabrics. Full length woman's dress with full skirt and long sleeves, collared with open neck and pleat work on bodice. Material is predominately red with a repeated pattern featuring posie of blue and mauve flowers.Inscribed, black label on back neck left of zip, 'TULLO/IN/PEPPINELLA/AUSTRALIA MERINO WOOL'; Inscribed, white satin label on back neck right of zip, 'DRY CLEAN ONLY'; Inscribed, white satin label underneath above label, 'SIZE 12/To Fit Bust 34"/To Fit Waistwool, rmit design archives, rmit university, woman's dress, textile design, australian fashion

Dress belonged to the donor's mother or grandmotherFull length black crepe afternoon dress flared skirt. Basque. Front cut under the bust. Cream bib front,pointed collar,frilled edge,fastening with eight pearl buttons and loops and short puff sleeves. Complete with black rayon slip. 1930s.costume accessories, female

Lily and William Wishart lived during this period in 'Noranook', Fernhurst grove, Kew. There are numerous contemporary accounts of the social and civic activities of Lily Wishart as mayoress of Kew. In a description of a 'Mayoral At Home' in the Kew Recreation Hall, a report in The Australasian (10 Aug 1907, p.46) described the event thus: MAYORAL AT HOME In the Kew Recreation-hall on Thursday evening the Mayor and Mrs. W. Wishart gave an at home to between two and three hundred guests. ... Prior to the musical programme, the mayor and mayoress held a reception, standing on a dais at one side of the room. Mrs. Wishart was gowned in black glace silk, trimmed with handsome lace applique, and she wore a cream Maltese lace scarf over her shoulders, and held a bouquet of cardinal carnations.' This may be the dress in the collection. Another interesting and relevant report is an account in The Argus (19 March 1907, p.6): 'WOMEN'S WORK EXHIBITION The mayoress of Kew (Mrs. W. Wishart) invited the ladies of the district to meet in the mayor's room, town-hall, Kew, at half past 3 o'clock tomorrow afternoon, to consider steps to be taken locally in support of the proposed Exhibition of Women's Work.'The dress is locally significant as the work of a skilled home-dressmaker in Kew, who was also a leading civic figure in the municipality. One tends to think of amateur dressmakers as women who could not afford to purchase clothes from a retailer. Clearly, 'women's work' and the skills that educated and wealthy women acquired in the period allowed them to fashion their own garments.Full length evening dress in four parts. Undergarments include two items: a basic black silk petticoat and an upper black silk slip, the latter with two bands of ruffles. The lace dress is in two parts: a bodice and a skirt. The black, high-necked bodice is constructed of silk organza to which guipure lace has been extensively applied. The bodice has long puffed sleeves, gathered on the forearm to form a wide band of lace and ribbon at the wrist. The skirt is constructed of the same black fabric with descending bands of gathered black silk ribbon, used as ornamentation. The skirt also features a long train. Apart from the donor information about its provenance, the style of the dress can confidently be dated to the period 1900-1910. The dress was made and worn to civic functions by Mrs Lily Wishart, Mayoress of Kew in 1906-7. Earlier items belonging to William and Lily Wishart entered the collection as early as 2002. The dress was donated by a descendant of a friend of Lily Wishart in 2020. The photograph of the dress and its components attached to the record needed to be digitally enhanced so that details of the dress could be viewed online, as the fabric of the dress is an intense black. A physical assessment of the dress is included in the condition report.fashion & design collection - kew historical society, australian fashion - 1900s, evening dresses, lily clara wishart, fashion design, fashion -- 1900s

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 black lace evening dress with a fitted black silk lining. The ‘v’ necked gown has a very full skirt. The lace has an abstract floral pattern. The garment was previously dated to the 1930s.costumes, evening dresses, fashion - 1930s, fashion design

1958 Cotton short sleeved full length housecoat. Background in white with black lined check with pink full blown roses and buds with green leaves. Full circle skirt with square pocket on right side of skirt. Pocket has frill around three sides. There is a tie belt. It has a large revers with narrow frill around.A JONIVIC GOWN SSWcostume, female underwear