Owned and donated by local member.Black woven cotton hat band for WRAAF (Womens Royal Australian Air Force) officers. Cloth embroidered badge with padded gold bullion and red velvet crown, gilded metal eagle and gold bullion laurel leaves. Badge model is late 1960s and after - bird is Australian wedge-tailed eagle.Noneheadgear, hat accessory

Slouch hat acessory - cotton fabric, khaki puggaree with seven band folds.“C.G.C.F. 1969 - 7 1/2 D.N.W”passchendaele barracks trust, bpt121, puggaree, uniform, slouch hat accessory

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis pin has a black plastic tear-drop ball at its head (earth shaped). It has diamond like chiseled profile from a centre band to the apex of both ends. The centre region has a herring bone pattern. Identical to Item KVHS 0356millinery, hat pin, female head wear, hat accessory

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsBrass Pin, two 3.5cm cones, gold coloured tapered down to imitation half peal centre piece Cones stamped with small flower petalsmillinery, hat pin, female head wear, hat accessory

Historically this item could be a valuable antique worn originally by a wealthy upper class woman. The fine hand painted pictures with gold boarders and porcelain body suggests the item was bought either in Europe or Britain and brought into Australia in the late 19 th to early 20 th century by a wealthy landed gentryThis item is a reflection of both the fashion mode of the 1800s to mid 1900s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsHead of pin is six sided, domed top made of porcelain. Two sides have hand painted pictures of grapes, two sides with flower arrangement , two sides detailing cypress tree tips of branch, top has flowers and leaves with hidden small birdshat pin, porcelain hat accessory, millinery clothing

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsPin head consists of one eight petaled flower, two seed pods half open and one long leaf connecting leaf with seed pods. pin head and shaft are gold coloured. see KVHS 0352 for same pin except details are highlighted with darkened outlines(may be dirt)clothing, millinery, costume, women hat accessory

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis hat pin has a yellow/amber glass ball head. It in is the same style to KVHS 0357 and KVHS 0359clothing, millinery, costume, women hat accessory

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsA long hat pin with a royal blue glass head. It is in the same style to items KVHS 0357 and KVHS 0358clothing, millinery, costume, women hat accessory

Bonnet box or hat box, metal, oval, with a brass swivel handle on lid and a brass lock. Manufactured by Legges. The outside has been painted tan or brown, the inside is bright bluw.Marked "Legges" "(symbol of a crown)" "Patent Secure Staples and Joints"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bonnet box, hat box, metal hat box, legges, accessory, hand luggage, travel goods, personal effects

Box is from Cramond & Dickson store in Warrnambool. Cramond and Dickson migrated from Scotland to Melbourne where they opened a Cramond and Dickson store in St Kilda in 1852. They were inspired by the growth in Warrnambool after a visit and established their second store there as Cramond and Dickson, direct importers and drapers, in 1855. In 1856 they opened a store on the corner of Liebig and Timor Streets, Warrnambool. They extended their premises in Liebig Street in 1859, and then in Timor Street in 1859. There were further additions and improvements in 1889 and they continued to trade until 1973 (now the site of a Mexican restaurant). An advertisement placed by Cramond and Dickson in The Camperdown Chronicle, Saturday 6th April 1895, states them “showing the latest novelties for the coming winter season” … “import directly from English and Continental manufacturers” … “representatives in London … always in touch with the Newest Continental Fashions” ... “having been established for so many years we know the requirements of the Western District”… “allow 5 per cent discount on goods paid for at the time of purchase”.The hat box is important for is connection with the local business store, Cramond and Dickson. The store traded for over 100 years; 1856-1973. The strong, sturdy hat box indicates its purpose was for travel luggage, providing protection for the fashionable women's headwear of the era.Metal bonnet box or hat box, round shape, coloured brown. There is a metal carry handle on both the lid and the side of the box. The box is from the Cramond and Dickson store in Warrnambool. The lid is detached from the base. The lock was mad by LEGGS."LEGGS patent and secure joint and padlock staple"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bonnet box, hat box, fashion accessory box, cramond & dickson, department store, warrnambool business, ladies fashion, headwear, travel luggage

This booklet is a lookbook of male and female flight attendants uniforms designed by David Weiss for the period 1984-1986. It shows the different options and combinations of accessories, tops and bottoms presented on mannequin and also photographed on models. It also explains the presentation standards expected from the in flight staff in regards to grooming, jewellery, make-up, hairdo.This lookbook contains the vision of designer Peter Weiss for this collection. Landscape format catalogue with light blue background and colour pictures of uniforms for male and female flight attendants. It contains david weiss, 1984-1986, uniform, flight attendant, stewardess, steward, hostess, clothing, accessory, hat, ansett, lookbook, ansett australia

A hat pin is a decorative pin for holding a hat to the head. During the 1880s, bonnets gave way to hats, and the popularity of hatpins soared. They remained a standard women's accessory through the 1910s and were produced in a vast range of materials and types. They were typically around 20 cm in length, with the pinhead being the most decorated part. In some countries they were viewed as a potentially dangerous weapon which could be used by women in self-defence, so regulations were introduced to limit the length allowed. These hat pins were used c1900.This item is from the Raper Collection donated to the Wodonga Historical Society by Mrs. Jean Raper. A pair of simple hat pins with faux silver ball shaped head.jewellery, hat pins, fashion accessory

Part of the Meade Collection. See Cat No. 10785P for details of service of "Ernest James Meade" No. 2112.1. Black and white studio photograph of a lady standing in front of a painted backdrop. Lady is wearing a dark dress and hat. Fur accessories being worn include a collar shawl wrap and muff handwarmer. Postcard format with handwriting on back. 2. Black and white studio portrait of a lady. Photograph is presented as a vignette. Photographer's name written on photograph. Handwritten message on photograph and envelope/folder. Photograph housed in a cream coloured folder with studio details on front.1. Handwritten in black ink on back: "To Ernest from Miss A. Baxter, 13 Barr St. Bridgeton, Glasgow". 2. Handwritten in black ink on photograph: "Yours Rosie". Handwritten in black ink on folder: "Sunday 17th 1918, England".meade collection, ernest james meade, photograph, ww1

These ribbons were worn on the Clarendon Ladies College (CLC) uniform summer and winter hat. The CLC accessories were worn in the 1900 - 1910 era. After 1920 the school changed its name to Clarendon Presbyterian Ladies College and the crest reflected ths change. Prior to the early 1900s students wore dark skirts and white blouses and ribbon ties. Formal photographs taken at Speech Night saw the girls in frilled and lace white dresses. Fragment of navy blue ribbon with white border and fine gold line between white and navy; Clarendon ladies College crest embroidered; the fragment is accompanied by a roll of the same ribbonCLC crestclarendon-ladies-college, hat-band, 1900s, 1910s, uniform, hat

The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. Most of the hats in the collection were created by milliners for women. There are however a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.Faux wool woman’s hat made of 'polyacryl' and 'thermoplastisch' in shades of blue and yellow. While the hat is based on the shape of a fedora the design is softened by the varying shades of colour in the weave.Label: 70% Polyacryl 30% Thermoplastisch, Made in Italywomen's clothing -- hats, fedoras

The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. Most of the hats in the collection were created by milliners for women. There are however a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.The hat was owned and worn by 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. 1920s navy blue felt cloche hat. The irregular border of the cloche is highlighted by a ruched band of emerald green velvet. The hat is part of the McIntyre Collection.Nilhats, australian fashion - millinery, fashion accessories, mcintyre collection, lilian cohen

Tertiary education at Ballarat began with the establishment of the School of Mines in 1870, making it Australia's third oldest tertiary institution. Classes began in surveying, mathematics, chemistry and a decade later they included metallurgy, assaying and geology. The technical division provided such programs as wool classing, plumbing and bricklaying. In 1967, it was split into three separate institutions, Ballarat School of Industries, Ballarat Technical School, and Ballarat Institute of Advanced Education. Then in 1976 the Ballarat Institute of Advanced Education became into Ballarat College of Advanced Education. The Ballarat School of Industries and Ballarat Technical School became the School of Mines and Industries, Ballarat (SMB). In 1998, the Ballarat School of Mines and Industries and the Horsham-based Wimmera Institute of TAFE merged with the University of Ballarat. The university merged with Monash University's Gippsland (Churchill) campus in 2013 and the merged schools are now the Federation University AustraliaThis woven band of dark blue has two narrow bands of gold on either side. It has a 4cm turn back at the end, which is held by a folded and stitched piece of the same band placed at ninety degrees around the band. school of mines ballarat, hat band, uniform, costume, textiles

Edith (Alice) WATSON (1914–2010) Murtoa | Australia Alice Watson studied at the Ballarat Technical Art School (at the School of Mines, Ballarat) from 1930 until 1933. These works include commercial art, advertising and catalogue illustrations as well as figure construction and fashion-plate designs. Watson sat several departmental exams, including drawing and painting plant forms from nature, lettering, Composition of Form and Colour and advanced General Design, as well as dressmaking and embossed leatherwork. Her folio applies many Australian native floral elements to design. Upon graduating, Watson taught at the Murtoa High School, living with her parents until their deaths in 1972 and 1988 when she was 74 years old. Alice Watson died in Ballarat, aged 95, having conserved her beautiful student folio, which was generously gifted to the Federation University permanent Historical Collection by the Watson family. Commercial artA folio of Fashion Drawing by Edith Alice Watson of the Ballarat Technical Art School. .1) Two women dressed in fashionable clothing- lhs tan ensemble and hat; rhs fuschia ensemble with black and white accessories plus fur stole. Signed lrs A.Watson. 1933. .26) The image with three women wearing a hats. This appears to be an example of ticket writing. Signed lrs "A Watson- 2nd term. 1932." .35) The image with a woman wearing a hat appears to be an example of ticket writing. Signed lrs "A Watson--11th-7-32." .23) female figure drawing. Signed lrs A.Watson. 1st Term. 1932 .21) female figure drawing. Signed lrs A.Watson. 2nd Term. 1932 .17) drawing of lips, side view. Signed lrs A. Watson. 1931 .18) drawing of lips,three-quarter view. Signed lrs A. Watson .37) Paper is embossed with 'Windsor & Newtons Bristol Board' stamp.(Griffin depicted in centre)alice watson, ballarat technical art school, art, drawing, figure drawing, alumni, costume drawing, fashion drawing, ticket writing, 1930's fashion, indian ink, edith alice watson, figure construction, advertising, commercial art

Dressing tables have been around since the beginning of the seventeenth century. However, it wasn't until the early to mid-20th century that middle-class homes included them in their furniture. They were often a matching part of a bedroom suite. Dressing tables often featured a variety of objects such as combs, brushes, hand mirrors, perfume bottles, cosmetics, nail buffers, ring holders, jewellery trinket boxes, trays and pin bowls or pin trays. The latter were small shallow containers used for storing hat pins, hair pins, safety pins, and perhaps earrings. They were made of various materials including glass, metal and ceramic.This pin bowl represents an era in the early-to-mid 20th century when matching dressing table accessories were popular and affordable to middle-class women. They were marketed as gifts and sometimes included perfumed soap and powder.Pin dish, round, cut glass, slightly convex sides without a pattern. Thick heavy, concave base with a concertina fold pattern.flagstaff hill maritime village, shipwreck coast, flagstaff hill, warrnambool, flagstaff hill museum and village, domestic object, dressing table, dressing table tray, glass tray, pin tray, pin bowl, dressing table accessory

Dressing tables have been around since the beginning of the seventeenth century. However, it wasn't until the early to mid-20th century that middle-class homes included them in their furniture. They were often a matching part of a bedroom suite. Dressing tables often featured a variety of objects such as combs, brushes, hand mirrors, perfume bottles, cosmetics, nail buffers, ring holders, jewellery trinket boxes, trays and pin bowls or pin trays. The latter were small shallow containers used for storing hat pins, hair pins, safety pins, and perhaps earrings. They were made of various materials including glass, metal and ceramic.This pin bowl represents an era in the early-to-mid 20th century when matching dressing table accessories were popular and affordable to middle-class women. They were marketed as gifts and sometimes included perfumed soap and powder.Pin bowl; a light weight, round bowl with straight sides featuring a cut glass pattern, and a flat base with a star design.flagstaff hill maritime village, shipwreck coast, flagstaff hill, warrnambool, flagstaff hill museum and village, domestic object, dressing table, dressing table tray, glass tray, pin tray, pin bowl, dressing table accessory

This sturdy, deep hat box has been carefully constructed to give the contents utmost protection in the roughest of travel conditions. At the same time, attention to detail and quality of materials makes the box an attractive, desirable and useful piece of luggage. The supports inside the hat box show that the hat’s brim dipped at the front and back in the popular 1920s Homburg or Derby style. The hat box was likely to have been purchased, complete with its fashionable hat and personalised with the initials ‘G.M.’. The five shipping labels on the hat box tell that the owner traveller overseas with it on more than one occasion. The owner had first travelled with the shipping line Peninsular & Orient Steam Navigation Company, and may have been one the first Australian passengers in 1932, as the remnant of label on the base reads Sydney. The owner later voyaged under the company’s new name of P & O. and travelled from at least one of the voyages from Melbourne to London The square label, with “P & O” and red printed “M” in centre of circle, refers to alphabetical organisation of baggage by surname, connecting the owner ‘G.M.’ to the owner’s voyage with P & O. The P & O shipping line’s early beginnings started with the partnership of London ship broker Brodie McGhie Willcox and Scottish sailor Arthur Anderson in 1822. The partnership was joined by Irish shipowner Captain Richard Bourne in 1835 and they began operation as the Peninsular & Orient Steam Navigation Company with a service between London- Spain - Portugal. In 1932 the company expanded to include Australia with its passenger services departing from Sydney; in 1840 the company was incorporated. After various take-overs of other shipping lines and businesses, it operated under the name P & O. JOHN BRUSH The hat box was made by Australian saddle designer and maker, John Brush, Sons & Co. Brush began his saddlery trade in Roma, Queensland, His designing process included consulting with the men who rode and worked the horses. He was described in the Sydney Morning Herald of December 15, 1897, as a leading Sydney saddler, well known and reliable, with every kind of English and Australian saddle on view. John Brush established his business in 1840, operating from 371 George Street Sydney. A catalogue from that era jointly advertises John Brush (371 George Sty Sydney) and Butlers & Brush (432-4 Queen Street Sydney), both under the name of Edward Butler & Co. Pty. Ltd. The catalogue included saddlery, harness equipment, riding wear and travel goods, and strongly promoted the Wienkek made saddles, which he distributed Australia wide. John Brush, So & co. advertised its ‘new’ address in 1887, as 403 George Street Sydney. In 1898 Brush made a side-saddle for a customer, a design popular with gentlewomen of the era. The business was still operating over 100 years later, producing a catalogue in the 1950s.This early 20th century hat box is significant for being one of a kind in our Collection. Its fitted design shows the shape of the hat, dating it from the 1920s men’s fashions. The hat box is significant for being a high quality hat box made in Sydney, Australia by prominent and successful early colonial saddler and leather goods business, John Brush, Son & Co. The labels on the outside of the hat box are also significant, representing the prosperous lifestyle of an Australian traveller who purchased quality goods and cared for them. The traveller was able to depart from firstly the Port of Sydney and later the Port of Melbourne. Hatbox, oval shape, brown leather, strong, sturdy construction, six pieces, and metal lock on base. Wide lid, then tapers to a narrower base that has a red leather trim. Brown velvet fabric lining inside and covers some accessories. Other internal accessories are trimmed with plain red paper and blue and white striped paper. The lid has two attached leather tabs and a leather handle and underneath it has a drawstring liner and oval, gold-lettered maker’s label. The internal oval box has a leather retention strap and brim support. Separate moulded brim support is included. A detached leather strap with catch is inside the base. Inscriptions are stamped on the lid, printed on the maker’s label, attached as printed paper labels to the lid, sides, and under the base. Maker is John Brush, Son & Co. of Sydney. The owner’s initials “G.M” are embossed on the lid.Stamped on lid “G. M.” Label, oval, inside lid “JOHN BRUSH, SON & CO. / MANUFACTURERS & IMPORTERS / of / SADDLERY AND HARNESS / 403, GEORGE ST. / SYDNEY” Label, paper: “BAGGAGE, MELBOURNE TO LONDON’, part of word ‘CABIN’ and “P & O” Label, square, white background, black print, circular emblem: ‘PE - - - - - & ORIEN-’, ‘STEAM NAVIATION COMPY.’ BAGGAGE’ and a red printed “M” in centre of circle. Label, rectangular, white background, black print; narrow line border, text in rows and an ‘X’ overprinted, from corner to corner of the border: “BAGGAGE / P. & O. S. N. Co. / MELBOURNE / To / LONDON” Label, paper, rectangular, white background, black print, an “X” across the label: “CABIN / P & O / “ Label, paper, on base, “– aid” [Paid], “SYDNEY” flagstaff hil, warrnambool, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, hat box, leather hat box, vintage hat box, top hat, homburg hat, derby hat, travel ware, luggage, leather goods, travel goods, clothing accessory, men’s clothing, john brush, son & co, saddler, sydney firm, peninsular & orient steam navigation company, p & o, g.m., melbourne to london, sydney port, melbourne port, hat case

Hat-pins were worn to anchor hats to the head and could be considered a functional piece of jewellery. Traditionally inserted into the crown of the hat and through the hair piled atop the head.Hat-pins were needed to secure the large, lady’s hats fashionable at the time. The Maggs family were early settlers in Moorabbin Shirec1910, 2 lady's silver hat-pins, with hollow circular silver surround, around a thistle flowerHallmark Birmingham Assay Office Englandjewellery, clothing, dressmaking, craftwork, silversmiths, maggs geoff, early settlers, market gardeners, moorabbin, bentleigh, cheltenham, brighton

Victorian and Edwardian ladies adorned their hats with various bird feathers. Although living conditions in Moorabbin Shire c1910, were basic families still held onto their traditional English and European customs and took pride in presenting elements of refined society. Gladys Reed was a member of the Ormond Choral Society c 1950. who performed plays and musicals the City of Moorabbin and she was skilled in craftwork, hand knitting, crochet and dressmaking. Her garments were used by her family and the Ormond Choral Society C1910 Women in Moorabbin Shire followed the fashion from Europe and made their own clothes and accessories using their dressmaking, craftwork and design skills 8 x feathers of various sizes and colours for adorning a Lady's hat c 1910 a) Blue & b) White Ostrich, c) Black Cockerel, d) Black Emu Feathers. e) Brown stripped Coque Diamond Tail f) Pink dyed ostrich, g) Black duck, h) black fur clothing, millinery, hat feathers, haberdashery, crochet, doilies, brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork , bentleigh, lacework, moorabbin shire,reed gladys, clark judy, dairy farms, fruit orchards, footwear, shoes, buckles, clothing, silver, pewter, brass, victorian fashion, edwardian fashion, mckinnon, moorabbin, cheltenham, wedding dresses, evening wear,

A wooden clothes or hat brush with an ornate metal (copper?) inlaid plate on the back of the brush section. The brush is curved. brush-clothes accessories

Stuart Hats commenced manufacturing hats in about 1948 and closed their factory in Orbost around 1953 probably because of the high transport costs. The company's head factory was in Melbourne. The hats made in Orbost were sold all over Australia as well as in Melbourne at Myers and David Jones. Orme Andrews Ladies' Wear was the only store in Orbost to stock the locally produced Stuart Hats. The building became first a Dry Cleaners and then a private home.Stuart Hats was a significant manufacturing business in Orbost in the 1950's employing nearly 20 local people.A woven straw hat with a wide brim. It is a natural colour with braid as a hat band. Inside are two sewn on pieces for a pink tie.millinery stuart-hats clothing accessories hats

This was owned by Grace Cameron.Donor, Grace Cameron, was daughter of John Cameron who in 1875 selected first land on the Snowy River flats. He was married to Elizabeth Roadknight.A gold plated hat pin with gold wire coils and a pearl bobble on the top.hat-pin cameron-grace millinery hair-accessories