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. Golda Whelan, a designer with Hartnell of Melbourne designed this wedding dress for her daughter Liane Whelan. Liane married John Merry at St John's Anglican Church in Toorak in 1969.The dress was manufactured in the 'house' of Hartnell of Melbourne, a leading Melbourne Fashion House in the 1950s and the 1960s.White slim line lace wedding dress, featuring eleven self-covered buttons down centre back Off centre rear opening done up by metal press studs. The dress has a silk satin lining and netting underskirt.hartnell of melbourne, golda whelan, wedding dresses, lace dresses

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.Three quarter length dress of ecru needle-run lace with pearl buttons at front to waist and green under slip.women's clothing, australian fashion - 1930s, cocktail dresses, lace dresses

Good quality dress front/plastron. Fashion itemBobbin lace - Dress front

Use: Domestic. FashionBobbin lace dress front

Donated by Bass Valley Historical SocietyBlack & White Portrait of Anne McHaffie as a young child in lace dress.On back: " Anne McHaffie Phillip Island"mchaffie family, phillip island, bass valley historical society, anne mchaffie

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This silk and lace evening dress was made for Lily Clara Wishart (Mayoress of Kew 1906-7) by her niece, Mary Clara Cresswell (nee Skewes), who according to the donor, Lily's great niece, was a 'high class dressmaker'. It is one of two items in the Fashion Collection owned and by Clara Wishart.Long black fine lace evening dress buttoned to the waist at rear. The machine made lace on net fabric features a leaf pattern. Long black silk taffeta shift matching the lace evening dress.women's clothing, evening dresses, evening wear, australian fashion, lily clara wishart

Photograph of Jessie May Partington as a child.Jessie Angus was a Greensborough identity for her work with the local choral society and as a member of the pioneering Partington family.Postcard Studio portrait of small child in lace dress. Photograph in oval mount.In pen on mount: Jessie May Partingtonjessie may partington, jessie angus, jessie scholes, partington family

Fashion accessory. Home made or hobby lace. Belonged to Mrs Calder Oliver (donor's mother)Tape lace dress front. Machine made tapes with needle made fillings

Long coffee coloured wool lace evening gown with long sleeves and train. According to the donor (see correspondence in supp. file), this gown was made from Australian wool woven in Bradford and made up in Paris. It was given to the Melbourne Legacy Wives Association by Mr Ken Clarke (former head of the Wool Board and a Legatee) for use in a parade of garments by the Legacy Wives Association. This particular gown won an award (Wool Award/Gown of the Year?) in c.1957 and was on display in the window of the Georges department store in Melbourne.Long coffee coloured wool lace evening gown with long sleeves and train. Slip under coffee coloured lace dress. Detail of bodice of coffee coloured lace dress. Photograph from C of A: Ministry of Post War Construction Report c1945 "Wool"AC / AUST WOOL BOARDfashion, australian wool board, lace

This items was part of the Ivy Wilson Collection. Ivy Wilson married Frederick Henry Russell on 23 December 1933 at St Mary's Church of England Caulfield, and had one daughter - Nola. Ivy died on 17 November 1998 at Caulfield.Photograph of the Canadian actress Mary Pickford in a lace dress. Gift of Nola Jones, daughter of Ivy Wilson, 2016ivy wilson, mary pickford, theatre, silent movies, actress

This items was part of the Ivy Wilson Collection. Ivy Wilson married Frederick Henry Russell on 23 December 1933 at St Mary's Church of England Caulfield, and had one daughter - Nola. Ivy died on 17 November 1998 at Caulfield.Photograph of the Canadian actress mary Pickford in a lace dress. Gift of Nola Jones, daughter of Ivy Wilson, 2016ivy wilson, theatre, silent movies, actor, rudolph valentino, performing arts

Brighton councillor Sally Allmand's grandmother Minnie Toms (1878-1983) began making this dress and matching jacket in the 1920s, but never finished it. Sally's mother (also named Minnie, 1914-2001) finished it in the 1970s and Sally wore it when, as Mayor of Brighton in 1981, she was introduced to the Queen during a Royal visit.Sleeveless black floral lace dress (.1) with v-neck and matching collarless jacket (.2) with scalloped bottom hem.sally allmand, minnie toms, brighton council, politics

This dress was a wedding dress. Horseshoes have always been a traditional symbol associated with good luck . . Because the horseshoe is " U " shaped, to retain the the good luck forever, it is essential that the horseshoe is hung by the ribbons which are attached to the shoulders. The horseshoe should not be turned upside down or else all the good luck of the marriage may fall out.This dress reflects the needlework skills of women in the first half of the 20th century.A hand-made white full length lace dress with a lace-covered horseshoe attached to the shoulder. It has lace cap sleeves. The dress is lined with cream coloured silk.costume-female dress-wedding needlecraft hand-made horseshoe

This dress belonged to Christina Barclay 'Ina' Strahan (nee Guinn, 1889-1974), the mother of donor Sheila Alston (1911-2008). Ina married medical practitioner Dr Septimus Strahan in 1909 and the family lived in a stately home in Moonee Ponds from 1912 until Septimus' untimely death at 56 in 1933. Ina later moved to Sandringham, where her daughter Sheila also settled after her marriage to Peter Alston.Black chiffon and lace dress with long sleeves, scooped neckline. Lozenge shaped lace pattern; machine top-stiched chiffon panels.Label, woven, blue on cream cotton, centre back: MADE IN FRANCElace, christina barclay strahan, 1920s

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 bridal gown, circa 1947, covered entirely with cream coloured lace. The gown has a cream silk lining. The dress is in poor condition due to the lace which is extensively torn/rotted on the bodice. There are a few tears in the lace of the skirt.costumes, wedding dresses, lace, fashion -- 1940s, fashion design

One of a collection of 56 knitting pattern books donated by Mrs Hilma Carruthers. These books had been used by Mrs Carruthers, her mother and her two daughters. This book was produced by Coats Patons and contains knitting patterns for baby clothes.Patons / KNITTING / BOOK No. 709 / JUST FOR BABIES / 8 different jackets - / a hug-me-tight / A dainty lace dress / Knit them in Patons Baby Wool, / Patons Baby Wool with Nylon, / Patonyle 3-ply, or / Patons Orlon / 2'6 / 25 CENTShandicrafts - history knitting, coats patons (australia) limited, handicrafts - history, knitting

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.Long black crepe de chine and lace dress. The multi-layered dress includes extensive panels of black machine lace. It has long sleeves, again with panels of lace. The dress is buttoned at the back with buttons covered with the same fabric. The dress includes a separate long black slip.edith mary weir (nee betteridge), weir collection, australian fashion - melbourne - 1930s, evening dresses

OVAL PHOTOGRAPH OF FRANCES FORD. PINTUCKED FRONT AND LACE ON DRESS.S FISHER JOHNSON STURT ST.local history, photography, photographs, early citizens

Purchased in Swan Hill on behalf of the Society by Barbara Keene in February 2001All over lace dress. Sweetheart neckline lined in silk. Three petticoats, one silk, second one tuille with 17cm double flounce in front and third skirt stiffened cotton. The back 52cm train.costume, female ceremonial

Use: Domestic. FashionBobbin lace collar and dress front

This is the wedding dress of Ella Janetzki, nee Sutcliffe, who married Eric Janetzki in Adelaide on 25 January 1941. The dress was made to measure in a shop in Rundle Street, Adelaide, and cost four guineas. Eric had enlisted in the army in 1940 and was called to duty in 1941, which determined the date of the wedding - though Eric very nearly didn't make it! He caught the train from his home town of Nhill, Victoria on the eve of the wedding only to be held up by flooding on the tracks, ultimately arriving three hours late amid much fuss. Ella later said that there were so many setbacks it was amazing they married at all. They remained together for 58 years until Eric's death in 1999. The dress was also worn by Ella's sister Eileen in October 1943 when she married Jack Edwards at the Church of Christ, LaTrobe Terrace, Geelong. As this was during the war, the sisters did not have enough clothing coupons to purchase another dress. BHS also holds Ella's daughter Rayleen Haig's wedding dress (T0131).Cream lace wedding dress with high square collar, short puffed sleeves and long train.wedding dress, wartime bride, 1940s, ella sutcliffe, ella janetzki, eric janetzki, eileen sutcliffe, jack edwards

The coat along with matching hat and dress ensemble was made in 1980 at the Deniliquin TAFE 'Garment Assembly' course which was 2 years in duration. Mrs Sayer was always crafty but not great at other subjects. Coat is lined with a petticoat which Mrs Sayer wore in 1958. The seal fur collar was purchased by Mrs Sayer's mother at the shop 'Manly Corso' in Sydney, after WW1 with money from her father.Light brown wool coat with seal fur collar attached. Lined with red fabric from the petticoat of a taffeta and lace dress that was worn by Mrs Sayer in 1958. Wooden buttons down coat and on sleeves. Coat has been handmade and has no label.coat, wool, fur, fashion

This silk dress belonged to Edith Irene Marshall (née Horsefall), who married William George Townsend Marshall at St David's Presbyterian Church, Albury on the 18th September 1937. The dress contributes to our understanding of social and family life in twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history and women's history.A handmade 1930s silk and lace wedding dress with a long, circular train, waist sash and lace collar. 1930s, wodonga, albury wodonga, wedding, wedding dress, christianity, marriage, social history

- Belonged to donor's Grandmother Alice Smith - 1960's - Worn at cousin's wedding 26/06/1971- Navy lace evening dress with burgundy slip - 3/4 sleeves - Cummerbund waist feature - Full skirt'Created by Simone'wedding, lace, evening dress

Photograph. This is a photo-copy of 11400.751. A black and white photo mounted on cream card. It is from the Wedding of Mrs James Mitchell (nee Ella Nicholls, Bendigo). A floral head-dress holds a long veil, fingerless gloves, and a large round bouquet complement this beautiful silk and lace dress.photograph, person, copy wedding photo of mrs james mitchell, refer research notes included in clothing box 136

During the late 19th -early 20th century detachable collars were a way of embellishing a garment. White lace was popular for collars and cuffs.This item is an example of a handcrafted item and reflects the needlework skills of women in the part of the 20th century.A white cotton lace collar and dress front. V neck opening.dress-accesories cotton-lace

Navy blue rayon slip with black lace overlay dress, round neck piped in navy blue rayon. Unlined cape sleeves.Anthea Crawford 14costume, female

This wedding dress came from the estate of Ena Heazlewood. Born in Warrnambool in 1920 Mary Josephine (Ena) Todd was a hairdresser at Josephine’s Salon in Warrnambool. In 1942 she married a Warrnambool man, Jack Heazlewood, a stoker on the H.M.A.S. Sydney at the time. She was wearing this wedding dress. The dress was also worn by two other brides – Ena’s sister-in-law. Mavis McDonald when she married Jim Heazlewood in December 1942 and her sister Rita Todd when she married Bill Kane in 1947 (the bodice of the dress was altered for Rita’s wedding). The photograph shows the wedding of Field James (Jim) Heazlewood and Mavis Marie McDonald who were married on 23/12/1942This dress is of of some significance as it is not only a lovely example of a 1940s wedding dress but it has local provenance, being worn by a Warrnambool person, Ena Todd when she married another Warrnambool identity, Jack Heazlewood in 1942. This is a white lace dress with a fitted bodice, a square neckline and a lace band at the waist edged with satin. The dress has set-in long sleeves with a press stud clips at the wrists. The waist at the back has a loose band of lace material. The skirt is slightly flared and is floor length at the front with a cotton net frill edging, now slightly tattered. The dress at the back has a wide rounded train with a net frill edging. The side ends of the train have inserted lace panels. The dress is slightly yellowed with age. vintage clothing, todd & heazlewood families, warrnambool

Silk taffeta and lace wedding dress, 1960, made and worn by Valerie Dawn Smith at her marriage to Barry Douglas Wright in Armadale, Melbourne in 1960. Val was apprenticed at Haskins and Co. in Collins Street, Melbourne from 1951, at the age of 16, learning extensive sewing skills, until 1954. She excelled at pattern making, sewing and beading. After her apprenticeship she was employed at Theo Haskin's Salon Milano in Royal Arcade, making glamorous evening gowns until her marriage. The wedding dress was fitted, tailored and and sewn by Valerie, probably assisted by her co workers at the Salon. Silk taffeta and lace wedding dress. The skirt is decorated by a large piece of hand-beaded floral lace. The bodice also features a small piece of lace. All hand beading was completed by Val. The back has a long pleated train, with a loop to hold for walking and dancing. The tight sleeves and back are fastened by zips, a "modern" feature to replace buttons that were the fashion of earlier wedding dress designs. Val wore a long veil that was attached with a delicate beaded wire head piece. It was worn with white high heeled shoes. Her bouquet was gardenias tied with a white ribbon.fashion and design -- 1960s, wedding dresses