Introduced in 1912 and continued to be used in WW1, WW2 and up until 1960s. They hold up to 250 rounds. Strapless belts were developed in WW2 to save on brass.Long canvas belt (over 5 mtrs) with orifices to hold ammunition cartridges for 303 calibre Vickers machine gun. none

The postcard was sent to Miss Reita Austin by D. Campbell in January 1907, while Miss Austin was holidaying at Sorrento. The postcard is postmarked "LINTON /VICTORIA" and is dated "JA 8 / 07".Black and white postcard photo showing young lady with hair loose over her shoulders, with grapes and leaves decorating hair, wearing strapless dress with flowers on bodice.Addressed to: "Miss Reita Austin, Ellerslie, Back Beach Rd, Sorrento. Postmarked: "Linton / JA 8 / 07 / Victoria". Message: "Dear Miss Austin, you ought to be enjoying your trip at the sea-side it is enough to melt anyone up. Am just sending silly P.C. with this mail. P.C's are very scarse in Linton and there are not many nice ones. With love D Campbell".d. campbell, reita austin

C 2010 Worn by donor's daughter Rebecca c 2010Deep blue strapless evening dress. Full length with matching ribbon around waistline. Pleated detail on bodice. Crepe material with polyester lining throughout. Zip down back of garment.Portmans size 8evening dress, portmans, julie jones, c 2010

Corset. Cotton, strapless long corset, cream colour. Cotton eyelet lace, ribbon threaded at the top and side. Twenty two metal eyelets cotton tie, four elastic suspenders, six metal fasteners at the back.Rustless Zairoid Corsets ''PRETTYS'' Cotton Made in England.costume, female, underwear

This dress belonged to Louris White, nee Larsen-Disney, whose wedding dress from 1948 is also in the collection. Louris and her husband lived at 49 South Road, Brighton, just a few doors down from her family.Strapless pink organza cocktail-length dress. Finely pleated bodice and skirt laid on to a heavy vilene. Decorated around the waist with pink organza flowers and two bands of pink satin, one around the bodice and the other around the lower part of the skirt.Label: printed black on cream acetate side front bodice: "Original / Margeaux / REGD. / of Melbourne / IMPORTED FABRIC"evening dress, 1950s fashion, louris holly white, brighton, margeaux of melbourne, joseph haskin

Louris Holly Larsen-Disney married Percy James White at Melbourne Grammar Chapel on 17 June 1948. In later years the dress was given to an opportunity shop and purchased by Mrs Landells of the Brighton Historical Society. Louris subsequently visited the Society and recognised her dress, and was able to provide BHS with information on it. Also in the Society's collection is a 1950s pink strapless silk chiffon dress worn by Louris, and a wedding photo of Louris taken at her mother and stepfather's home at 53 South Road, Brighton. The couple moved into a house just a few doors down, at 49 South Road.Wedding dress made from silver metallic thread crepe. Fastens down front with small self-covered buttons and loops. Long fitted sleeves fastened with 10 covered buttons and loops. Full bias cut skirt with train.wedding dress, 1940s fashion, louris holly white, percy james white, brighton

BHS CollectionClothing. Black and white two piece bikini, size 10. Strapless top of nylon fabric - black with white spots. Two cups separated at centre with a decorative metal zipper (6cm). Each cup has a shaped foam insert. Bikini bottom of nylon fabric, black and white horizontal stripes (1.5cm). Hi cut leg. Two decorative black and white ties stitched on side seams (16 cm).Metal tag ''RIP CURL'' on LHS of bikini topcostume, female, black and white two piece bikini

dior, exhibition, national gallery of victoria, ngv international, fashion, designer, gowns, 1990s, 2000s, black and white, stripes, strapless

Colour photograph of an exhibit at the Dior Exhibition at the National Gallery of Victoria.dior, exhibition, national gallery of victoria, ngv international, fashion, designer, gowns, dress, 1950s, 1960s, red, silk, strapless

Silk organza wedding dress with a creamy satin strapless bodice under silk organza with a silk organza circular skirt, which was worn over a cream satin under-skirt (see 11400.529) Bodice has a dropped waistline, sitting at the hipline. Skirt gathers to the bodice and has a draped organza panel, passing through two satin and organza pleated loops at the hipline. Extending across the back from these loops is a 28cm wide tie, which extends to the hemline to be 44cm wide, and forming a tiny train. 41 covered buttons and loops extend from the neckline to below the hips. Sheer sleeves, lily pointed at the wrist, fastened with 7 covered buttons and loops. Floral lace motifs are scattered on bodice and front of skirt. Lace outlines the sweetheart neckline, and wrists. Eight V shaped panels are inserted into the lower skirt to produce the circular shape handkerchief hem. Skirt extends to a small train at back. Documents and photo linked to file. Wedding dress worn at marriage of Barbara Johnson to her first husband Ian Bulte. Part of wedding dress collection 11400.528, 11400.53029, 11400.530, 11400.531.costume, female ceremonial, wedding dress

Operating heavily in the late mid-century, Smaragd of Melbourne was a premium boutique Australian label that catered to high-end social calendars, formal galas, and evening wear markets. During this era, Melbourne was firmly established as Australia’s fashion manufacturing capital. Labels like Smaragd competed directly with high-end European and American imports by offering local consumers equivalent luxury, using specialized, imported embellishments and meticulous, small-batch boutique construction. This ensemble is typical of mid-to-late 20th-century Australian fashion design, showcasing the exceptional structural tailoring and high-glamour aesthetic of the period. The inclusion of the matching cropped jacket reflects the transitional styling of late-1960s to 1970s evening wear, designed for formal modesty that could be removed for evening events. The use of heavy bullion embroidery or relief passamanerie highlights the reliance of local couture houses on advanced, labor-intensive hand-finishing techniques. This level of craftsmanship stands in stark contrast to the mass-manufacturing shift that would dominate the global fashion industry in the decades to follow. As an "Exclusive of Melbourne" garment, the piece holds strong regional significance to the history of the Australian textile trade. The preserved, illustrated "mod-style" label serves as an excellent artifact of graphic design history, capturing the youthful, playful marketing shift that defined the post-war youth culture boom in Australia.Two-piece evening ensemble comprising a strapless column gown and a coordinating cropped evening jacket. The floor-length gown features a highly structured, fitted bodice with internal boning and a classic sweetheart neckline. The skirt is tailored into a sleek, narrow column silhouette. The accompanying long-sleeved satin jacket is cropped to fit precisely over the gown’s waistline, featuring a rounded neckline, a concealed front closure, and tailored sleeves. Crafted from a heavy, high-sheen black evening fabric (consistent with silk or premium synthetic satin/mikado blend of the era). he neckline of the jacket (and the underlying gown) features a heavy, raised, three-dimensional metallic embellishment. The textured gold work is indicative of heavy bullion embroidery—a technique utilizing twisted, coiled metallic wire threads couched into dense, sculptural relief patterns to catch light. The garment contains a woven fabric manufacturer's label reading "Smaragd Exclusive of Melbourne / Size 12". The label is distinguished by a blue, stylized graphic illustration of a wide-eyed, curly-haired "mod doll," characteristic of commercial art from the late 1960s to mid-1970s.Label: SMARAGD EXCLUSIVE OF MELBOURNE. SIZE 12fashion - australia - melbourne, smaragd of melbourne, women's clothing, evening dresses, fashion design, clothing -- 1970s