A. Trousers and blouse, black cotton, woven braids, pink, blue and green Probably the bridegrooms skirt.weaving, garments, metal thread, bags, burma, shan province, wedding costume

A. shoulder bag, red, fawn and black with woven patterns.wedding costume, weaving, burma, bags

Note: Virginia Mort feels that costume is from Rajastan or Gujerat. Definitely from West India.Blouse Cream pongee silk in Chinese style with long wide sleeves trimmed with tatting and mother of pearl sequins.embroidery, garments, tambour work, 1840-60, burma, skirt, blouse (part of wedding costume)

Note: Virginia Mort feels that costume is from Rajastan or Gujerat. Definitely from West India.Panels probably part of jacket, floral motifs and birds, satin is red and purple.embroidery, garments, tambour work, 1840-60, burma, skirt, blouse (part of wedding costume)

Note: Virginia Mort feels that costume is from Rajastan or Gujerat. Definitely from West India.Red cotton (not a match to panels) chain stitch and shisha work, flowers and birds.embroidery, garments, tambour work, 1840-60, burma, skirt, blouse (part of wedding costume)

B. shoulder bag, black, purple, blue, cream, with woven patternswedding costume, weaving, burma, bags

C. length of weaving, in fawn, brown and grey checks.wedding costume, weaving, burma, bags

D. length of batik in red, black and yellow, possibly skirt length. wedding costume, weaving, burma, bags

C. Bag - woven, red, black, blue, green, pink, gold (long orange fringe and bells and metal discs.weaving, garments, metal thread, bags, burma, shan province, wedding costume

B. Jacket - Black cotton, bands of red felt trimmed with metal discs and hanging bells|weaving, garments, metal thread, bags, burma, shan province, wedding costume

E. Length of woven fabric, red, brown, black. weaving, garments, metal thread, bags, burma, shan province, wedding costume

D. Pair of cuffs or putees, weavingweaving, garments, metal thread, bags, burma, shan province, wedding costume

Note: Virginia Mort feels that costume is from Rajasthan or Gujarat. Definitely from West India.Skirt of bright red satin with motifs of flowers and birds, and several borders at the base of skirt.embroidery, garments, tambour work, 1840-60, burma, skirt, blouse (part of wedding costume)

Group - (unknown (Wedding costume))stawell

Sepia toned photograph of a black family of four men and six women. They appear to be in wedding costume. On the side of the photo is printed, ' TALMA ' Swanston St. Opp. Town Hall. Melbourne. And on the reverse is written in pencil, ' A friendship present 'TALMAperson, group, talma, swanston street, wedding group

This dress was worn by Beatrice Coulson on her marriage to Archie Henry Robinson on 17.3.1945 at the Methodist church in Orbost.The wedding gown is provenanced and in good original condition and is of historic significance as an object directly related to the Robinson and Coulson families.A hand-made long magnolia slipper satin wedding frock with a high draped neck and full flared skirt. It has a train at the back. It has long sleeves , covered buttons on the back, shirring on the front and a decoration of white flower shapes on the front.coulson-beatrice robinson-archie wedding-dress costume

made by & worn as bridesmaids dress by Estelle Macnaughtan (Bannister), 10th Jan 1953 at sister's wedding.Example of handmade bridesmaid's dress & cap.Broderie Anglais bridesmaids dress Cap & belthandmade wedding party costume c 1953

Clothing. Bright green cotton wedding dress with small lined pattern on fabric. Long sleeves. Floor length skirt.Fitted bodice with front opening with eleven hooks and eyes. Front opening on skirt with three hooks and eyes. Gathers at centre back of skirt. Large decorative bow at centre back of skirt. Sleeves and bodice have black velvet ribbon and black lace trim at back and front. Black velvet ribbon trim around hemline. Broiderie lace edge around neckline.Estate of Frieda Kahland, born 1891 died 1988 in Bendigo. Parents --Johann Detlef and Elizabeth Sarah Fly. Johann was a well known wine and cordial maker. See also records: 11400.363, 11400.364, 11400.365, 11400.366.costume, wedding dress, frieda kahland

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

Part of the Bennetts Collection. See Catalogue No. 9726P for details of service for "Alva Marie Bennetts".1. Colour photograph of multi-story Japanese style building. Group of dancers in traditional costume on forecourt. 2. Colour photograph of Japanese Wrestlers in ring. Crowd of spectators in background. 3. Colour photograph of two Japanese ladies kneeling in front of an altar. 4. Colour photograph of a group of Japanese ladies seated around a table eating lunch. 5. Colour photograph of a Japanese bride in traditional costume at her wedding ceremony. Two other ladies featured. 6. Colour photograph of a Japanese housewife in traditional costume. Lady sitting in front of a tub,bennetts collection, alva bennetts, photographs, japan

This was the wedding dress worn by Mrs Jessie McKinnon (nee Campbell). It has been made for riding side-saddle. Only highly-skilled tailors could produce the complex skirt required for riding side-saddle. It had to curve neatly over the rider’s knees.This dress reflects the fashion of the early 20th century as well as the needlecraft skills of the women at that time.A hand-made, long-sleeved wedding dress of beige satin. It is tapered at the waist and covered buttons from the collar to the waist. There are bows on the wrist. There is fringing at the waist and it is ankle length. There is a huge pocket on the left hand side. There are box pleats at ankle length and a frill of chiffon at the bottom.costume-female handcrafts-dressmaking dress-wedding

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

Small floral arrangement of orange blossom attached to net tulle. Used as hair piece for wedding. Mounted on circular dark wooden base.hair-piece costume-female ceremonial floral

This beautiful costume was the 'going-away' dress worn by Mrs John Russell at her wedding in c.1884. It has been passed down through the Russell family and was donated by her grand-daughter Mrs David Nixon. John Russell was an early Orbost blacksmith in Orbost, and director of the Orbost Butter Factory for 50 years. He came to Orbost in c. 1890 at the invitation of another early settler, James Nixon, became a blacksmith, and later a farmer and landholder. Many of his descendants still live in the Orbost area. This full length female costume is made of moroon satin with gold velvet inserts. It has a small train at the back, scalloped folds with lace edging down the front of the skirt, and two rows of 14 buttons each down the bodice.going-away-dress 1890s-dress

Wedding stockings, c. 1920, worn by Mrs C Reynolds. A pair of cream silk stockings. The toes and tops are reinforced with cotton thread. silk-stockings female-underwear costumes-1920s wedding-stockings

High waisted bodice, with centre front seam, back opening fastened with metal press-studs, and finished on the right side, with ball-shaped pearl buttons sewn in pairs - six groups of two. A placket extends into the skirt at back, and is fastened with metal press-studs. Bodice is gathered onto skirt at waistline, and defined with a 1.5cm wide tape. An 8.5cm wide cotton lace frill is gathered around the high neckline. The wrist-length sleeves are an extension of the bodice and have a 4cm band, and 4cm wide gathered frill at the wrist. The sleeves are shaped from the high waistline, and also at the cuff edge. The skirt has an overlay of fine lace, made up of six X 17cm wide bands of lace, with a scalloped edge. No shoulder seams. Back opening and centre front seam indicate the cutting out layout of fabric. A one cm wide ribbon finishes the neckline, and the lace frill is hand stitched to the ribbon. Some seams are hand neatened. A 2.5cm wide flat bow finishes the back neckline.costume, female, cream satin and lace wedding dress

Long lily-pointed sleeves, fastened at the wrist with six X 0ne cm covered buttons and loops. A firm padded roll 19cm long, and eleven cm circumference sits at the shoulder at top of sleeve. A gathered panel on either side of the neckline forms a sweetheart neckline. Gathering under the bust, and a A shaped centre front panel - with V shape at lower edge-panel 33cm long. Two semi-circular panels 28 X 19cm from side seam to the centre front, and defining the shape of the peaked centre panel. A small inverted pleat comes from th ebottom peak of the centre panel. Skirt is circular and extends into a sweeping train.29 covered buttons with loops extend from the back neckline to the curved join at the hipline of bodice and skirt. A one cm band of fabric has been machine stitched around the hemline, and hand rolled and hand stitched to give weight and finish at the hemline. Two X 2.5cm loops, hand stitched are at the left and right sides, to slip over the fingers to hold the train above the ground.costume, female, cream wedding dress with extended train

WEDDING DRESS. Made by brides mother, the empire line dress of crepe fabric, with guipure lace trim, in 1972. Long slim fitting sleeves, with a 3 cm wide band of lace in a flower and leaf design, around the wrist. The lace also edges the high round neckline, and defines the curve of the panels in the high empire line bodice, and the centre panel of the long princess-line skirt. The long sleeves have three darts at the elbow. A long zip fastener in the centre back seams. Cream in colour. WITH 11400.1106 AND 11400.1107costume, female, crepe and guipure lace wedding dress

Wedding veil and headpiece. Soft cream in colour, the fine soft tulle is embroidered with a continuous, curvaceous, chain stitched embroidered leaf design. The tulle has been cut to follow the curves of the embroidery.The three tier veil is tightly gathered onto a one cm band, which is stitched to a clear plastic, curved comb 8.5 cm long and which would hold in the hair of the bride. The headpiece is made from cream coloured ribbon and simulated pearls. Top layer of tulle 57 cms: Middle layer of tulle 65 cms: lower layer of tulle 72 cms. Headpiece 21 cm x 7 cm WITH 11400.1105 AND 11400.1107costume accessories, female, tulle three tier wedding veil and head p