This lady’s silk bodice is an example of the dressmaking skills of the women of the pioneer settlers families, in Moorabbin Shire c1900Early settlers and market gardeners established their families in Moorabbin Shire and this item shows the skill and craftsmanship of the women of these families. The Blackburn family were early settlers in Moorabbin Shire A lady’s silk bodice with pin-tucking and drawer-string waistclothing, brighton, moorabbin, dressmaking, market gardeners, early settlers, blackburn nance, craftwork

Two piece ivory satin evening dress. Bodice (.1) is decorated with central panel of finely pleated chiffon and embellished with ready-made strips of beading and artificial pearls. Short puffed sleeves. Russet coloured velvet band applied to waist of bodice and finished with a metal rosette. Plain gored satin skirt (.2) with cream velvet binding around hem. Label, printed grey on cream cotton, centre back bodice waist: Bussell, Robson & Bussell / MELBOURNE.evening dress, bussell robson & bussell, 1890s

Bodice from donor's mother. Her parents lived in Camberwell and then Box Hill from 1950's.Long sleeved, cream square necked, cotton blouse with a lace insert. Sheer, geogette sleeves gathered in at cuff and with a frill over hand, the bodice is gathered at the bottom. A sheer geogette tie at the waist is anchored at each side of bodice and has tasseled ends on the corners.cotton, blouse, georgette, long sleeved

In 1880 Melbourne hosted its first major international exhibition the "Melbourne International Exhibition". In 1888 Melbourne hosted its second major international exhibition the "Melbourne International Centennial Exhibition".Two-piece evening dress comprising separate bodice and skirt made of gold-coloured silk damask woven with large curvilinear design in cream. Cream tulle trim around neck embellished with beads and artificial pearls. Similar trim down centre front and around lower edge of bodice. Short puffed sleeves Neckline trimed with wide gold satin riboon and bows. Bodice is boned and fastens centre back with hooks and eyes. Gored skirt pleated into waist. .1 - bodice . 2 - skirtLabel, woven blue on cream, centre back bodice: QUOD FACIMUS VALDE FACIMUS, George & George Ltd / Federal Emporium / Melbourne, International Exhibition Melbourne, Costumes and Mantlesgeorge and george, evening dress, georges of collins street, 1888

Wedding dress bodice of Mary Rebecca Poulter ( 1879- )who married Hector (George?) Chapman (1871-1932) in 1901 at Christ Church, Kilmore.Clothing related to early Kilmore families.Deep blue bodice, tucks entire length of bodice. Bodice boned below bust to narrow waist, sleeves flaring at cuffs. Cotton lining, remnants of a lacy fabric at neckline. High collar, side fastening, dark blue braid trim at cuffs, collar & front. Hand sewn throughout. Front fastenings - metal hooks & eyes. Very fragile & poor condition. Not repairablepoulter, chapman, wedding dress

Ladies brown satin bodice with green satin pintucked insert in centre front. Front opening with a row of 17 buttons and button holes on either side of the centre insert. Buttons are brown metal with diamente centres-long sleeves tapered at wrist. Small mandarin collar with press stud fastener at front. Boned at front and side seams. Fishtail back with green satin flaps. Bodice lined with yellow, green and red striped cotton.costume, female, bodice

Worn at the Sunbury AsylumInmate's dress in off-white canvas (?) with a red stripe. Round neckline reinforced at front. Bodice and skirt pleated into waistband. Back opening from neck to thigh with three pairs of eyelets, sealed with brass rings. Skirt hem hand sewn inside out.Handwritten in black ink on bodice back "canvas dress" and F7 (partly destroyed by lacing eyelet)costume, sunbury asylum, george evans collection

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

Ladies cream silk bodice with long sleeves. Deep Vshape at front neckline and drops to deep V shape at waistline. Silk double ruffle around neckline. Bodice is boned at centre front and two bones at either side of V neckline. Bones on either side of back opening. Back opening with small holes for lacing down each side. Lacing missing. Hook and eye at waist below back opening. Sleeves have 11 cm flared cuffs. Sleeves have two rows of satin ribbon and bows.costume, female, bodice

The donor and family of this gown were long-term Brighton residents, and the gowns were held by them as family heirlooms prior to donation to Brighton Historical Society. Originally owned by Elizabeth Emma Adams and Cecilia Elizabeth Adams, it is believed that the dress was brought to Australia by either a half brother, James Smith Adams, or a younger sister, Sophia Charlotte Louisa Adams (later known as Mother Rose Columba Adams). Elizabeth and Cecilia were the daughters of James Smith Adams (a squire, 1780-1860) and Elizabeth Emma McTaggart (1793-1843) of Tower House, Woodchester in Gloucester, a property which Elizabeth later inherited. Originally a monastery, Tower House had been converted into a stately home after the Reformation. According to information originally provided by the donor, the skirt portion of this dress (along with the bodice T0004.3) was made for either Elizabeth or Cecilia to be worn at the young Queen Victoria’s first 'drawing room ball' following the end of court mourning in 1838 for her uncle William IV who died in 1837. In 1838 Cecilia would have been twelve years old and Elizabeth would have been ten years old. It is possible that this dress was worn by one of the girls to this event as it is of appropriate dimensions for a child of that age, although its design is very formal and adult. Elizabeth was born on 30 June 1828 at Tower House and died on 1 May 1909. She created a scandal when she eloped with her first husband, Thomas Charles Gardiner at the age of 18. The validity of the marriage was later formally investigate and, while it was confirmed as valid, a second church wedding was subsequently held. Thomas died in 1878. Elizabeth subsequently remarried Reverend R. E. Blackwell, but was widowed again by 1889. Cecilia was born on 17 December 1826 and died in 1902 a spinster recluse in England. At the inquest into Cecelia's death in 1904 it was revealed that she had clearly come from a family of means as her home was filled to the brim with highly valuable goods, many in boxes. She was buried in the family vault at Woodchester. Elizabeth and Cecilia's sister Sophia converted to Roman Catholicism in 1851 and became a nun, taking the religious name 'Rose Columba'. In 1883 Mother Rose Columba led a group of eight to Australia, answering a call for Dominican sisters to nurse the sick in Adelaide. Upon arrival, she founded St. Dominic's Priory and the Church of Perpetual Adoration in North Adelaide, using her inheritance to build the chapel. Elizabeth's second son, George Henry Somerset, who inherited the Adams family estate dropped the 'i' in Gardiner and added the maiden name of his grandmother. Therefore, the family name has now become Gardner McTaggart. These Adams family entries have been updated with information provided by Dr Herbert Gardner McTaggart, great-grandson of George Henry Somerset in April 2016. Mr McTaggart contacted the society after finding our entries online.A hand and machine sewn cream, pale blue, orange and gold embroidered satin formal dress, the bodice dates from circa 1890. This dress shares a skirt with T0004.3, which dates from circa 1840. The bodice features a high scoop neckline with gathers at the base of the scoop and directly below where the bodice finishes creating fullness over the bust. The bodice front encloses the bust with a right panel over the top of a left panel and securing with two hook and eye closures over the left shoulder. The panels are secured together with 15 hook and eye closures. The sleeves are set neatly on the true shoulder and are elongated full puffs to just above the elbow. The fullness is created by nine pleats from the top of the shoulder over the back of the shoulder. At the base of the sleeve the fullness is gathered just above the elbow. At the centre back of the bodice are four inward facing pleats running from the centre neck to the waist. The bodice is secured around the waist with a tape and four hook and eye closures. The bodice is boned around the sides and back of the torso with eight bones. This bodice is finished at the waist with a pleated cummerbund of the dress fabric that is designed to appear to be a sash with two decorative bows. One front left of centre and one back right of centre. The skirt secures at the waist with an opening to the left of centre at the back. The skirt gathers tightly at the centre back with a dart on either side. The skirt has a front central panel and the skirt falls to floor length. At the back, the skirt is also floor length. The back of the skirt may have been modified at some time and may have originally finished in a train. It would be more appropriate to the period of the bodice, and the believed use of the dress with a train.cecilia elizabeth adams, elizabeth emma adams, queen victoria, tower house, woodchester, james smith adams, elizabeth emma mctaggart, sophia charlotte louisa adams, 1890s fashion

A wedding bodice made for Mary Jane Schroder for her marriage to Ralph Pardy Rudd on 24th Nov 1886 in Ceylon1886 satin bodice, boned and paneled to fit 24 ins waist. Closed at front with 18 pearl buttons. Long sleeves, beaded and embroidered cuffs also lace trimmed. Pocket on left side for watch. Peplum at back to sit on bustle of skirt. Beaded collar to fit over bodice neckline. See also Fan NA3582, shoes NA3578 and bridal headdress NA3489.costume accessories, clothes accessories

This white cotton lady's slip bodice is an example of the dressmaking skills of the women of the families of the pioneer settlers and market gardeners of the Moorabbin ShireThe 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 families. Fitted, fine white cotton lady's short sleeved slip bodice. Five front buttons. Hand embroidered satin stitch scallops on both sleeves and at neckline.brighton, moorabbin, pioneers, dressmaking, dendy henry, market gardeners, craft work, blackburn nance

Portrait of Jane D’Alton (nee Galbraith) taken in studio standing beside chair. The woman is dressed in long frock bodice buttoned with bottom of frock quite elaborate. c 1890Black and white photograph of a woman standing beside a decorative chair. The dress is ballooned to the ground with an elaborate hem. Bodice buttoned with decorated jacket. stawell clothing halls gap

Social A wedding skirt and bodice in blue satin and blue velvet with gold stripes. The bodice is of blue satin with velvet collar and cuffs. There are 19 pearl buttons at centre front affixed by hooks sewn inside to the backs of the buttons. The buttons commence at 7.5 cm from the top of the collar, the first button of 1cm smaller than the rest of 1.2 cm and buttons are spaced at .8cm apart. The bodice is styled to fit into the waist with a flare over the hips. At the rear there is an opening at centre waist and there is a 15cm x14cm pleated panel inserted with capacity to flare open to 48cm. The bodice is calico lined with extra lining at the underarms. The skirt is made in three layers. The base layer is of brown satin/cotton hemmed in 12 cm blue satin on the outside and blue cotton on the inside. The second layer has a 40 cm pleated base in blue satin with pleats folded to 5cm. This is sewn onto a brown satin/cotton lining reaching to the waist. The outside layer has a velvet panel at front sewn to a 3 cm dark blue satin waist band. The rear of the skirt is gathered into a 6 cm dark blue satin waist band. The pleated satin layer is visible 3 cm below the front velvet panel and the front layer has side openings to 40 cm allowing the pleated layer to show. A 31 cm opening on the RHS of the skirt is affixed with hooks and eyes.In Ink on calico attached label inside bodice "Chris Mackenzie" and calico label in ink on inside of skirt "Mackenzie Christine "clothing, wedding dress, late 19th century

This white cotton lady's slip bodice is an example of the dressmaking skills of the women of the families of the pioneer settlers and market gardeners of the Moorabbin Shire. The 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 families. Fine white cotton lady's slip bodice. Front opening with five buttons. Hand embroidered satin stitch scalloped edges to both the sleeves and neckline. Good condition.clothing, brighton, moorabbin, pioneers, dendy henry, market gardeners, dressmakers, craft work, blackburn nance

Probably 1890's to early 1900's. The Dress and Mantle Makers departments was part of F. Davey and Co. and the department was run by Miss Middleton, formerly of the Beehive. F Davey and Co. sold their View Point premises in Oct 1904.Bodice (Wedding dress), hand and machine stitched. Silk lined with polished cotton. Slim ruched sleeves - ruched at inner and elbow side of sleeve (hand sewn). Elbow edge of ruching forms two ''frilled pleats'' down the sleeve to the wrist. Wrist edge lily pointed and finished with a 9 cm underfill of cotton lace. Top of sleeves have a leg-o-mutton balloon effect panel sewn at the shoulder and the upper arm. This balloon effect hangs down over the sleeves almost to the elbow. Top of sleeve has an embroidered lace frill hanging over armhole. Two silk bows are placed at the shoulders. Stand-up collar,5 cm deep is finished on each side with a pearl and glass beaded bow motif- 6cm in diameter. Hook and eye fasteners down front-metal loops covered with button hole stitch. Bodice boned with thirteen (13) ''bones''. Each pocket finished with a fan pattern stitching. Linen panel, with a diamond shaped weave stitched at each underarm. Front bodice is pleated from shoulders to centre front. Right front laps across left to fasten with a hook on the left shoulder. This panel is heavily beaded with glass beads and sequins. Over panel from right shoulder fastens with hook and eye at left hip line,with the pleated panel circling the waist.Matching skirt 11400.315.F.Davey & Co, Dress & Mantle Makers, View point, Sandhurst Label stitched at inside waistline of bodice.costume, female, wedding dress bodice

This wedding dress was made for an unknown customer by a late 19th and early 20th century Richmond dressmaker known by her married name as Mrs Pamely. The dressmaker’s name is identified on Petersham ribbon on the bodice. (1877 was the first known use of a dressmaker’s name on a dress in Australia). The dress entered the Collection by donation. The donor, Netta Fuller, and her husband Alec, were long-term residents of Kew. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The core of the parade consisted of a collection of 19th Costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. Not satisfied with purchasing authentic costumes of the period, she also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century items of clothing to the Kew Historical Society. Some garments were parts of costumes such as bodices, while others were complete outfits. Many of the latter exhibit signs of old damage, however very few of the costumes have been modified to enable them to be worn in exhibitions. Known provenance is limited to donor information, although some of these donations may have originally formed part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance. This is the only 19th century costume in the Collection where the maker's name and address is known. To date, no other costumes by this dressmaker have been identified. The maker's business activity (1888-1905) allow one to, with an assessment of style, be relatively certain about its late Victorian construction. This adds to the item's significance even though its condition has been compromised by later removals and additions of decorative fabric on the bodice.Cream satin wedding dress comprised of a fitted bodice and a full skirt with a long wide train. Both the skirt and the bodice feature extensive use of ruched silk. Originally the bodice was covered with silk net embroidered with small white flowers. While sections of the net remain on the rear of the bodice (and on the sleeves), that on the front has been removed, probably due to damage. The name of the dressmaker is stamped on Petersham ribbon on the bodice."Madame Pamely, Costumiere, 41 Stanley St. Richmond"wedding dresses, australian fashion - 19th century, women's clothing, dressmakers - richmond (vic), netta fuller, fashion manufacturers - mrs pamely

This white cotton lady's slip bodice is an example of the dressmaking skills of the women of the families of the pioneer settlers and market gardeners of the Moorabbin Shire. The 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 families. Undergarment. Front opening soft, white cotton lady's slip bodice with short sleeves. Hand embroidered satin stitch scallops to both the sleeves and neckline. Five button opening - one button is missing. clothing, brighton, moorabbin, pioneers, dendy henry, dressmakers, market gardners, craft work, early settlers, blackburn nance

Alice Frances (Henty) Hindson's grey silk bodice is believed to be part of her 'going-away' outfit after her wedding to John Hindson on 15 April 1875. The bodice must have been a family favourite as it was used and amended over the years. Alice was the youngest daughter of Francis Henty and Mary Ann (Lawrence) Henty. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.The yoke is a bustier bodice, made of silk and silk organza with an insert of hand-tatted lace. The bodice is carefully boned and has a little padding in the bust line. It includes the name of the maker of the bodice as ‘Madame Jay, Brighton, 38 London Road’. The silk organza sleeves have hand shirring, trim, and frilled cuffs. The bodice is finished with a large, frilled bow at the back. Believed by the Henty family to be part of the ‘going away’ outfit worn by Alice Henty in 1875. Measurements (mm): BODICE: Girth - Neck 304.8, Chest 762, Waist 571.5, Cuff 127 Vertical - From neck to hem 381, Front waist to hem 152.4, Back neck to hem 419.1, Back waist to hem 228.6, Sleeve length 254. Horizontal - Neck to sleeve head 165.1, Cross back 457.2, Underarm to underarm 431.8.Mme Jay, Brighton Road, London [dressmaker]bodices, women's clothing, alice (henty) hindson, alice francés henty

The bodice is of a style from the Victorian Era and so provides a good example of women's clothing from that time. Although it appears to have been made at a later time the lace possibly came from an earlier time period. It is of historic interest as it was amongst the belongings of the donor's Great Aunts who were both dressmakers at the original Terang & District Co-Op which was established in 1908.The item is of significance socially as an example of women's clothing in the Victorian era.A short, waist-length bodice most likely made as a performance costume. It is representative of a Victorian bodice style though the lacing used indicates that it would not have been worn in those times due to its revealing design. Flexible metal stays provide shape to the bodice at the front and back. Sleeves are elbow length and lined with cream fabric. The bodice has a lace collar and the sleeves are trimmed with the same lace. Small gold coloured beads are stitched to the flower centres of the lace pattern. The burgundy coloured satin has an embossed floral pattern. The lace is of interest as it is from an older time period and being beaded would be especially sought after. Machine and hand stitched.flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, satin bodice, beaded lace, victorian era, metal stays, terang & district co-op

This bodice, belonging to Alice (Henty) Hindson has traditionally been identified as a travelling jacket by her descendants. Alice Hindson was the youngest daughter of Francis Henty and Mary Ann (Lawrence) Henty. Alice's father, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Alice (Henty) Hindson's midnight blue sateen bodice is highlighted using velvet lapels, cuffs, and a rear bow. The velvet, in contrast to the plain midnight blue sateen, is embellished [in the weave] with pink and navy spots. Joined at the front with 23 round domed buttons, hooks and eyes are used to close the neckline. The bodice also features coffee-coloured lace at the front and on the cuffs, which may have been added later. The bodice has some condition issues, missing one cuff and the lace on the cuffs needing re-attaching. The inside of the bodice is heavily boned, complete with a floral chintz lining. Measurements (mm): BODICE: Girth - Neck 355.6, Chest 812.8, Waist 660.4, Hip 685.8, Cuff 228.6 Vertical - From neck to hem 406.4, Front waist to hem 152.4, Back neck to hem 546.1, Back waist to hem 228.6, Sleeve length 533.4. Horizontal - Neck to sleeve head 114.3, Cross back 266.7, Underarm to underarm 368.3.alice hindson, alice henty, bodices, women's clothing, alice (henty) hindson

Black satin empire line cocktail dress with white lace bodice featuring gathered fabric detail with half sash on bodice.Label says 'Styled by Daru Fashions' with black and white poodle motif on labelcocktail dress, fashion, lemega, new year's ball

This cotton baby's nightgown is and example of the dressmaking skills of the pioneer settlers and market gardeners of the Moorabbin Shire.The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utnesils. This is one of many items that exhibit the skill and craftsmanship of the women in these families.A long, white cotton baby's nightgown with collar and bodice ties. Lace panel to bodice, and guipure frills and hand embroidery to collar and cuffs.brighton, moorabbin, pioneers, bentleigh, cheltenham, market gardeners, oakleigh, clothing childrens, dressmakers home

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.Tan/Rust-coloured silk bodice and skirt. The silk used in the garment is self-patterned with a leaf design. The bodice has extensive gold and silver coloured glass beading. The silk used in the sleeves of the bodice and the skirt is badly degraded/‘shattered’.australian fashion - 1860s, women's clothing - 1860s, dresses - 1860s, shattered silk

Most likely worn to balls around the Yarrawonga district most notably at Wilby where there were monthly old time balls held during the 50’s to 1980’s. Tomato pink crepe gown with tafetta lining. Three quarter full flowing Sleeves.V neck, gathered at bust with a beaded diamond shape set in the middle. Back zipper Label on bodice Silver Star, Sydney, size 18 Bust 100, waist 80, hip 105old time dancing, costume

THE MANNEQUIN The included wooden mannequin made by J.A. Walker of Melbourne has been very well used, as can be seen from the pin marks and split and torn fabric in areas where pins would have been used many times. The painted wood of the bodice is wearing away. The top of the neck is very rough in the centre, indicating that it possibly had a knob, handle or even a head shape on top. The mannequin could have been used for storing and cleaning of the evening outfit and even in the process of making it. It is made to match the measurements of the outfit beautifully and would be close in measurement to Mrs. Isabella Mitchell. Isabella’s sister-in-law Eliza Russell made her own wedding dress and perhaps she or Isabella herself made the evening outfit using the mannequin for fittings. The mannequin is significant as its size gives an image of the shape of the evening outfit’s owner. It is also significant as an example of the process and skills to create garments of fashion during the period, with many people making their own garments. The mannequin is also an example of an item manufactured in Melbourne in colonial times. This wooden display mannequin is from neck to floor length. It has a round pedestal. The mannequin’s bodice has been painted black. It is padded then covered in black fabric. The maker of the mannequin was J.A. Walker of Melbourne. It dates to the mid-late 19th century.Mannequin maker’s fabric label “J.A. WALKER / MANUFACTURER / MELBOURNE”mannequin wooden, mannequin made in melbourne, dressmaker’s mannequin, 19th century mannequin, dress form, display mannequin, custom made mannequin, dressmaker’s dummy, andique mannequin, clothing display, j.a. walker manufacturer melbourne, j.a. walker mannequin manufacturer, evening outfit

A 1930s cream nylon seersucker dance dress. Full skirt with horizontal pleated bodice with plaited roleua straps covered in sequins. Self fabric bow & tail on left side at bodice. Boning on side of bodice with gold metal zip on left side.costume, female

Cream cotton bust bodice with Torchon lace on square neckline and sleeves. Blue ribbon threaded through eyelet lace at neck , lace inset on bodice.costume, female underwear