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

A typical long black crepe skirt worn by women in Moorabbin Shire c1910 whilst doing housework during spring and summer. The early settler women were skilled dressmakers and made the clothing for their familiesTypical day wear skirt worn by women in the early settler families of Moorabbin Shire c1910 The family of Nance Blackburn were early settlers. Lady's black long crepe skirt with drawstring waist and inserted side pockets blackburn nance, early settlers, moorabbin, cheltenham, bentleigh clothing, dressmaking, moorabbin shire

This tag came with the donation of two children's kilts, and features a poem about the design of the kilt, which was fashioned to be able to be lengthened as children grew, by adjusting the hem of the bodice. The kilts were owned by Heather White and Sandra Hooker (nee White). The Fletcher Jones kilts were made in the 1960s and are in two different tartan designs. Three sisters, Sandra, Heather and Melinda, all had kilts as children growing up in the 1960s on a sheep farm near Torquay. The kilts were worn on special occasions, with woollen jumpers worn on top of the bodices. Photos show Heather (aged 8) and Sandra (aged 6) with their younger sister Melinda (aged 1), wearing the kilts at family farms “South Beach” and “Lambidgee”, both near Torquay, in 1965. The kilts were purchased by the children’s grandmother, most likely from Fletcher Jones in Geelong, and were highly valued by the family.White folded clothing tag with black printed text and graphics. Front features a black and white image of a child wearing a tartan skirt. Tag has a hole punched in top right corner. centre: Mary had a little skirt / That fitted her so true / And sure as Mary grew and grew / The little skirt grew too. / Because of / Fletcher Jones / Cute / Length adjustment / (Patent pending) Back: FLETCHER JONES & STAFF PTY. LTD. MELBOURNE, CHADSTONE, FOOTSCRAY, BALLARAT, GEELONG, / WARRNAMBOOL, MORWELL, LAUNCESTON, HOBART, ADELAIDE, CANBERRA, SYDNEY, WOLLONGONG. fletcher jones, kilts, family life, farming, 1960s, fashion, children's fashion, children's clothing, tartan, clothing tag

Simplicity sewing pattern - Ladies dresses Full skirt, Slim linePaper dress pattern in envelope Ladies fashion 2 styles - slim line and full skirt Size 18 - Bust 38 Sewing guideSlenderrettedress making in the home

White full-length nylon nightgown. A tiny flower design is painted on to the fabric. Bodice has a V shaped cross-over bodice gathered onto a midriff band, 3.5 cms wide at the front and a V neckline at the back. Front and back tie together at the shoulders. A full-length gathered skirt has a 3 cms wide tie at the back waistline.Label on side-seam of skirt, near hemline reads: Hanro Quality Underwear SW Small Women’scostume, female underwear, nightgown

This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s, but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The full-length black silk tailor-made skirt is one of three pieces of a ladies’ Edwardian mourning outfit. The skirt is made from black silky fabric. The garment has only two seams; at the side closure and the centre back. The whole skirt has sunray pleats; narrow pleats at the waist that fan outwards towards the hem. The top of the skirt is finished with a waistband that is shaped as an upward V shape in the centre. The side seam is closed with four self-fabric buttons with silver metal backing. The shirt has been machine sewn.flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, mourning dress, death mourning, sunray pleats, western district victoria, full-length skirt

This is a plain black full length woollen skirt that women wore during winter in Moorabbin Shire when working around the house c1910. The early settler women were skilled dressmakers and made the clothing for their familiesA typical day skirt worn whilst doing housework by early settler women c1910. The family of Nance Blackburn were early settlers in Moorabbin ShireClothing, Lady's black long woollen skirt with a drawstring waist and a side inserted pocket blackburn nance, early settlers, moorabbin, cheltenham, bentleigh clothing, dressmaking, moorabbin shire

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

This item is from the "Barone" Collection. "Barone" (also known as "Seaview") was a stately Brighton home built at 9 Moule Avenue prior to 1855 and demolished in 1986. The house's residents included Edward Elgin Browne (during 1859-72), a Melbourne tea merchant, and the family and descendants of retired Scottish Army captain Archibald Black (during the period 1880-1970). Its neighbors included “St Ninians” owned by the Ward- Cole family, “Seacombe” owned by the Moule family, and the home of James Grahame and his family. The items in the "Barone" collection were largely donated by two of the house's later owners, Mrs Doris Halkyard and Mrs Brian Brandt.An English-made “Busvine” black wool herringbone twill riding habit comprising jacket and safety skirt, (jodhpurs missing) from late 1800’s to early 1900’s. The jacket (.1) features a black short pile silk velvet inset notched lapel collar secured with a single button at the apex of the waist and a single button near the collar for use in inclement weather. The sleeves join the bodice high on the shoulder with a full cut head to the sleeve and a tapered curved shape to the hand. The sleeve secures at the wrist with four black buttons. From the waist the jacket flares over the hip through princess line shaping and finishes with a curved front on either side. The seams of the shaping panels intersect single functional flapped besom pockets on either front panel. The back of the jacket features a centre back seam and two princess-line shaping seams that finish in a double vent on either side of the centre back. The jacket length would have finished approximately just below the bottom of the wearer. The apron fronted safety skirt (.2) secures from the waist at the front of the left thigh with five buttons. Over the wearers, right leg the skirt shapes to accommodate the rider’s right knee whilst sitting sidesaddle with her legs on the horses left flank. The base of the skirt has an elastic strap, which hooks around the rider’s leg to reduce the danger of the rider’s skirt become tangled, should the rider become un-seated. When the riders is not mounted the skirt can be secured with a button around the body to provide additional modesty as well as assist walking without the skirt dragging on the ground.Jacket: Manufacturer's label “Busvine, By serial appointment to Her Majesty The Queen, 4 Brook Street W.” Owner label “Doreen Wright” this label appears far more modern than the manufacturers label. Skirt: Manufacture's label: “J. Busvine and Co, 4 Brook Street, London W." In handwriting “Miss Wingfield” Manufacturers label: Busvines Patent Safety Skirt, protected by two separate patents. 4 Brooks St London West.barone, riding habit, j. busvine and co, seaview, brighton

The Grass skirt is from New Guinea and was given to Edward Turner by a Fuzzy Wuzzy Angel. Edward Adrian Turner enlisted in the CMF No V24563 on 14.5.1942 age 19 years, transferred to the 2nd AIF as VX112851 on 3.10.1942. Active service is listed as Darwin 26.2.1944 - 19.3.1945, New Guinea area 12.6.1945 - 9.4.1946, discharged from the 2nd AIF 20.8.1946 with the rank of Signaller Linesman in 15th Line section.Grass skirt with plaited waist band, natural toning.grass skirt, new guinea, fuzzy wuzzy, clothing

Clothing. Swimming costume.Ladies black woollen knit swimming costume. Two shoulder straps - width 2 cms. Skirted model with pants section attached. No bodice support or shaping.Jantzen Melb fabric label stitched inside left shoulder strap; Georges Melb fabric label stitched inside right shoulder strap; Jantzen diving girl label stitched on lower left of skirt.costume, female, swimwear

Matron's frock Short or 3/4 sleeves, V-neckline Pleating on bodice and skirt Belted waistHome Journal Sewing Pattern No. 5413 Matron's frock - 34 to 48 ins Bust Short or 3/4 sleeves V-neckline Pleating on Bodice and skirt Belted waistHome Journalhome dressmaking, 1960's

An original piece of uniform.HighA black woollen Great Coat, possibly used as Pre WW2 uniform. The coat is full length and features two hip pockets with flaps, and a LH breast pocket without flap. The edges of the pockets are trimmed with black leather with a semicircular section machined to the outer edges for strength. Both front panels and the sleeves are fully lined, and the back is lined to shoulder level. The coat is buttoned to the collar with 5 TB buttons of pressed metal. The back of the coat has a machined waist band, and a box pleat is featured on both bodice and skirt to allow ease of movement.The numbers 6 over 1247 have been screen printed on the LH skirt lining in white ink.secv, btm, uniform, great coat

This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. Ladies’ Edwardian mourning outfit; three-piece tailored suit comprising of a black silk long sleeve, short-waist fitted and lined Jacket, a long sunray pleated skirt and long, lined petticoat. Items have been machine-sown and hand-sewn by a dressmaker. The skirt has handmade buttons of the same fabric.Handwritten in ballpoint pen “Jenny” and “Mrs Sheila Handscombe, Wallaura, Jenny”flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, western district victoria

This skirt was probably worn of a daytime by a farmer's wife in the Timboon area early in the 20th Century.This long rust brown taffeta circular skirt is faded, worn and torn. It has 13 rows of machine stitching around bottom, 24cms from edge. It has an elastic waist and short zip at back of waist.clothing, women, needlecraft, skirt, early settlement, timboon

This Skirt is part of the uniform worn by Sister Winifred Ride during World War 2. Nurses played a key role in the conflict through their care and compassion to the servicemen who were wounded and sick.The nurses uniform is symbolic of the sacrifice and service of the many women who served their country in WW2. Grey A line skirt, bak fastening. Five press stud fasteners and two hook and eye fasteners. One fabric hook on each side for hanging.

Williams' use of the dog and poem was inspired by a print by the late Barbara Hanrahan (an artist friend) in which a women was holding a cat accompanied by a dog and in which words from a William Blake poem were included / After her mother died Williams made a work of her mother with the dog, holding the cat and using the same words in the Hanrahan print / The dog is a family pet; Dolcie, that Williams fell in love with / The dog as a symbol has been used in fifteenth and sixteenth century painting to represent fidelity in marriage / The use of the dog is also a contradiction to the themes in this work by Williams / Williams found that many of her women friends were having emotional and romantic difficulties, suffering from the same malady again and again, feeling rejected, destroyed and having unfulfilled desires / The female figure standing on her hands is not seeing things realistically / The figure is head over heels, vulnerable, with her skirt around her head revealing more than normal / The text enhances the meaning of the work and draws the viewer into experiencing the foolishness of love, demanding the viewer travel around and around to read it / Overall the dog provides structure to the work and a reliable object on which all else balances / Balance has been one of the recurring or repetitive themes within William's work / It references the physicality of clay, the difficulties in creating balance with the clay and balance in the work / Williams' work is about form rather than colour / Sometimes she uses a coloured clay like a pale terracotta / Williams likes the flatness of the surface in relationship to the marks of the text / She describes herself as a Minimalist, paring down the form to the bare essentials. 'In Love' was a finalist in the 1997 Nillumbik Art Award held at the Eltham Community and Reception Centre, Pitt Street, Eltham. A ceramic sculpture made of white stoneware clay (coated with a wash of gesso) of a girl doing a hand stand on the back of a dog (retriever?) / Her face/head is partially covered by her skirt which has come down / Her skirt is inscribed in the round with the poem "The Lady's First Song" (1938) by W.B. Yeats (see inscriptions and markings) / The dog is looking straight ahead and upwards towards the sky and his tail is pointing straight out. The dog is covered with cross-hatch incised lines to give the illusion of fur and texture / Hand written inscription of W.B. Yeats poem "The Lady's First Song" (1938) on girl's skirt / I turn round / Like a dumb beast in a show. / Neither know what I am / Nor where I go, / My language beaten / Into one name; / I am in love / And that is my shame. / What hurts the soul / My soul adores, / No better than a beast / Upon all fours.williams / yeats / love / ceramic / stoneware / dog

Home Journal Pattern No. 5210 - 9 pieces Ladies house frock - full skirt, pockets, short sleeves, V-neck collar New measurements 34" Bust, 26" waist, 37" hipsHome Journal Pattern N0. 5210 Ladies house frock - Bust 34" Waist 26" Hips 37" 9 pieces - short sleeves - pockets on skirt - V-neck collar - Full collarHome Journal Pattern 5210home dressmaking

This skirt belonged to Joan Elizabeth Peck who served with the Royal Australian Air Force in the Second World War. Joan was born on 27 July 1919 in Acton England and enlisted in Echuca on the 6 January 1943. At the time of her discharge from the RAAF in 1945, Joan was serving as an Aircraftwoman with the 2 Air Observers School in Mount Gambier. Throughout the war, the Mt Gambier base operated under the Empire Air Training Scheme.This skirt was donated by the owner, Joan Peck, and has significant provenance. The inscriptions throughout facilitate significant research ability, though records are not publicly accessible and digitised at this time. Joan Peck’s uniform is also significant as an item of social history, revealing the role of local women in the home front war effort. Light khaki coloured skirt in cotton fabric. A-line skirt constructed of four panels with two darts on the back and two pockets on the front (as per photograph in Supplementary File). Side fastening on the left side with a series of four steel hook and eye fasteners. Two fasteners on the back waistband which are tightened by pulling through two steel rings. Peach-cream coloured bias binding on interior of hem. Label attached to the interior waistband of the skirt back, to the left and right of which is a handwritten inscription.Waistband label reads: “V298/MADE IN/AUSTRALIA/1942/SIZE PECK” Inscription handwritten on waistband interior: “105135.” To the right of the interior label: “J. E. PECK”skirt, uniform, second world war, royal australian air force, world war ii, women

This item is one of a collection of clothing items that belonged to the Stephenson family who lived at 22 McCracken Street, Kensington, Melbourne. Matthew Stephenson (1861 – 1943) who had grown up on the Bendigo goldfields and shifted to Melbourne in the early 1900’s was a train driver and later, a fireman with the railways. His wife Elizabeth Jane (Betsy) Wigley (1865 – 1953) also grew up on the goldfields around Majorca and Bendigo. They married in 1885 in Bendigo. They had two daughters – Ethel Evelyn Stephenson (1886 – 1956) and Lillian or Lila (1891 – 1977) who were milliners and dressmakers and who continued to live in the family home after the death of their parents. The family are recorded as living at 22 McCracken Street, Kensington, as early as 1914. It is not known who made or owned the clothing that makes up this collection but as it appears to be from the late Victorian and early Edwardian era, the different pieces were probably made and worn by any of the three ladies of the house – Betsy, Ethel and/or Lila. During W.W.2, a local Warrnambool couple (Meryl and Tony Everard) boarded with them – Tony was in the airforce training paratroopers to jump into (and survive) enemy territory and his wife Meryl worked in the Methodist baby Home. The Everards developed a close friendship with the Stephensons and were responsible for clearing out the house (and finding this clothing collection) after Lila died in 1977. This skirt features broderie anglaise trim. Although broderie anglaise was a lace that could be made by hand, it was very time consuming to make. St Gallen was a city in Switzerland that had become known for producing quality textiles. At the beginning of the 19th century, the first embroidery machines were developed in St Gallen. Factories used embroidery machines but people also had them in their homes. They were able to produce broderie anglaise for export. By the early 20th century, machine made lace, fabric, ribbons etc. were being sold in drapers shops all over England and Wales to women who were making clothes and furnishings for their families. It is highly likely that the lady who made this skirt brought the lengths of broderie anglaise already made to embellish and personalise her skirt.This item is an example of the needlework skills of women in the late 19th century - creating pintucks and adding lace to personalise and embellish a practical item of clothing. A full length lady's skirt of heavy textured ribbed twill cotton. The top of the skirt is made from five pieces of fabric, sewn together and inserted into a simple waistband. It has an opening with room for 6 hook and eyes (but only the middle three remain). The top section of the skirt is separated from the bottom section by a strip of eyelet embroidery that has been inserted in a horizontal line at the back but becomes slightly diagonal at the front causing the two ends to cross in a decorative X fashion. The bottom of the skirt is the same heavy cotton as the top and one seam features a V shaped insert or patch.flagstaff hill maritime museum and village, great ocean road, shipwreck coast, warrnambool, broderie anglaise, needlework, sewing, stephenson family, skirt, lady's skirt

This two piece outfit of bodice and skirt, was made by the donor's mother in 1908, and made mostly by hand. She wore it to Mass in 1913. The "resilda" fabric was developed in 1908 from alpaca. It was marketed as being unspottable and uncrushable.Two piece ensemble of bodice and skirt. Long sleeved bodice of brown 'resilda'' fabric. Long sleeves gather into a 9 cm deep cuff. Cuff has a 4 cm wide band, which is embroidered with a silk braid and floral embroidery in dark olive and a deep cream. A 5 cm deep band of floral cotton lace, in deep cream, trimmed at the edge with the braiding, completes the cuff. The same lace forms a 6 cm deep stand-up collar, which is edged in a narrow velvet band of brown velvet. The back and front yoke is edged on the sides, with the same embroidered net as the sleeves. Braiding in a loop design underlines the bib shape, and also decorates the shoulders and upper sleeves. Sleeves are joined at the elbows, and decorated with braid. Bodice is pleated at the lower centre front to from a V shaped fitted waist. Back has a double placket opening - the inner having ten hook and eye fasteners, the outer having three hooks and three hand made loops (as well as nine hooks and hand made loops on the back lace yoke). The full length brown skirt, with a three-quarter length over-skirt, is edged in braided embroidery. Over-skirt is attached at the waistline, with a band of tape, and separates on the left hand side waistline. It is stitched to the underskirt at the front, and edged with a 5 cm dark olive coloured braid. The braid extends around the hemline of the over-skirt in a looped pattern. Fabric has a woven self stripe a narrow stripe of lighter colour, and a 75 mm stripe of dark grey edged with tan. The skirt is fully lined with brown cotton fabric. Centre back placket fastens with one large metal hook and eye, and six smaller hooks, and hand made cotton loops.costume, resilda

This uniform belonged to Marion Elaine Caffrey, nee Bullock (1920-1993). Marion was born and lived in Begonia Road, Gardenvale and attended Star of the Sea College with her younger twin sisters, Hilary and Margaret Bullock. Their family had been living in the district since 1892 when their grandfather, James Stewart, settled first at Brighton Beach before building a new home in Gardenia Road, Gardenvale in 1910. On leaving school, Marion took a job with the T&G Insurance Company in Collins Street. However, as the threat of invasion by Japan loomed closer following the bombing of Pearl Harbour and the fall of Singapore, in 1943 she volunteered to join Australia's war effort as part of the Women's Royal Australian Naval Service (WRANS). She initially trained as a coder at HMAS Cerberus, followed by a posting to HMAS Magnetic in Townsville. By the time Marion arrived in Townsville in 1944 it was very much a garrison town, inhabited largely by Australian and American servicemen. Whereas in Melbourne the war in the Pacific may have felt somewhat distant, in Townsville it was very immediate. Though the town was never subjected to the heavy bombardments of Darwin, a series of small air strikes in July 1942 had made the fear of air raids quite real. The naval base HMAS Magnetic was responsible for communications, Port Examination Services and servicing of Allied warships. Marion worked as a coder, encoding outgoing transmissions and decoding incoming ones either manually or using a Typex cipher machine. In 1945, she completed additional training to attain the rank of Leading Coder. Her keenness for the work is evident in a note on her service record: although no WRANS women were ever sent to active warzones, Marion volunteered for overseas service. Marion later recalled her time with the WRANS as one of the happiest and most personally fulfilling times of her life. Like many Australian women, she embraced the opportunity to serve her country and take on roles traditionally reserved for men. She completed her three years' service at HMAS Harman in Canberra where she was de-mobbed in 1946. Afterwards, she secured a job with Metro Goldwyn Mayer, where she worked until her marriage to Hugh Caffrey in 1947.Second World War WRANS uniform consisting of a dark navy blue serge blazer (.1), skirt (.2) and hat (.3). The blazer features six buttons. The left arm features a black patch embroidered with a red anchor wrapped in a length of rope (a fouled anchor) with a single red chevron beneath, denoting the rank of Leading Wran (equivalent to Leading Seaman). The right arm features a black patch embroidered with red crossed flags over the letter 'C'. The pencil skirt is lined and fastens at the side with a button and snap fastenings. The navy felt hat features a round brim and a black ribbon band machine embroidered in gold with the words "H.M.A.S. HARMAN".Maker's label in collar of blazer reads "N491 / 1942 / SIZE [indistinct] / MADE IN AUSTRALIA" The label features a pen inscription, "BULLOCK". Size label in back of skirt: "2". Label inside the hat: "N18 / 1944 Size 20½ / MADE IN AUSTRALIA"1940s, marion elaine bullock, marion elaine caffrey, second world war, military uniform, wrans, women's royal australian naval service

Simplicity Pattern No. 1930 - size 12 Bust 32 Ladies short sleeved dress - flared skirt 3/4 sleeved swing back coatSimplicity Pattern No. 1930 size 12 Bust 32 Ladies' one-piece dress and coat Short sleeves dress - softly pleated 3/4 sleeved coat - swing back Dress - V-Line neck - flared skirt Coat - softly rounded neckline 15 piecesSimplicity Pattern No. 1930home dressmaking

'Going Away' jacket and skirt worn by Catherine Grant - nee Marden after her wedding at Holy Trinity St Kilda on 22 June 1873. Catherine Jane Marden was born in Bacchus Marsh in May 1849 and died in June 1925. William Fraser Grant was born in Aberdeen on October 17, 1845 and died in April 1916. See Love letter ND3737 and Marriage Certificate ND16671873 Wedding Dress. Mauve-grey silk taffetta skirt and jacket. Jacket has cream lace trim with green ribbon on neckline. Cuffed jacket sleeves have 3 buttons. Jacket front opening has 13 covered material buttons with hook and eye fastenings. Jacket is trimmed with a bow on the waistline at the back and gathered bustle shaping. Skirt has a train.costume, female

This skirt belonged to Miss Margaret Morison Ward Cole and was reportedly worn for her role as bridesmaid for the marriage of Miss Barkly, daughter of Sir Henry Barkly. George Ward Cole, father of Margaret, was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor The Duke Of Edinburgh, Queen Victoria’s second son at St Ninians in 1867. In later years St Ninians was subsequently sub divided and later demolished. Sir Henry Barkly was the second Governor of Victoria.A cream paper silk taffeta crinoline skirt c.1862. This skirt features a flat front across the front waistband but a gathered across the back. At the front it is floor length whilst at the back it features a small train. Presumably the skirt was concealed at the sides and back at the front features decorations that do not continue around the back. The front decoration consists of three tiers of pleated pale violet to pale pink silk ribbon with a deep drop of cream lace. The final lace tier is gracing the floor. st ninians, george ward cole, brighton, sir henry barkly, crinoline, bridesmaid, margaret morrison ward cole

This skirt was made by the Fletcher Jones company as part of the uniform of the Penleigh Grammar School, Essendon, Melbourne. David Fletcher Jones (1895-1977) setup as a travelling hawker in the 1920s selling drapery in Western Victoria. In 1924 he opened a store in Warrnambool, moving into a two-storeyed building in Liebig Street in 1931. He manufactured and sold men's clothing at this site, opening a store in Melbourne in 1946 and a factory in Warrnambool in 1948. The company of Fletcher Jones and Staff, established in 1951, opened more stores and factories and operated Australia-wide and became well-known firstly for its production of men's trousers and later men's and women's clothing. By 2011 the Warrnambool factory was sold and the company dissolved. This skirt is of interest as a fine example of the quality clothing made by the Fletcher Jones clothing company. This business commenced in Warrnambool and was a dominant one in Warrnambool (and Australia) during the 20th century.This is a woman's tartan skirt in green and navy tonings. The skirt is pleated at the back and sides and has a silver-coloured metal buckle at the left side. It has metal clips and buttons that adjust the waistline size and a green cloth folder designed as a wallet with a press stud closer inside the front waist.College Apparel by Fletcher Jones Australiafletcher jones clothing stores, penleigh grammar uniform, penleigh grammar skirt, tartan skirt

This skirt belonged to Olga Black, a long-time Brighton resident. The linen used for the skirt were woven by Olga's great-grandmother Efstathia in the late-nineteenth century with flax grown on the island of Ithaca. In the 1950s, Olga made the fabric into a skirt, embellishing it with hand embroidery. Olga Maria Black was born in Melbourne in 1930, the daughter of Ithacan migrants Constantine and Toula Mavrokefalos. Constantine first emigrated to Australia in 1902, returning to Greece circa 1912-13 to serve his home country in the Balkan Wars. Toula's family had left Ithaca for Romania when she was only six months old, but she happened to be visiting the island at the very time that Constantine arrived, fresh from the war. Within three weeks they were married, and when Constantine returned to Melbourne in 1914 his new bride came with him. Constantine had trained as an accountant, but his qualifications were not recognised in Australia. Changing his surname to the Anglicised "Black", he started off working in his older brother Dionysios's cafés before going into business on his own. In 1917 he opened the Paris Residential Café at 54-56 Swanston Street, which offered both dining and accommodation. The business saw some years of success, but did not survive the Great Depression. Constantine died in 1944. Olga's mother Toula learned to sew as a child, while growing up in the Romanian village of Brila. She developed her skills making lace and embroidering items for her trousseau. Some of the linen she embroidered had been woven from flax on Ithaca by her own grandmother, Efstathia. During the Depression, when money was scarce, Toula embroidered at home, doing work for a factory in Flinders Lane. Using a cotton reel, a threepence and a sixpence she created and embroidered designs on hundreds of blouses. Olga spent her preschool days sitting at the table where her mother worked. Toula would involve Olga by allowing her to help choose the colour combinations. Toula lived with Olga in Brighton until her death in 1976. Olga inherited her mother's sewing skills. She re-invented some of Toula’s trousseau nightdresses and skilfully altered other clothing, making dresses which she wore around Brighton for many years.Ankle-length full cream linen skirt with multi-coloured cross stitch embroidery featuring mountains, birds and trees. Fullness is pleated into wide waist band. Left side opening. The fabric widths have been whipped together by hand probably at the time the cloth was woven in the late-nineteenth century. The skirt is machine stitched.skirt, linen, hand woven, embroidery, ithaca, migration, greek diaspora, olga black

Coat hangers were used to hang up trousers or skirts by the waist. This coat hanger was designed prior to clips with springs being used.Wooden coat hanger with wire fitted hook used to hang trousers (or skirts) by moving a steel plate along the wire (to tighten the grip). There are 2 rectangular pieces of wood with small padding attached on the inside outer edges. Each piece of wood has wire coming out of the centre. The wire is vertical before rounding to form a hook and is continuous. The wire has a small steel plate with 2 holes along the vertical section.coat hanger. clothes. skirts. trousers.

Symbolism: Fish - abundance. Scrolls- happiness and prosperity. Fan - longevity. Chrysanthemum - longevity. Because these skirts were worn under knee length jackets , the embroidery only came up to where it would meet the bottom of the jacket. 'Chinese Dress from the Qing Dynasty to the Present' 2008 Valery Garrett. Symbolism - from C.A.S.Williams ' Chinese Symbolism and Art Motifs' 2006 and 'Hidden Meanings in Chinese Art'2006 Terese Tse Bartholomew.Cyclamen coloured, self patterned silk damask skirt with godets bordered in mid blue and lined with aqua silk. It has a wide cotton waist band with a loop at each end. The band was made in cotton (or hemp) to stop the skirt from slipping down. It was fastened by means of a tie or button. The skirt has a wide front panel embroidered with slowers in shades of blue and white, the central flower, a peony, is in a vase or urn. There are varius symbols inthe embroidery surrounding the central flower. Machine embroidered braid forms a border around this central area and beyond this is another hand embroidered border on white with blue and flesh coloured pink flowers. The godets have small embroidered motifs of fish, scrolls, fans and chrysanthemums. Embroidered in Pekin knot stitch outlined in metal thread. Pound sign 5-15-0 written in pencil on waistband.embroidery, garment, silk embroidery, china, 19th century