Hand knitted, long sleeved jacket. A 3.5 cm moss stitch band at the wrists, at the centre front opening, and around the chest, where eyelets provide for a ribbon insert ( no ribbon present). A 7 cm deep stocking stitch back yoke. Front also has a stocking stitch yoke, but at the front, there are two bands of the pattern across the centre of the yoke.(Pattern has a 10 row repeat). A .4 cm wide ribbon is threaded through eyelets in the neckband. Set-in sleeves.costume, children's, baby jacket

Hand knitted bonnet in a lacy pattern. The circular crown is knitted in garter stitch, and as the circle increases in size, a "spoked" effect where the increase is made, gives a wheel-like effect. The main part of the bonnet has a repeat of a six row pattern. The front band of the bonnet, framing the face, is 2 cm wide, knitted in garter stitch. A 2.25 cm wide nylon ribbon attaches to the corners of this band, and ties under the chin. A narrow band of garter stitch, finishes the neck edge.costume, children's, baby bonnet

Ladies’ gloves were an essential part of life in the 1840s to 1900 Victorian era, regardless of class most ladies wore gloves. The glove design, material, and fit would hint at a lady's status, despite their hands being covered. A shorter style of glove would have been used for daytime wear, along with the matching parasol cover and would be matched to the owner's outfit. Leather was a material often used since the 1900s, however when WWI hit the price of leather gloves increased and many resorted to cheaper materials for their accessories. Although particular styles for evening-wear gloves altered throughout the 20th Century, the classic neutral leather glove was a staple throughout Australian ladies' fashion during this time. The need for gloves and parasol cover however disappeared in the 1960s when gloves were only used in the winter months as a practicality rather than a fashion accessory.The leather gloves and parasol cover indicate the owner was wealthy and was able to spend money on good quality accessories. This may have been due to the fact that Chiltern was a gold-rush town and would have had some wealthy families living there from the late 19th Century. The leather items are a symbol of such wealth and social signifiance in the rural town of Chiltern.Gloves: Beige colour with brown hand stitched detail on the upper hand - 3 lengths. Brown stitched all around with finger gussets. Three brown leather button detail to the upper cuff (actual leather circular pieces meant to resemble buttons, hand stitched in beige). Umbrella/parasol cover: Same soft leather as gloves and detail, metal zip along the length and tapered to one end. Two leather circular pieces meant to resemble buttons, one missing at the top). chiltern, leather, leather gloves, leather parasol cover, parasol, parasol cover, gloves, wealth, gold rush, chiltern athenaeum museum, chiltern gold rush

Formed in 1990 by a group of current and former social services and administrative staff at the then-Brighton Council, the Lovely Learned Luscious Ladies of Brighton were a group bound by friendship, humour, fun and a delightfully strange knitting project. Each member took turns to add ten rows ten rows of knitting to the piece, following a series of handwritten rules on an attached card. The wool used was not to be bought, but could be "begged, borrowed or stolen", and previous work was not to be altered. The ladies met bi-monthly over dinner at local restaurants and hotels to swap gossip, play games and share the progress of the knitting. The work of twelve women over eighteen years, the piece documents fond memories, personal passions, wedding celebrations, the birth of a grandchild, footy triumphs, holidays and major events. It is a testament to a close-knit friendship, as expressed on the rules card: "MAY THIS PIECE SERVE TO BIND US TOGETHER".Irregular-shaped knitting project consisting of multicoloured knitted stripes in a variety of yarns and stitches created by a group of women over a period of eighteen years. The piece includes numerous additions and embellishments by the various makers, including sequins, beads, shells, badges, ornaments and laminated images.Attached yellow laminated rectangular card with handwritten rules: "1) Nominated member is to knit (in any stitch of choice) 10 rows of your best by the next meeting. 2) The yarn to be used is not to be purchased for the job but can be begged, borrowed or stolen. 3) The colour of yarn is to be left to member's discretion, but judgement will be passed by others. 4) The nominated member will not tamper with, pull out or destroy a previous member's work. 5) On returning the work to the meeting the member shall declare to what genuine purpose the piece will be put on completion (as a guide for future knitters), e.g. rug for favourite chardy, cock sock for lover. 6) The next knitter can (and shall be encouraged to) change the purpose as stated by the previous knitter. 7) This tag must not, without the permission of a majority of members, be removed. MAY THIS PIECE SERVE TO BIND US TOGETHER."brighton, brighton council, social groups, knitting, 1990s

Object. Cream coloured toweling, with a 5 cm wide red, woven stripe through the centre of the towel, into which is woven ''CENTENARY 1934'' in capital letters 5 cm tall. A paper sticker on the towel reads "All cotton, Made in England. A cotton tape sewn onto the towel reads OSMAN, in red capital letters, and enclosed in a diamond shape 2.5 cm long-fringing at each end of towel.All cotton Made in England (Paper sticker on towel). CENTENARY 1934 (Woven into towel. OSMAN - (woven into cotton tape and stitched on the towel).textiles, domestic, cotton bath towel

Now incorporated into Westerfolds Park. Panoramic stitch created by EDHS from two separate images 02742/3.Digital composite of two colour photographsfred mitchell collection, 1968, fitzsimons lane, templestowe, westerfolds park, houses

Sheet listing needle positions required for types of garments to be created and types of stitches, for Dubied hand knitting machine.machine knitting, sartori, mrs genitilia

Handmade pale blue banner with chain stitched text in cream and gold cotton and chain stitched image in cream, gold, brown, green and blue cotton. The back is quilted in navy blue fabric. The top of the banner has four loops for hanging and it has a navy blue fringe at its bottom. NEPEAN UCAFuniting chruch adult fellowship nepean

Lady's hat made from cream coloured straw like synthetic fabric with a matching cream ribbon around the crown. The band is tied in a bow with a decorative faux pearl clasp stitched onto the band. Hand stitching presents as the hat being hand made. Black chin elastic attached.hat, millinery

Donor believes works were completed by her great aunt: Lydie, Rosa and Olivia Pollard when sisters were young girls. They were completed in Country Durham England. Works have been passed down through family.Two embroidered laundry bags with scalloped edges one with red flowers and the other with gold flowers. Each has a fold over cover, envelope style with embroidered flowers on a cream background. Scalloped edges are outlined with green and gold stitching with a further row of stitches outlining the pattern of the scalloped edging.P W E embroidered top LH corner Gold Bag- A L 4 embroidered inside top LH corner of red bag late victorian needlework, handmade embroidery, lingerie bag

This corset cover is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. This corset cover is an excellent example of an everyday clothing item with the decorative trim favoured by women in the late Victorian era. Eliza Towns has added pintucks, embroidered feather stitch and a highly decorative hand crocheted lace trim to the neckline, sleeves and front of the bodice. Corset covers (sometimes called camisoles) began to appear in women's fashion around 1840 and continued through the late Victorian decades into the Edwardian era. The long chemise was considered too bulky to cover the corset and so the corset cover was developed to be short and light and was worn over the corset and under the bodice of the outer garment. A woman would dress into her chemise and drawers first, followed by her corset and finally her corset cover as a final layer under her dress. Corset covers served several purposes. They provided protection against sweat (and the need to regularly wash the corset), helped smooth the lines of the corset and increased a woman's modesty.This item is an example of the needlework skills of women in the late 19th century - combining machine stitching with hand embroidery and crochet to embellish an item of personal underclothing. It is also significant as an example of a practical solution to the difficulty of hand washing a corset in the Victorian era.A short (waist length) corset cover of fine cotton. Short sleeves fall from a square neckline and are gathered into a wide crocheted lace trim with a band of embroidered feather stitch. The same crocheted lace design and feather stitching are also on the square neckline which is finished with a drawstring ribbon. The bodice has a front opening with five buttons and is bordered on each side with four pintucks. It has a drawstring ribbon at the waist and an extra layer of fine cotton lining has been added to strengthen the corset cover under the arms. The back has two bands of three pintucks running vertically from the neckline to the waist.flagstaff hill, flagstaff hill maritime museum & village, warrnambool, great ocean road, shipwreck coast, nhill, wimmera, eliza towns, underclothing, corset cover, camisole, machine sewing, hand sewing, crocheted lace, pintucks, feather stitch, embroidery, underwear, victorian era underclothing, victorian era corset cover

Item re Frederick Gardner DAVEY DFC No 410533 RAAF. Refer Reg No 3536P for his service details.RAAF dress scarf in moss stitch, white thread. Each end is fringed with 9 white tassles in the same thread.scarfs, uniforms, accessories, raaf

.1) Leather, Stitched pistol holster with brass fasteners. .2) Brass cleaning rod for pistol, sits in the back holster.“Australia [left arrow]” tooled at top of holster under .military history - equipment, trades-leatherworking, passchendaele barracks trust

Displayed at History House. Item cleaned and starched by Anne Grant in 1993.White cotton and lace. Delicate stitch and cut-out work at hem and bottom third of gown and bodice. Capped sleeves.

The patch badge was worn on shirts by members of the 2 Commando Company Sky Divers, one of Victoria's and Australia's earliest Skydiving clubs. Formed in 1961 by Warren Hutchings within 2 Commando Company, members jumped under the auspices of the Army and RAAF.One of the few military sponsored clubs, it was a pioneer in Australian skydiving before the advent of the Australian Parachute Federation.Circular cloth sew-on badge, black and white with stiched-on parachutist with red and white striped canopy; gold stitched border.2 Commando Company Skydivers2 commando company - sky divers - early skydiving club - warren hutchings - australian skydiving- australian parachute federation

``Newspaper clipping from the "Mail" 22-10-96 P5. A stitch in time. L to R : Kerryn, Jana and FelicityGrade 4 students at Ringwood North Primary School have won the top prizes in a Royal Mellbourne Show embroidery competition. In all, seven students won prizes at the show. `

Dates from gold-mining period in Queenstown (St. Andrews) Caledonian Diggings. Used for lift ore to the surface by windlass in small-scale shaft mines.Heavy leather bucket with iron reinforcing and handle. Panels are stitched and joined with thonging Ironwork is hand-forged and rivetted in place.

A combat camouflage shirt with an insignia on a pocket with the word Air borne above it. On a sleeve in red stitching is a patch Republique Khmereclothing, mcphail collection, camoflague shirt

This banner belonged to Wilhelm Eckels, a wool buyer in Sydney , NSW, when war broke out. He was interned in Camp 1, aged 22 years. Red cloth banner with hand stitched green tassels on one end. Hand painted Comedy and Tragedy symbol and writingas abovewilhelm eckels, wool buyer, rod eckels

The full costume used traditionally by ladies in the 16th to 19th century AD. Now used in Greek dances, parades and theatrical performances as a traditional costume.Navy embroidered apron with sequins and coloured stitching. Black lining on reverse side. Part "B" of a four piece costume.lady's costume, apron, greek, βλαχοπούλα, ποδιά, στολή

Milk jug cover such as used pre-refrigeration during 1930's and 1940's. Owner Betty McPheeCream double net square with green stitching at edge. 3 cm crocheted border trimmed with cream and pink beadshandcrafts, crocheting or crochet work, domestic items, food storage & preservation

Cream georgette and net, hem stitched around edges, embroidered daisy on each, with twelve eyelets in a circle around daises.costume accessories, female

Donated by Heather McNamara on behalf of her mother-in-law Isobel McNamara.Two matching dolieys with hand crocheted edging. Both have tiger lillies in shade of orange with green cross stitch,needle work, heather mcnamara

Machine made muslin applique Fichu. Muslin appliqued onto machine made net using machine chain stitch.

The 13th Australian Light Horse Regiment (AIF) was raised at Broadmeadows Victoria in March 1915. Following service at Gallipoli the regiment was broken up with squadrons going to France as Divisional Cavalry Squadrons of 2nd, 4th and 5th Divisions. The regiment was reformed as firstly 1st Anzac Corps Mounted Troops and later Australian Corps Mounted Troops. The regimental association was formed following the return from the war and continued to meet regularly till early 1980s. Records and memorabilia were handed to the 8/13 Victorian Mounted Rifles.Twenty editions of the Annual Report of the 13th Australian Light Horse Regimental Association. Multiple pages, saddle stitched and stapled.association, 13th, light horse, wwi, world war one