This woolen sampler was of the type created by learners practicing their stitches, in this case Phoebe Lowell, a schoolgirl who made this in 1918 at St Michael's, St Kilda where she won the Form V Needlework Prize in that year. It was purchased in the late 1990s by the donor who later moved to Emerald but, at the time, had a 2nd hand decoration shop in Camberwell when she purchased this as part of a group of garments which included bloomers, lace collars and cuffs, camisoles etc - all of which have been donated to the Museum. The donor was advised at the time of her purchase that the garments were over 100 years old although that would not have been the case for this sampler.This sampler is a reminder of the tuition which schoolgirls routinely received in sewing and embroidery as these were considered essential skills for a future housewife.Piece of cream-colored woolen fabric hemmed with herringbone stitching. A circle and a square have been cut out and a larger circle and square have been sewn with herringbone stitches as a backing.On small cardboard piece sewn to sampler: 'Phoebe Lewell / Form 5 R / Age 16'female, lynne findlay collection, sampler, phoebe lowell, 1918, st michael's

Published by Semco Art Needlework Pty.Ltd> Semco Park Cheltenham Road Black Rock S.9. Farrow Falcon Press Pty. Ltd. 226 Lonsdale Place, Melbourne. For Girls learning embroidery- home/schoolSemco Embroidery Text Book. White outline around Black cover. Large red circle with girl siting in front doing embroidery wearing Victorian style short puffed sleeved dress polka dot pattern and pantaloons red stockings and lace up ballerina style shoes1st Edition Semco Embroidery Text Book 3D Free sampler transfer inside. Booklet contains illustrations and instructions for each stich. Pages 2 and 3 have pencil squiggles across the top.: Stem stitch, Snail Trail, Back Stitch, Lazy Daisy Stitch, Thousand Flower Stitch, Buttonhole Stitch, Long and short buttonhole stitch, Chain Stitch Seed Stitch, Arrow stitch, Feather Stitch, Herringbone Stitch, Cross Stitch, French Knots, Lattice Stitch. Illustrations of designs with stiches referred to on previous pages. stawell

These matching cuffs could be attached to and detached from sleeves as needed in order to embellish an outfit and for ease of cleaning as cuffs would soil more quickly than the rest of an outfit. Their original owner is unknown, but it was purchased in the late 1990s by the donor who later moved to Emerald but, at the time, had a 2nd hand decoration shop in Camberwell when she purchased this as part of a group of garments which included bloomers, lace collars and cuffs, camisoles etc - all of which have been donated to the Museum. The donor was informed at the time of purchase that the garments were over 100 years old.These lovely handmade cuffs enabled more personalisation and variety of outfits as well as facilitating more efficient cleaning of clothes.A pair of cream-colored lace cuffs made of silk tapes with infilled needle stitching. Hand-made.female, lynne findlay collection, cuffs, lace

A suzani is a large, hand-embroidered textile panel; the word comes from the Persian word suzan, which means needle. Originating from nomadic tribes in Tajikistan, Uzbekistan, Kazakhstan and other Central Asian countries, suzanis have become highly collectable and valued for their beautiful decoration and fine craftsmanship. They were traditionally made by brides and their mothers as part of a dowry, and presented to the groom on his wedding day. They represented the binding together of two families, and were adorned with symbols of luck, health, long life and fertility. Suzanis are made from cotton, sometimes silk. The pattern is first drawn onto the cotton, before being embroidered on narrow portable looms. They are usually produced in two or more pieces, meaning that they can be worked on by more than one person, before being stitched together. Just four stitches — tambour, basma, chain and kanda-khayol Panel of embroidered Suzani on green polyester fabric with maroon velvet border. Embroidered with stylized floral circular designs and foliage. Designs are embroidered in white, yellow, orange, bronze, pink, brown and black thread in tambour stitch. Backing is red cotton fabric. Border strips are embellished with machine patterned stitching.

Hand knitted cream wool shawl. Garter stitch centre. Deep fan and feather stitch border.costume, infants'

This ball was possibly made by Corporal C. McMullen during WWI. McMullen made footballs for the Australian Imperial Force, all of which were hand stitched. He made the original ball for the 1916 Australian Rules exhibition match held in London and watched by 3000 spectators. McMullen's balls were called "The AIF Ball", indicating that this might be one of them. The inscription "Match .II." suggests it was used for a later match.The provenance of this object is unknown, but it was potentially made by Corporal C. McMullen for use in an AIF exhibition match. If so, it is a highly significant piece of sporting memorabilia, and holds national significance as an object that tells the early evolution of Australian Rules Football and the importance of sport to the armed forces.Brown leather football, deflated. Stitched together. Four leather threads at top of ball. Has stencil painted markings on both top sections.THE AIF BALL / MATCH .II.football, aif, afl, australian rules, sport, leather, wwi

These hand shears were used for sheep shearing. They appear to be dual purpose sheep or topiary shears. They would have been used on a rural property in early Orbost. This item is an example of a hand tool used commonly before the widespread use of power tools.A pair of metal hand shears with a circular loop handle. On blade - Red Reaper Hand Shears 219 Ward & Payne 303 SHEFFIELD ENGLANDtool hand-shears

Clothing. Possibly, a cardboard horse shoe shape, covered in 3 cm wide satin ribbon. On the face of the horse shoe 1.2 cm wide satin ribbon has been ruched to give a ''zig zag'' effect. A loop of the 1.2 cm wide ribbon, 20.5 cm long, would pass over the wrist. A small 1.2 cm X 2.5 cm piece of card has been stitched to the back of the horse shoe, with the words,''with love from Grandma''.On card stitched to back of horse shoe: ''With love from Grandma''.costume accessories, female, satin ribbon horse shoe

On display label: “Hand Painted Shell. Made in the islands WW2. Donated by N Hubble.Hand painted shell souvenir with palm trees, mountain. Shell mounted on timber stand, diamond shape.On timber base - hand inscribed - “N/Horvic Hubble/1947/WW2”military history, souvenirs, islands

Marghab Linens Ltd. was a company specialising in table linens founded on Madeira in 1933 by British Cypriot Emile Marghab and his South Dakotan wife Vera (née Way); and disestablished in 1980.The company was also known as Emile Marghab Inc. Since 1850, when Madeiran natives were introduced to hand embroidery as a means of industry, the islands had been renowned for their needlework. The Marghabs took advantage of this reputation, producing textiles that were skilfully hand-embroidered on the highest quality Irish linen and a form of organdie called Margandie, made in Switzerland, and harder wearing than usual organdie. The linens were designed by Vera, and hand-embroidered as a home industry by the women on Madeira, who Vera insisted received payment per stitch - which for a single place mat could amount to seventy thousand stitches.Pale grey linen hand towel with white embroidery, cutwork and applique. The design is of a tree with blossoms.madeira work, surface stitchery, hand towel

Wooden Grave Marker with detail of the carved hand with a heart in the middle.A Black and White close up photograph of the wooden grave marker of William Jago August 1860's. Heart carved in hand Ritual belonging to the Lodge 1.O.O.F..Wooden Grave Marker with a Heart carved into a hand.stawell cemetery

This white, cotton, baby's pinafore with hand crochet work is and example of the dressmaking skills of the women of the families 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 utensils. This is one of many items that exhibit the skill and craftsmanship of the women in these families.A white cotton infant's pinafore, with hand crochet work around armholes, and lower edge of garment. Feather stitch embroidery, and pin-tucking on bodice. Waist ties.clothing, crochet work, moorabbin, bentleigh, early settlers, pioneers, market gardeners, dendy special survey, brighton pioneers

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.Cream coloured silk wedding dress with train. Three flat panels at front and side, lined with polished cotton. Centre tightly gathered panel at centre back lined with stiffened cotton.Other panels lined with stiffened cotton above hemline of skirt. Double layer lace insert inside lower edge to hemline. Back opening with four hook and eye fasteners. Deep pocket on side seam at hip on RHS. Three back panels extended below hemline of skirt to form squared edge train. Two hanging tapes inside waist band. Skirt hand and machine stitched. Matching bodice 11400.314.Label stitched inside skirt waistband - ''F.Davey & Co Dress & Mantle makers, View Point, Sandhurst.costume, female, wedding dress skirt

Designed and worked by donor Mrs Eunice Spedding for the Singer Sewing Machine Company in Victoria in the early 1950's. Worked prior to the advent of the swing needle domestic sewing machine. Early work was carried out on commercially prepared designs. Possible stitches include satin, stem, split petals, eyelets and cut work, in an excellent imitation of hand embroidery.Light beige linen with cutwork design of flowers with 4 tiny satin stitched flowers inside. Early form of machine embroidery made for the Singer Sewing Machine Company in Victoria in the early 1950's.embroidery, machine embroidery

made locally circa 1910. Due to relative long distance to haberdashery stores majority of children's garments were hand made by a local talented seamstress or mother/relativeHistorical significant to the period circa 1900 to circa 1950 when fashion was dictated by long lasting durability, local manufacture, earthy colours and ease of mobility. Photos in the KVHS collection show girls from Tawonga Primary School in a dress that could be this dress which is dated 1910. Dress brown cotton with long sleeves. Dress top and sleeves lined. Back of dress is open with metal hooks for fastening. Hand stitched eyelets and decorative strip down centre front bodice and around hips. Gathered skirt is joined at hip. One pocket on left side 6cm from waist band.Decorative strip at bottom of dress with a pleated hand and machine stitched frill.no inscriptions or markings suggesting locally made.dress, clothing, girl's dress, home made

2 White, rectangular, damask linen hand towel with hand embroidered cross stitch borders at both short ends; red cross stitch pattern along one end and an unfinished red cross stitch pattern on the other. Cotton fringe on both ends to complete the hand towel.towels, hand towels

This cot cover insert was made during the 1929 depression an a time of financial hardship. It was made by Jean Hepner's Grandmother from used woollen garments. They were hand stitched on to an old woollen blanket. The quilt was used by at least five of the seven children born in to this family and also by grandchildren in later years. It was used with assorted covers which were replaced when needed.Child's cot cover insert (wagga) made from discarded woollen garments such as socks, stockings and vests and stitched in multiple layers on to a woollen blanket. It is mostly cream in colour with patches of blue and brown.quilting, history, depression era, wagga, geelong, quilting - history

This handkerchief was a commonly carried item and is believed to be early 19th century. Its original owner is unknown, but it was purchased in the late 1990s by the donor who later moved to Emerald but, at the time, had a 2nd hand decoration shop in Camberwell when she purchased this as part of a group of garments which included bloomers, lace collars and cuffs, camisoles etc - all of which have been donated to the Museum. The donor was informed at the time of purchase that the garments were over 100 years old.This lovely hand-made lace handkerchief was a typical everyday item carried by women in the early 19th century. Lawn hand-stitched handkerchief decorated with 3 lines of vertical and horizontal pleating which is hemmed and finished off with a lace border. female, point d'esprit, lynne findlay collection, handkerchief

This Item is one of four bedroom items hand made in circa 1900 by Amalihe Pierin. Her Son brought the item when he emigrated to Australia and members of the family still reside in the Kiewa Valley. Historically this item represents the requirement by families to manufacture a whole range of bedroom coverings due to the lack of professionally manufactured goods. Isolation from big towns or cities required local seamstress activities and therefore closer social bonding was a necessity. Although this item was transported from Italy to Australia by the son of Amalihine Pierin the significance still remains the sameLinen (white) cut work and embroidered central floral scene with decorative cut work above leaf shapes 2cm border with triangular hand stitching attine.embroidery, handcrafts, bedroom linen, trimmings, cut work

.1) These capes were worn by student nurses when going on and off duty, when called to see the Matron or senior nurse (but never worn on duty). They were made of unlined woollen fabric and were wrist length and worn by Alfred Hospital student nurses until 1992.This nurses cape was made before 1970 as Ball & Welch Ltd was bought out in 1970. .2) RANF was between 1971-1988. In October 1975 the Royal Victorian College of Nurses amalgamated with the RANF Employees' Section and became the new Royal Australian Nursing Federation. .1) Machine stitched light blue pure wool cape with stitched down shoulder epaulettes. Around the neckline is stitched cotton bias binding which is hemmed by hand. Hook and eye fastening. .2) Badge pinned to left hand front Badge - Student Nurse Unit R.A.N.F.nursing, alfred hospital, student nurse cape, woollen cape, royal australian nursing federation, ranf, badge, ball and welch, costume, textiles

Example of embroidery stitches.Hand embroidered sampler Various designs worked by Embroider. Green and yellow Red and Silver threadspersonal designs, green, yellow, red and silver stitching

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. The textiles in the Haeusler collection belonged to Ilma Margaret Ernestine Haeusler (née Tasker), born in 1900 in Tallangatta. These textiles were handmade by Ilma between 1919 and 1928 for use in the family home during her marriage to Louis Alfred Haeusler (b.1878). Ilma died in childbirth in 1928, leaving one surviving son, John Alfred Lyell (b.1922). This textile is one of the many domestic objects in the Haeusler Collection that represent family and home life in early twentieth century Wodonga. In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women. The item is handmade and unique, with well documented provenance. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and women’s history.Hand embroidered doily with floral design and word "CAKE" stitched around outer rim of fabric "CAKE"textiles, sewing, handiwork, women's history, domestic, craft

Provides a set of 60 questions with answers, generally Yes or No, about tramway operations, behaviour and general knowledge. Has in the top right-hand corner (part loose) to Engineer and Manager from the Manager Geelong branch a label with a date of 29/9/1947. Yield information and demonstrates a SEC training document.Document - 6 foolscap carbon copy sheets, partly glued in top left hand corner.On top right hand corner a label - part torn off.secv, trams, tramways, sec, training, drivers, conductors, behaviour

Wrist badge for self identifiaction made by 2381 C.W. Smith as Trench Art during service in WW1Manufactured during WW1 by C.W. Smith as an item of identification in case of an adverse occurrence during his operational serviceHand made metal map of Australia with brown leather band hand stitched and brass metal buckle“2381 C.W.SMITH/1ST FIELD SQDN./A.N.Z. MTD DIV M.” Inscribed on front of metal mapwrist, badge, metal

An example of a Junior Legacy Club Badge that was stitched onto clothes. It appears to be a manufacturers sample. Junior Legatees would have had badges like this on their outfits for the classes held by Melbourne Legacy for many years. Outfits were provided for the children by Melbourne Legacy.An example of the cloth badge worn by Junior Legacy Club members.Cloth badge of the Legacy torch stitched on blue fabric containing the words Junior Legacy - Leader.Embroidered with 'Junior Legacy - Leader'junior legatee, boys' classes, girls' classes, jlc

This apron was done by a small girl in order to learn different needlework techniques and shows hemming, buttonhole edgings, bars, eyelets, darning, drawn thread and feather stitch. Made by the donor's mother Mrs J.B. Rentoul (nee Floretta Thomas) late of St. Georges Manse, Geelong and St. Andrews, Wagga Wagga, N.S.W. It was worked when she was six, for the Sydney Exhibition and was highly commended.Tiny dolls apron in white cotton with pale blue stitching.embroidery, samplers, dolls clothes, late 19th century, australia, plain sewing

Standing proud, still here, the spirit of ten ancestral matriarchs adorned in contemporary ceremonial cloaks. Representing our women past, present and future, her Spirit, our culture, our Country (spelt with a capital for its importance and this is part of First Peoples protocols on acknowledging Country, our strength, our resilience and healing towards a sustainable future). The colours of this cloak refer to natural pink ochre and indigenous flowering plants on Wadawurrung Dja. The pink ochre is sourced by Deanne Gilson at Black Hill in Ballarat, Victoria. Men also made woven dilly bags to hold their possessions in. The basket making was an ongoing aspect of daily life for Wadawurrung people and often done in cooler months when the weather was too bad to go outside. Many women and family groups had their own style and techniques that were traded amongst other groups. Wadawurrung women had a particular stitch they used and incorporated elaborate symbols into the basket designs. Tammy Gilson’s weaving represents this stitch. This cloak pays homage to them and the changing seasons as they created, particularly the cooler months leading into the warmer season when several gum blossom flower. This cloak was worn once by artist Deanne Gilson at a formal opening at the Art Gallery of Ballarat in 2022. A Welcome to Country ceremony was performed while wearing it.Pink native flower in baskets motif on a pink background on outer cloak, pink and white diamond and circle design in lining. Solid black trimming. Cloak is machine sewn and handstitched with hand stitching on shoulder seam.deanne gilson, wadawurrung dja, first nations art

This overcoat was designed and tailored by Dominex, a company that sold clothing in high end department stores such as Myer and David Jones in the 1940s through to the 2000s. As pictured in the accompanying advertising, Dominex looked to produce clothes for women to “casually, confidently wear … the exquisite styling and superb tailoring of… Dominex Coats”. This sentiment was carried by the company for more than 60 years. Amanda Morgan, a director of the Dominex fashion label in an interview from 2003 said “Not everybody wants sass, or sex, or high fashion for that matter. Au contraire. Our customers will be stylish, sophisticated and womanly, but we don’t do shoestring straps or asymmetrical lines." Dominex was a label specialising in exceptional quality "traditional" dressing for corporate wear. Their clothes looked to provide women with a return to the tried and true values of elegant, unpretentious, classic dressing. "Our look is European-influenced," Morgan explained further. "Inspired by Armani, Valentino, Chanel and Escada. Suits have been specially dyed in France to ensure the perfect shade of ice blue, lemon, grey, or slate. Fabrics are natural, silk and linen. Shapes are stylish, with an almost 1930s feel; classic pants, silk shirts, structured overcoats with elegant-length” Returning to this overcoat, it has a label on the inside which reads “Pure Wool Material by Godfrey Hirst of Geelong”. Nowadays Godfrey Hirst produce flooring products and are the largest manufacturer and exporter of residential and commercial carpets in Australasia. They have expanded into hard flooring and left their fashion days behind. This overcoat serves as a useful example of a different time for the company; before they made the change to concentrating exclusively on flooring, when they produced fabrics to be tailored for the height of Australian fashion. This overcoat was purchased and worn by Joan Waller, aunty of the donor, Kim Rosenow. Kim said her aunty was from Ballarat but frequently shopped in Melbourne to keep up with the latest trends. Her aunty Joan fitted the target demographic of Dominex well, as she needed to look sophisticated and elegant at social events and work. Kim donated the overcoat to the National Wool Museum in 2021. Green singled breasted overcoat with a narrow overlap and one column of buttons for fastening. The overcoat features notched lapels of a medium width and two large buttons of a green & dark green marble. The overcoat has two semi-visible jetted pockets at the hips. Internally, the overcoat features a black silk lining for comfort. It also features a stitched patch on the left side of the opening which reads “Pure Wool Material by Godfrey Hirst of Geelong”. At the collar, another patch reads “Dominex REGD”. At the cuffs, the overcoat finishes in a type of gauntlet cuff which stretches back over 200mm. The decorative finish utilises no buttons and has thick piping to accentuate this design feature. The overcoat finishes with a simple invisible hem at the bottom.Wording, gold. Patch stitched at collar: “DomineX / REGD.” Wording, black. Patch stitched at left off opening: “PURE WOOL MATERIAL BY / Godfrey Hirst / OF GEELONG”dominex, fashion, women's corporate wear, godfrey hirst, overcoat, wool clothing

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