Arthur WARREN (1958- ) Born Yallourn, Victoria Arthur Warren attended Gippsland Institute of Advanced Education from 1977 to 1979. He later returned as a visiting lecturer. After graduating Warren Arthur trained with Victor Greenaway for six and a half years, before establishing Amesfield Pottery in Upper Beaconsfield in 1986. Four porcelain lace pieceswarren arthur, ceramics, jan feder memorial ceramics collection, gippsland campus, alumni, victor greenaway, amesfield pottery

Mayoral robe worn with jabot and lace cuffs. Black Faille ceremonial robe with lapin collar and cuffs and cream lining.Unknowncity of greater bendigo ceremonial item

Turner Collection.Sleeveless white negligee with bands of lacework across neck line and down the body. Deep ruffle & lace finish at hemline. Slim fit. Some small moth holes and seem separation. Fragile.night wear, turner collection

Collection of Dolls:- 4 x Corn-Husk dolls dressed in country style clothes; 3 x Straw dolls wearing hats, two carrying baskets and one carrying a baby; 2 x Peg dolls depicted as early settlers wearing mop caps and long aprons edged in lace and a wooden toy duck in a felt pink hat with ribbons, a long cotton floral dress edged in lace and a felt face with a beak.peg dolls, dolls

Ice skates used to skate on Lake Catani. Ice skating was a popular activity for guest and visitors to Mt Buffalo. Ice skates were provided for hire by the the first Lessee of the Chalet, John Newton and also Norwegian born Hilda Samsing, who took over from him in 1919 and did much to pioneer and promote winter sports in the Victorian Alpine region . Ice cover on the Lake has not been sufficient for safe skating for many decades. 'After its initial popularity, skating at Mount Buffalo dwindled in the post-war years. According to Museum Victoria curator, Michelle Stevenson, few collections hold historic ice-skates, so any early examples identified in the Chalet collection will be important for their rarity." (Pg 94. Historica) 'Ice-skating was a popular recreational activity in the later nineteenth and early twentieth centuries...According to Michelle Stevenson, Australian Collections hold little material culture relating to its practice other than images and film. The few pairs of ice skates in the Chalet collection, which are in good condition, are important for their rarity as well as for illustrating the popularity of skating on Lake Catani prior to WW2.' Pair of black leather ice scates, mounted on wall. Skates feature white laces, metal blades and brown leather reinforcing area around laces and ankles.Boots are stffed with 1993 newsprint.On skate blade, "Made in Canada 11 1/3 CCM / Senior A" On boot sole , "Made by J Molony " plus worn name label.

Officer's full dress scarlet wool doublet with yellow stand collar and cuffs, and Inverness skirts. Left front of doublet, cuffs and Inverness skirts all edged with white piping. Lower edge of collar, cuffs and skirts are decorated with three rows of doubled, 1/8” silver Russian braid; each row completed with a large whitemetal coloured metal "King Edward VII Australian Commonwealth" button of the period 1901-1911. 5/8” silver lace around top of collar, and top and seam of gauntlet cuff. Silver braid shoulder straps and screw buttons MISSING. Five large buttons at front of tunic (three missing), and one at back waist (one missing). Two large brass belt hooks at side waist of doublet. Lower front skirt flaps have welt pockets lined with linen. Body of tunic lined with a white wool mixture, lightly padded around the underarms. Lower skirt flaps lined with a medium weight cream wool twill and upper smaller flaps lined with a finer cream wool twill. Sleeves lined with cream cotton twill and written in blue ink on lotter right opening lining is '5-7 37'. Collar lined with red wool and neck fastened with two brass hook and eyes. No black patent leather tab at collar.blue ink on lotter right opening lining is '5-7 37'

The collection of thirteen model horse drawn vehicles were carefully handmade by Mr Chas W Davis 1925 - 2002. He was a talented artist and saw doctor. This model of a horse drawn Canestoga Wagon replicates the vehicle that enjoyed respect from the public during the 1880's. A model of a long covered Conestoga Wagon with two horses, brown and tan. The cream fabric covers curved shaped metal bands and is laced with string around the base to attach it to the wagon.It has a green base, green wooden seat and footrest. There are two wooden barrels attached by wire on one side and the other side has a luggage box. It has two small gold painted spoked wheels with painted black tyres at the front and two larger ones at the back. The forerunner of the Conestoga Wagon had its origin in Europe as a mobile home for shepherds and nomads in the early 1800's. The east coast of America became home to people from all over Western Europe so the old wagon designs were carried to the New World. The wagons were named after a river in Lancaster County Pennsylvania where the Stutz family built them for the western treks of history. Fondly known as the 'Prairie Schooner', the cost in 1840 was $48.00, unpainted spare wheels $8.00, Lawson axles $12.00. They came in 12 and 14 feet beds.replicas, models, scale models, vehicles, carriages, horse drawn vehicles, toy horses, drays

Underwear & 1 item of nightwear belonging to Mary Monica Fleck Turner (Smith). Turner Collection.Items of clothing belonging to an early Kilmore family making up part of the Turner Collection.Eight camisoles, one underskirt, one bottom half negligee, one nightgown case. Generally in very good condition. TEX-0055.1 Underskirt, cotton & lace with blue satin ribbon. TEX-0055.3 Embroidered nightgown case TEX-0055.4 Camisole, lace & cotton, circular design on front, cap sleeves, prev. repair L front, cap sleeves with rust stains L sleeve. TEX-0055.5 Camisole, lawn & lace, white ribbon threaded through neckline, small holes throughout. TEX-0055.6 Camisole, white broderie anglaise, narrow fabric shoulder straps, drawstring neckline. Small holes throughout. TEX-0055.7 Camisole, cotton & lace, twisted gold ribbon at neckline, small holesthroughout. TEX-0055.8 Camisole, broderie anglaise, wide lace shoulder straps, blue ribbon at neckline, drawstring waist. 2 buttons missing, tear to lace mid upper back. TEX-0055.9 Camisole, white cotton, embroidered, pink ribbon through neckline, pintucks & drawstring at waist, 3 buttons missing. TEX-0055.10 Camisole, muslin, softlace shoulder straps, blue ribbon at neckline, hook & eye at waist, buttons missing. TEX-0055.11 Camisole, cotton & lace, pink ribbon at neckline, some holes/tears, 2 missing buttons, previous repair under R arm.TEX-0055.11 - Label outside R bodice edge 'Melbourne/Robertson & Moffatt Pty Ltd/Bourke Street'.underwear, nightwear, turner collection, smith

Long hat pins often with ornamental beads. To put through hat and hair. Used in the era of large hats.Collection of 16 hat pins, on lace hat pin cushion, with pink ribbon.hatpins, hats

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). 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.White hand stitched lace doily c.1920stextiles, sewing, handiwork, women's history, domestic, craft, family

The Wodonga Historical Society 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 doily is one of several domestic objects in the Haeusler Collection that represent family and home life in early twentieth century Wodonga. It was made using the broderie anglaise needlework technique that incorporates embroidery, cutwork and needle lace. This technique originated in sixteenth century Europe and became popular in England in the nineteenth century. 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.A handmade white broderie anglaise doily c.1920sneedlework, textiles, sewing, handiwork, women's history, domestic, craft, family

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. This collar was made using the broderie anglaise needlework technique that incorporates embroidery, cutwork and needle lace. This technique originated in sixteenth century Europe and became popular in England in the nineteenth century. 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.This item is unique, handmade and has a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of social 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.A white cotton collar from the Edwardian period with broderie anglaise embroidery. hamilton-smith, hamilton-smith collection, needlework, clothing, sewing, embroidery, women, domestic, edwardian

This is the type of uniform worn by the women who attended 30 WRAAC Barrack Mount Martha This uniform is an example of what was worn at 30 WRAAC Barrack, Mount Martha, Victoria. WRAAC soap green colour summer uniform, black Army issue lace up shoes and a WRAAC issue hat. c 1970's Uniform which consisted of a dress, belt, the original bakerlite buttons and plastic insignia and a black hat.wraac, uniform, mount martha house, 30 wraac barrack, 1970's

BHS CollectionMen's black leather shoes with pointed toes. Six eyelets. Black laces. 4 cm heel. Punched hole pattern on either side of tongue. Stitch pattern from tongue to tip of toe. Label on inner lining of sole 'Fractional fittings Thomas Dixon Sanitized.' Metal heel caps on both heels. Owned by Phillip Ellison

The collar is from a wedding dress worn by Margaret Anderson when she married William Henderson in Ireland in 1864. It was donated by Mrs Joan McDonald, the great granddaughter of William and Margaret Henderson.Beige Irish Lace collar from 1864 wedding dress for wedding of William Henderson and Margaret Anderson. Joan McDonald Collection. wedding dress, lace

This outfit from Sydney-based wearables label Iordanes Spyridon Gogos (ISG), was designed by Founder and Creative Director Jordan Gogos in collaboration with Akira Isogawa and other creative partners. The outfit comes from the ISG x Akira 2023 Afterpay Australian Fashion Week (AAFW) collection show presented at Carriageworks, Sydney 16 May 2023. Jordan Gogos is one of Australia's most innovative multidisciplinary artists. Preferring to describe his current designs as 'non normative', 'wearables for the imaginative' Gogos' work and practices have been influential in changing the conversation around clothing design, production and presentation by embedding co-collaboration, sustainability, diversity, and inclusivity in all aspects of his label. Born and raised in Tokyo, Japan before immigrating to Australia in 1987, Akira Isogawa is regarded as one of Australia's most innovative and successful fashion designers. In a career spanning over 25 years, Akira is perhaps best known for his contemporary interpretations of traditional Japanese clothing, and the quality of his craftsmanship. Isogawa has worked on a range of creative collaboration projects over the course of his career and was named Australian Designer of the Year at the Australian Fashion Industries Awards in 1999. The ISG x Akira collection show presented at AAFW resulted in a collection of 40 looks featuring digitally printed, compressed and patchworked garments with applique, embroidery, beading and origami. Made from deadstock and archival fabrics, accessorised with unique headpieces and footwear designs, the looks were presented in a theatrical collection show amid a colourful runway piled high with upcycled textile artworks and trojan horses signifying Gogo's Greek heritage, signed by Akira in red calligraphy. The models included people with diverse gender identities and body shape and size. - Kristina StankovskiOutfit consisting of a headpiece, top, skirt and shoes (pair). The fabric of the hat, top and skirt has been quilted and stitched together, and is of grey, white, black and yellow hues. The top has two sets of ties which fasten at the back of the waist. The skirt and top feature gold medallions which show a trojan horse and lettering. The shoes are lace up boots and include hues of fluro pink and yellow, as well as white, black and grey. The boots are lined with black vinyl. As part of this collection, this record includes six quilted squares of material created as test patch/samples of fabric used to create the outfit, and two test gold medallions. 9014.1 Headpiece 9014.2 Top 9014.3 Skirt 9014.4 Boots 9014.6 Six fabric sample squares 9014.6 Two gold medallions[printed on gold medallions] IORDANES SPYRIDON GOGOSjordan gogos, iordanes spyridon gogos, akira isogawa, 2023 afterpay australian fashion week, design, fashion, art, sustainability, innovation, trojan horse

Mrs Thomas Austin was Charity Ford (or Foord), born in Tunbridge Wells (England) about 1823. She married her husband Thomas Austin in England, and they migrated to Victoria with three children in 1849. They lived first in the Geelong area (at Ashby), but by the 1860s they were in the Linton district, where by 1868 they were running a stationery shop and post office in Sussex Street, next to the Grenville Shire offices. Charity and Thomas Austin had at least another eight children born in Victoria. The 1939 "Historic Souvenir of the LInton Centenary 1839-1939" says that Charity Austin "gave fine service as a nurse" to women in Linton. Charity Austin died at Caulfield in 1908. She is buried at Linton. Photograph is part of Old Lintonian collection ; No. 2.Black and white portrait photograph of a lady wearing gown with lace collar, and bandanna or cap to keep hair back from forehead. The photograph has been pasted onto a piece of cardboard.Backing card of photograph has written text on it, including the words "sewing machine"; the card has been cut so that only part of the text can be read, and it is not clear if it refers to Charity Austin.mrs thomas austin snr., old lintonian collection, charity austin, charity ford (foord)

Part of Old Lintonian collection ; No. 74Sepia portrait of a young woman wearing lace collar and hair up off face.mrs john madden, cis (mary ann) mcfadzean, old lintonian collection

Mary Linton, nee Dunlop, was born in 1809 the West Indies, and married Joseph Linton in Scotland when she was eighteen. Mary and Joseph Linton migrated to Victoria in 1839, and took up a pastoral lease in the Wardy Yaloak district which they called Emu Hill. They had eleven children, ten of whom survived to adulthood. Mary died in Ballarat in 1887. The township of Linton derives its name from this family. Part of Old Lintonian collection ; No. 12Sepia photograph of a woman wearing a gown with a lace collar and cap, seated with right arm resting on book on table, left arm resting on lap.mrs joseph linton, mary linton, mary dunlop, old lintonian collection

BHS Collectionblack and white photo: brick house, with iron lace verandah, iron roof, low paling front fence. Reverse of photo:; 2, 12, Ward, FSP, 1204, ?, Bunknownbuildings, residential

Princess lace flower mat made in Bruges from collection of Nan WarnerCream lace square with ornate lace motifs in each corner and lace edged.lace, handmade, bruges, nan warner

Part of the Cooper Collection. See catalogue No. 9586.2 for details of "Keith Cooper's", No. 3798359, service.Cylindrical polystyrene container with brown coloured leather covering. Leather cover secured with leather lacing. Cover stamped with lettering, an outline of a tank and unit insignia.Stamped on leather covering: '4th BASE WKSP BN, QMS' 'Outline of a tank' 'RAEME insignia'.cooper collection, keith cooper, souvenir, stubby holder

J.Campbell started a Draper , Outfitter and Milliner store in the Pioneer house on Percy Street in Portland Victoria in 1896. Advertisements found on Trove from November 20 1899 shows the store selling Spring goods, Millinery, Dress goods, prints, piques and muslins. Another advertisement on Trove from September 27 1907 shows the store showing their Spring and Summer Goods, including Choice Millinery, Latest Dress Fabrics, Laces and Silks, Blouses and Skirts.Paper account from J. Campbell, wholesaler and family draper to Mrs Cummings, in the sum of 4/6 for a blouse. Printed form, details handwritten in black ink top right hand corner is missing, and top left hand corner has two holes in the paper. Paper is cream and has darker brownish patches at the top. PIONEER HOUSE PERCY STR / Portland, Mar / Mrs Cummings / BOUGHT OF J. CAMPBELL, / (LATE A. MARRIOTT.) / Wholesale and Family Draper, Outfitter and Milliner. / DRESSMAKING IN ALL ITS BRANCHES. / Accounts rendered monthly to avoid errors / Jan ** 1 Blouse 4/6 4.6draper, portland trade, accounts, womens clothing, city of portland, betty vivian, betty vivian collection

In 1848, Francis Rogerson form Dumfriesshire, Scotland purchased 80 acres of land at Kangaroo Ground on which he built a two-roomed bark hut. He named the property afterr the many Bronzewings and Wonga Pigeons in the area. Ewen Hugh Cameron moved to Pigeon Bank the same year he was elected to Parliament as the Member for Evelyn. At the time he moved in, Pigeon Bank had six rooms and the present water well. He made further extensive additions and lived there until his death in 1915. Covered under Heritage Overlay, Nillumbik Planning Scheme. Published: Nillumbik Now and Then /​ Marguerite Marshall 2008; photographs Alan King with Marguerite Marshall.; p27 Pigeon Bank, on the Kangaroo Ground – Warrandyte Road, Kangaroo Ground, is one of the Shire’s oldest farm dwellings, and has been home to some of the district’s earliest and most distinguished families. Although close to the road, the white weatherboard Victorian farmhouse is ensured privacy by the trees and hedges around it. On 4.8 hectares of farmland, Pigeon Bank is surrounded by rolling hills, farmland and bush, the peace of which is punctuated by an occasional birdcall. Pigeon Bank’s first owner was Francis Rogerson, from Dumfriesshire, Scotland, who bought 80 acres (32.4ha) of land in 1848 on which he built a two-roomed bark hut. Today this is the centre piece of the 14-room home.1 Rogerson lined the rooms with tongue-and-groove boards and roofed them with wooden shingles and sapling frames, which remain under the present green corrugated iron roof. He named Pigeon Bank after the many forest bronzewing and Wonga Pigeons in the area at the time, and the name Bank was commonly used in Scotland. Rogerson was united with one of the oldest families in the area when his sister Janet married John Bell, son of William, the original Bell settler. When Ewen Cameron moved to Pigeon Bank in 1874 it had six rooms and the present water well. He made extensive additions to the house and farm buildings and lived at Pigeon Bank until his death in 1915. Cameron, who had arrived in Melbourne from Scotland in 1853, contributed an enormous amount to the community. He worked as a builder, as a miner at Andersons Creek, a storekeeper at Queenstown2 and as the first postmaster at Warrandyte. In 1867 he married Agnes Bell, daughter of local farmer, John Bell. Cameron was a member of the Eltham Road Board (which preceded the Shire Council) and for more than 50 years, from 1863, he was an Eltham Shire Councillor, being President three times. Cameron was the Member for Evelyn for 40 years from 1874. In the 1880s he became the Government Whip, in 1902 the Minister for Mines and Water Supply, and in 1904, the Minister for Health, Cameron was also an outstanding farmer, whose farm won the Agricultural Department prize for the finest in the district, three consecutive times. Not surprisingly Pigeon Bank became the centre of district life. Every New Year’s Eve, Cameron hired a highland piper, who marched from the Kangaroo Ground school house to Pigeon Bank playing his pipes.3 Distinguished visitors included opera singer, Dame Nellie Melba, Victorian Premier, Thomas Bent, Governor, Lord Hopetoun and artist, Longstaff. Following Cameron’s death, the property changed hands several times, then returned to the family in 1919 when bought by Gordon Cameron. As the car took over from the horse, Pigeon Bank entered difficult times because the farm had produced chaff and oats and bred Clydesdales and harness ponies. In 1926 Mr Matthews bought the property and made many alterations including pulling down the kitchen, which had been separate from the main house. The property again changed hands several times. One owner was Senator James F Guthrie, who added a sunroom. In 1968 the house again returned to the Cameron family, when Vera Jackson, a grand-daughter of Ewen Cameron, and her husband, bought the property. The Bishop family, who were sixth and seventh generation Bells and also descended from the Camerons, restored the house in the 1980s. Today tongue-and-groove boards still line part of the hall (which retains two fine arches), the breakfast room, and Ewen Cameron’s former room. Five original fireplaces in the bed and living rooms are still in working order. The wide veranda with a curved iron roof and ornate iron lace work bounds three sides of the house, and nearby a windmill stands beside the water well. Sue and Ron James, who bought the property in 2001, made extensive improvements to the homestead and meticulously restored the grounds to their original state.This collection of almost 130 photos about places and people within the Shire of Nillumbik, an urban and rural municipality in Melbourne's north, contributes to an understanding of the history of the Shire. Published in 2008 immediately prior to the Black Saturday bushfires of February 7, 2009, it documents sites that were impacted, and in some cases destroyed by the fires. It includes photographs taken especially for the publication, creating a unique time capsule representing the Shire in the early 21st century. It remains the most recent comprehenesive publication devoted to the Shire's history connecting local residents to the past. nillumbik now and then (marshall-king) collection, ewen hugh cameron, francis rogerson, kangaroo ground, kangaroo ground-warrandyte road, pigeon bank

Part of S E Surman collection (album) page 46 top right. Charity Austin, née Ford or Foord was the wife of Thomas Austin, who ran a post office and stationery shop, afterwards a tailor's shop, next to the Grenville Shire offices in Sussex Street, Linton. Charity Austin acted as a nurse and midwife in the Linton district.Sepia portrait of a lady wearing decorated top lace fichu at throat.charity austin, mrs thomas austin, surman collection

This item of underclothing, called a "combination" 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. Combination undergarments combined the chemise and drawers into one garment. The combination is divided, or bifurcated, from the waist to the crutch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. Their primary use was to protect clothing from perspiration and because they were made with cotton or linen, were easy to wash. Although they were worn under the corset, next to the skin (and therefore not meant to be seen), they were often decorated with lace and embroidery. Although these combinations are made with a plain cotton fabric, Eliza Towns has incorporated pin tucks, hand embroidery and crocheted lace to embellish her garment. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear.Women’s white cotton and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has three buttons in the front and a handmade drawstring cord around the square neckline. It is trimmed with crocheted lace (with a floral design) on the neckline, sleeves and pants. It had pintucks and feather stitching on the bodice and the left and right sides are divided from the waist to the crutch. The back of the garment is plain with a gathered section at the lower back.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, victorian era, combination undergarment, all-in-one underwear, combination, ‘combinations’, one-piece underwear, one-piece undergarment, chemise and bloomers, combination chemise and bloomers, divided, bifurcated, split, chemise and drawers, women’s underwear, ladies’ underwear, undergarment, women’s clothing, women’s fashion, lingerie, 19th-century undergarment, handmade clothing, handmade lace, crocheted lace, towns family, nhill, eliza towns

Research suggests that this dress dates from the early 1920's when elastic was first used in clothing.Deep cream cotton muslin ladies tea dress. High waisted, square neckline, elbow length sleeves edged in cotton lace. Skirt has four panels of fabric - two side panels extending around front and back, and centre panels at front and back. French seams - some stitched in pink thread - machine stitched. Centre panels have two rectangular inserts of cotton lace. Each side panel has one rectangular insert of cotton lace. Lace inserts are edged on sides with six ball passementerie buttons. Neckline and sleeves edged with cream cotton lace. Soft gathering from neckline of centre front and back. Elastic casing around waist.costume, female, ladies tea dress