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

This bolero is part of a Greek national costume from the Peloponnese. Long-time Brighton resident Olga Black wore it to the 1956 Melbourne Olympic Games to represent her Greek heritage. She remembers the stands at the MCG being full of migrants wearing their traditional national costumes. 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.Red velvet bolero decrated with gold stitching and braid. Lined with red satin. Stand collar which fastens with two metal hooks and eyes. bolero, jacket, greece, ithaca, migration, olympic games, 1956 olympic games, olga black

This nightgown was made by Vasiliki Raftopoulos around 1900 for her daughter Toula's trousseau. Born in Ithaca, Toula's family migrated to Romania when she was only a baby. In 1914, Toula emigrated to Australia with her husband Constantine Mavrokefalos, where their daughter Olga Black was born in 1930. Olga is a longtime Brighton resident. BHS holds a collection of garments and textiles made by the women of Olga's family, spanning four generations. 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.Women's white cotton nightgown, long with three quarter sleeves. Cotton lace on front and sleeves. Front fastening buttons. Pintucked with eyelets around neck.nightgown, toula black, toula mavrokefalos, vasiliki raftopoulos, olga black, 1900s, trousseau

Three generations of women are represented in this apron. The linen used was woven by Olga's great-grandmother Efstathia in the late nineteenth century with flax grown on the island of Ithaca. Olga's mother Toula Raftopoulos added the whitework around 1908 at age 16 - the first piece of lacework she made on her own - and embroidered her initials on the front. Olga embellished the apron with coloured embroidery around 1950 at age 20. 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.Cream linen embroidered half apron. White lace along hem, along with white embroidered initials, "T.P." Coloured floral and abstract embroidery along sides in red, black, blue and green.olga black, toula raftopoulos, migration, embroidery

This box was produced by the Henderson business to hold half a pound of chocolates for sale to the Australian public. The box is a souvenir one, with the image of George V of England on the lid. This suggests that the box was produced perhaps to celebrate the coronation of George V in 1910. He reigned until his death in 1936.This box is of interest as a souvenir item sold in Australia and dating back to the early years of the 20th century. It will be useful for display.This is a white rectangular cardboard box with the base extended on all sides about half a centimetre out from the base. The box has a white cardboard cover which has a top with a navy blue background, a Union Jack, the six stars of the Southern Cross (making the Australian flag) with an image of King George V of England. The lettering on the top of the box is in gold print. The cover completely encloses the box. Inside the box are the remnants of a white lace-pattern paper used to line the box. There is a trace of silverfish damage on the side of the box and the edges of the box are a little crumpled. “Henderson’s ‘Australia’ Box, Chocolates ½ lb. Nett.”henderson chocolates

The Australian Heritage Festival is a yearly event organised by the National Trust. Organisations can register their events held during a month, with dates varying in each state.The Mission to Seafarers holds tours and other events every year during this Festival for the community to discover its history. In 2019, The Mission hosted "Practice Makes Perfect", a showcase of rare trades: stained glass windows, lace making, marine knots, wood carving etc.australian heritage festival, 2019, events, victorian program, national trust, friend of the festival, practice makes perfect, lost trades, artisans, rare trades, gordon byrne, artisan's guild of australia, bruce hutton, bruce walker, henry hakopian, keiran dunleavy, david stephenson, duncan mcharg, james charlwood, barry smith

This item was worn by Marjorie McKeown (nee Ford)Until well into the 20th century, the corset was an essential element of fashionable dress. Corsets were worn by women (and much earlier by men) to enhance their figures and to hold their stockings in place. Although still sometimes used they were mainly used prior to the making of pantyhose approximately 1960.A corset of pink/apricot coloured cotton with small flowers embroidered onto the fabric, with whale bone stays, and with suspenders and metal clasps attached to the bottom. It has tape lacing and metal eyelets as can be seen in the photograph. It is marked as size 32, Jenyns Patent Corsetry.Size 32, Jenyns Patent Corsetrywomens-corsetry body-shaping womens-appareil

This item was worn by Marjorie McKeown (nee Ford)Until well into the 20th century, the corset was an essential element of fashionable dress. Corsets were worn by women (and much earlier by men) to enhance their figures and to hold their stockings in place. Although still sometimes used they were mainly used prior to the making of pantyhose approximately 1960.A corset made of apricot / pink cotton fabric embroidered with flowers in the same colour. It has whalebone stays, and laces through metal eyelets. This corset is similar to 822 in the collection. It is size 33 and manufactured by Jenyns.Size 33, Jenyns Patent Corsetry (manufacturer) womens-corsetry womens-undergarments female-underwear

The children in this photograph are Frank abd Ivy Warren. Helena Francis Warren (nee McKeown) was married to William John Warren and lived in Newmerella. She supplied the photos for the Back-To-Orbost celebration book in 1937 and also designed the Back-To-Orbost badge. She was known for her soft toy making. (by Ivy Rodwell in from Personalities and Stories of the Early Orbost District by Mary Gilbert). This photograph has significance in its association with Helen Frances Warren, a popular Orbost identity who was well known as an accomplished photographer and needleworker,A black / white studio portrait photograph of a young boy and girl standing against an outdoor wall. The girl is wearing a long white dress and has a ribbon bow in her hair.The boy a tunic with a wide belt and lace collar. His long sleeved have wide cuffs. The photograph is an oval shape on a grey / white background.warren-frank warren-ivy

These cotton reels were owned and used by Helena Warren of Newmerella. Helena Francis Warren (nee McKeown) was married to William John Warren and lived in Newmerella. She was a fine amateur photographer who supplied the photos for the Back-To-Orbost celebration book in 1937 and also designed the Back-To-Orbost badge. She was known for her soft toy making. (by Ivy Rodwell in from Personalities and Stories of the Early Orbost District by Mary Gilbert).Helena Warren was a popular Orbost identity who was well known as an accomplished photographer and needleworker,Four wooden cotton reels. 2495.1 is an empty reel with paper labels at both ends. " Best Linen lace thread Barbours No 50 200 yards Wm Barbour & Sons Ltd Lisburn Ireland" 2495.2 is a wooden reel with thick linen thread. On one end " H11 underlined" 2495.3 is a narrow wooden reel with white thread and grey wound over it. It has paper labels at both ends. " J. & P. Coats 500 yards No 50 457 metres - Chain Brand Mercerised Cotton MR WHITE" 2495.4 is a wooden reel with synthetic thread - one paper label. "J. & P. Coats 6 Cord 200 yards 40 183 metres"needlework cotton-reels warren-helena

Covers were used to place over a jug to keep insects out of the liquid (usually milk). This sort of item was used in days before refrigeration. It also demonstrated womens ability to make items for the home.Part of Ellen Brown collection. Ellen Brown lived her whole life in Bacchus Marsh - she died aged 103 in 2009. She never married and excelled at home duties, eg., needlework, cooking. She won prizes at local shows for cakes, jam making, and preserves. She was a well known identity in the town.Square white beaded jug cover in ecru colored cotton. Crocheted central bird pattern with triangular pattern top and bottom. White beads attached on perimeter.lace, ellen brown, milk, crochet, jug cover, home duties, blue wren, beads

This item of underclothing, called a "combination" is one of several linen and clothing items belonging to the deceased estate of Susan Henry OAM (nee Vedmore 1944 - 2021) that was donated to Flagstaff Hill Maritime Museum and Village. Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up in 2010 to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community. Combination undergarments combined the chemise and drawers into one garment. The combination is divided, or bifurcated, from the waist to the crotch 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. This particular item is made with lawn (a very lightweight fabric) and is sleeveless, making it suitable for hot weather. Although they were worn under the corset next to the skin (and therefore not meant to be seen), they were often decorated with lace or embroidery. This item is an example of the needlework skills of women in the late 19th century - using machine stitching and lace to personalise and embellish a practical item of clothing. It is also significant as an example of a practical solution to the difficulties that women of this era faced with regard to the washing of clothes and household linens.Lady’s white lawn and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has four buttons in the front and is trimmed with lace on the neckline, armholes, bodice (in a diagonal design) and legs. 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, great ocean road, combinations, lady's combinations, undergarment, lingerie, handsewn, underwear, clothing, victorian era undergarments, lady's garment, susan henry oam, vedmore foundation

This petticoat was one of several items donated from the estate of Susan Henry OAM nee Vedmore (1944 - 2021). It is in very good condition and appears to be from the Edwardian era - early 20th century. A petticoat is a lady's undergarment - worn under a skirt or dress. They provided warmth, modesty and shape to the dress. In the middle of the 19th century, petticoats were worn over hoops, bustles or in layers. Petticoats varied according to the style of the outside skirt or dress. Plain petticoats tended to be worn with everyday wear whilst better dresses (party dresses or silk gowns) were worn with petticoats that often had more trim and embellishments. Edwardian petticoats had less volume than Victorian era petticoats and they had a "dust ruffle" or lining under a lace flounce. The "dust ruffle" protected the lace flounce and gave the petticoat more flare at the bottom, greater freedom when walking as well as saving the flounce (which was often made of finer material) from everyday wear and tear. Tucks are another feature of Edwardian petticoats - when the lace at the bottom became worn, it could be cut off and the tucks released. This extended the life of the petticoat. This petticoat features an intricate trim of broderie anglaise. 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 petticoat brought the lengths of broderie anglaise already made to embellish and personalise her petticoat. Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up in 2010 to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community.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. It is also significant as an example of a practical solution to the difficulties that women of this era faced with regard to the washing of clothes and household linens.A white lawn petticoat with a 22.5 cm opening that fastens with 2 small buttons and a drawstring tie. It is decorated with two wide pintucks followed by two gathered frills (or flounces) - one decorated with three rows of narrow pintucks and a single row of broderie anglaise and the bottom frilled hem finished with 3 rows of broderie anglaise in a flower design. The two bottom frills are lined with plain white cotton fabric.flagstaff hill maritime museum and village, great ocean road, petticoat, lady's petticoat, undergarment, lady's undergarment, lingerie, edwardian petticoat, broderie anglaise, lace, machine made lace, hand sewn, machine sewn, draper's shop, susan henry oam, vedmore foundation

Sarah Wright was the mother of Frank Wright who was a renown resident of Smeaton. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and became the Australian Open Cornet Champion by the age of eighteen. A year later, Frank conducted the City of Ballarat Band, and later the Ballarat Soldiers’ Memorial Band. He formed the Frank Wright Frisco Band and Frank Wright and his Coliseum Orchestra. These bands won many South Street awards, and Frank as conductor won many awards in the Australian Band Championship contest. In 1933 Frank Wright sailed to England to conduct the famous St Hilda’s Band and was later appointed Musical Director of the London County Council, where he organized many amazing concerts in parks, in and around the London district. He was made Professor of Brass and Military Band Scoring and conducted at the Guildhall of Music and Drama. Frank was often invited to adjudicate Brass Band Championships around Europe, in Australia, including South Street and in New Zealand. The Frank Wright Medal at the Royal South Street competition is awarded to an individual recognized as making an outstanding contribution to brass music in Australia.A mounted black and white formal photograph of a woman standing in front of a classical scene of a column and fabric swathe. She is dressed in a fine white tucked skirt and a white blouse with lace and puffed sleeves. The women is Sarah Wright.Written in ink of the back of the mount - 'Xmas 1905'sarah wright, frank wright, 1900s ladies skirt and lace blouse

This handmade women’s combination undergarment features hand-worked lace panels and trim, and fine pintucks. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The design of this combination undergarment, or ‘combination’, includes a chemise attached to a pair of drawers or bloomers. 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. 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 fine linen fabric and 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 a front button closure and is trimmed with hand-worked lace panels on the bodice and lace edging around armholes, the neck, and the bottom of the legs. The left and right sides are divided from the waist to the crutch.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, 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, under-structure, 1900s undergarments, 19th-century undergarment, 20th century, handmade clothing, handmade lace, hand-worked lace, paton family, trefnant, yangery, lady's combinations, ladies combinations

This handmade women’s nightgown features hand-worked Broderie Anglaise yoke and trim. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. This design of nightgown was worn by females in the 19th century and is still worn today.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 fine linen fabric and 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 long straight nightgown, white cotton, with long sleeves gathered at the cuff, stand-up lace collar, and a small catch closure on the bodice's centre opening. Hand-worked Broderie Anglaise yoke and sleeve tips.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, nightie, nightgown, women’s nightwear, sleepwear, night dress, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, broderie anglaise, hand-made broderie anglaise, paton family, trefnant, yangery, nightdress

This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. 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 fine linen fabric and 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 camisole, short sleeves and peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, collar, waist trim and yoke. There are five buttons and two ties down the front.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery

This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. 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 fine linen fabric and 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 camisole, short sleeves and peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, neck trim and waist trim. Drawstring, tie and button closure.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery

This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. 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 fine linen fabric and 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 camisole, short sleeves and peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, collar and waist trim. It has button closures down the front.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery

This handmade women’s pair of bloomers, or drawers, features hand-worked Broderie Anglaise and applique trim and a drawstring rear closure at the waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. 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 fine linen fabric and 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 bloomers or drawers, handmade from white cotton fabric, with hand-worked Broderie-Anglaise trim around the bottom of legs with applique motifs. Bloomers have a drawstring, back of waist closure.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, broderie anglaise, hand-made broderie anglaise, paton family, trefnant, yangery, bloomers, drawers, underpants

This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. 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 fine linen fabric and 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 camisole, short sleeves and drawstring peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, collar and waist trim. Front closure.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery

A Lady's white, long, cotton half petticoat with a gathered flounce and lace insert at hem. The petticoat has a placket on the side seam and is fastened with bone buttons, The pioneer families had to be self sufficient making their own tools, clothing, while developing their market gardens, fruit orchards and dairy farms in Moorabbin Shire The pioneer women in Moorabbin Shire had to make and repair the clothes for themselves and their families and were accomplished in dressmaking, needlework , craftwork and knitting A Lady's white, long, cotton half petticoat with a wide flounce lace edging and bone buttons at side seam clothing, brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork , bentleigh, lacework, moorabbin shire blackburn nance, dairy farms, fruit orchards

A traditional Baby's long white calico Christening gown with cut-work and pintucks on the front yoke and fastened at back by a mother of pearl button and draw string at neck with long waist ties. The women of the early settler families in Moorabbin Shire were skilled dressmakers and craft workers and made the clothes for their families. There were times when prices for produce were not good and families struggled to support their families until prosperity returned. However they still made simple materials special by their dressmaking and craft work skills The early settler families followed the religious traditions of their Churches. This Baby's long white calico Christening gown is an example of the simple dressmaking skill of a woman making a special garment with inexpensive material and her cut- work decoration. A Baby's long, white calico Christening gown with pintucks,cut-work, lace, long sleeves, long waist ties and a draw string neck. clothing, brighton, moorabbin, pioneers, dressmaking, lace work, cut work, christening gowns, methodist church, religious services, market gardeners, early settlers, craftwork , bentleigh, moorabbin shire blackburn nance, dairy farms, fruit orchards

Clothing. The lower section of this garment has been removed, making an accurate assessment impossible. A beautiful panel of lace from the neckline, dipping to a Vshape at the centre back, has a swirled and leaf design. This design extends over the shoulders and bustline, with a peaked finish below the bust. Bows and spots decorate the below elbow sleeves, and are finished at the lower edge with a panel of lace 8 cm deep at the seam, extending to 15 cms deep at the outer side. Brussells lace is a bobbin lace added to the background fabric. forming the design.costume, female, cream tulle and brussells lace bolero

This item was used by women to enhance their figure (body) and hold their stockings in place. Although still sometimes used they were mainly used prior to the making of pantyhose approximately 1960.Pink floral embriodered cotton material corset with stays, elastised inserts, metal hook and eye closure, two lace-up sections with elastic straps and metal buckles, four suspendersTag "Gross/Support"clothing and dress, george evans collection

A unique example of ”'making do” with materials available. Dated c1890..This remarkable device was skilfully made from wire - no soldering at all. The rat crawled up the ramp which tilted and tipped it into the bottom of the trap. When it tried to reach the bait in the hanging container a bell rang to inform the owner that a rat was caught.Rat Trap c1890. Hand Made plain wire construction jointed by wire lacing of wire hoops to frames. Semi circular section with flat base. Tapered entry one end leading to tilting trap, access hatch at opposite end. Includes food dish and warning bells. None#homemade, #rattrap, #vermin, #pestcontrol, #ingenuity

Article titled 'Students catch up on real life experiences' with four photos. The first photo the children and man are making damper. The second is a head shot of Shannon Fernie wearing a lace hat. The third is the Vice Principal Ron Payne receiving a basketball activities kit from Mike McHugh of Basketball Australia and the fourth photo is two children reading books. They are wearing Christmas hats. The article mentions the life experiences the children are studying.education, primary, golden square laurel st p.s., golden square primary school 1189 collection - newspaper cuttings, shannon fernie, ron payne, mike mchugh, advertiser, australia post, graeme topp

Brighton councillor Sally Allmand's grandmother Minnie Toms (1878-1983) began making this dress and matching jacket in the 1920s, but never finished it. Sally's mother (also named Minnie, 1914-2001) finished it in the 1970s and Sally wore it when, as Mayor of Brighton in 1981, she was introduced to the Queen during a Royal visit.Sleeveless black floral lace dress (.1) with v-neck and matching collarless jacket (.2) with scalloped bottom hem.sally allmand, minnie toms, brighton council, politics

The sewing palm was used by visually impaired workers in the mat making workshop at the Royal Victorian for the Blind Institute during the binding of mats to protect their palms from the 17cm-long curved mat making needle.1 leather folded band with indented metal square attached and leather lacing fastening at back assistive devices, employment

These boots show an early design of ski boots. The design of boots, materials and closures have changed dramatically as technology has evolved. Early ski boots were little more than lace-up work boots. in 1928, the Swiss ski racer Guido Reuge invented a cable binding designed to hold the heel down for alpine skiing. He named the binding after the Kandahar series of alpine ski races. After World War II, custom bootmakers developed the double boot, with a soft and comfy lace-up inner boot protected and stiffened by a thick bull-hide outer casing laced with heavy-duty corset hooks. A solution towards making boots stiffer and more durable arrived in 1954, when Swiss bike racer and stunt pilot Hans Martin patented the ski boot buckle as shown on this pair of boots. The real revolution in boot design occurred in 1966, when the Canadian ski team were equipped with plastic boots for the Alpine World Championships. Since then manufacturers have competed to further refine designs to meet a range of needs from the weekend skier to elite athletes. These boots were donated by DIana and Neville Mashford who owned the Hub and Snowlands at Falls Creek.These boots are significant because they demonstrate a stage in the evolving technology of designs for the ski sport industry.Red leather ski boots with four metal buckles and black lining.SEROC Made in Franceski equipment, ski boot design, vintage ski boots