Made by Lavenia Doran (Tyack Molder) c1869 Great Grandmother of Isobel McNamara.- Handmade c 1869 - Drawn/laced threaded front with machine made lace edging & ribbon decorative bows - Aqua cotton fabric liningNilhandmade, drawn thread, night dress bag, mcnamara collection

Revised edition documenting European Lace collecting and lace making.Hardcover book Red dust cover with B/W writings. Contents: - Lace fashion in the 19th century - Machine made lace in England, France and elsewherePatricia Wardle Victorian Lace, Revised second edition ISBN 0 903585 138lace collecting and making, european

Purchased by Bruce Reynolds Aunt, Emily Templeman for her glory box in 1917.Cream cotton lace machine made all over pattern medallions, flowers and squares.manchester, table linen

Donated by Mrs. Adamson in early 1900.White linen rectangular tablecloth, heavily embroidered in white. Edge has open weave with machine crocheted lace. Has floral round embroidered centre piece. tablecloth

Dress worn by Bette Jones sister. Petticoat probably made 60's to 80's as zip dates from this eraCream machine lace long sleeved wedding dress with faggotted collar from 1930s. Thirty eight covered buttons down front from collar to thigh. Three covered buttons on each wrist. Front buttoned opening and wrists bound in georgette. Short train. Petticoat probably made between 60's and 80's judging by zip at back. Straps over shoulders. (see NP2502)costume, female ceremonial

The Fashion & Design collection of Kew Historical Society includes examples of textiles dating from the 18th, 19th and 20th centuries. Some of the textiles, were used as items of clothing, others as items of household decoration, or simply as travel souvenirs. These textiles were created both domestically and internationally. Predictably with the growth of an ethnically and culturally more diverse community in Kew after the Second World War, textiles, clothing and objects in the collection inevitably reflected this diversity. Net jabot with 3 machine made filet inserts. Edged with machine made tape lacelace, women's clothing, jabots

This pair of bloomers was donated along with other well kept items of women's clothing. The clothing once belonged to members of a family who migrated from Faversham, Kent, England to Sydney, Australia in the late 19th - early 20th century and was passed down through the family. The items have been worn and have also been well cared for.This object is significant as an example of an item in common use in the 19th and early 20th centuries.Bloomers, cotton, pulled thread embroidery and machine made lace inserts, lace trim around legs. Waist has elastic (no longer stretching). Inscription is illegible. C. 1900Illegible inscription on waistbandflagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ladies garments 19th century, cotton garments 19th century, ladies undergarment, bloomers c 1900, bloomers, ladies' underwear, underwear, ladies' fashion, victorian fashion, ladies' clothing

This baby's dress is an example of the clothing made for their children by the families who had settled in the Moorabbin Shire in mid 19th CThe skill and craftsmanship shown in this baby's dress is an example of the clothing made by the pioneer settlers and market gardeners in Moorabbin Shire who had to be self reliant and made their own clothing and utensils.Home-made, infant's short, long-sleeved, cream silk dress. With inset machine-made lace panels and ribbon inserts on bodice and on the sleeve cuffs. Small buttons down the back. .clothing, brighton, moorabbin, pioneers, crochet, bentleigh, early settlers, craftwork

Worn by Edna Emily Seehusen (1916-2005) when she married William Alexander McQuilten (1911-2010) in September 1947 at Brighton Congregational Church, Black Street, Brighton.Ivory satin dress with train overlaid with machine made lace. High, gathered neckline, leg-of-mutton sleeves, In-built padded hip rolls. Front of dress is decorated with wax flowers. Label, woven pink on cream silk, centre back neck: A / Dorothy Draper / Original / EXCLUSIVE TO / BALL & WELCH LTD. / MELBOURNEwedding dress, lace, ball and welch, edna emily seehusen, william alexander mcquilten, brighton congregational church, brighton

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.This 1930s dress and jacket is one of a number of items donated to the Fashion Collection by Teresa Mayer.Long burgundy machine-made lace evening dress with a separate red underslip. The dress is currently paired with a red velvet jacket and belt which it is believed was part of the original donation by Teresa Mayer.evening dresses, australian fashion - 1930s, women's clothing, evening wear, evening ensembles

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This silk and lace evening dress was made for Lily Clara Wishart (Mayoress of Kew 1906-7) by her niece, Mary Clara Cresswell (nee Skewes), who according to the donor, Lily's great niece, was a 'high class dressmaker'. It is one of two items in the Fashion Collection owned and by Clara Wishart.Long black fine lace evening dress buttoned to the waist at rear. The machine made lace on net fabric features a leaf pattern. Long black silk taffeta shift matching the lace evening dress.women's clothing, evening dresses, evening wear, australian fashion, lily clara wishart

This collar was made by the mother of the donor. A home made fashion item.Tape lace collar. Machine made tapes with needle made filling stitches.

Fashion accessoryTape lace collar. Machine made tapes with needle made filling stitches.

The Fashion & Design collection of Kew Historical Society includes examples of textiles dating from the 18th, 19th and 20th centuries. Some of the textiles, were used as items of clothing, others as items of household decoration, or simply as travel souvenirs. These textiles were created both domestically and internationally. Predictably with the growth of an ethnically and culturally more diverse community in Kew after the Second World War, textiles, clothing and objects in the collection inevitably reflected this diversity. A pelerine is a small cape that covers the shoulders. It was most popular during the mid- to late nineteenth century. Cream net machine embroidered collar with ruffle of chemical lace. Machine constructed post World War 1. Worn in the evening women's clothing, lace, collars, pelerines

White machine made guipure lace blouse. Extended short sleeves, opening down front with five pearl buttons. Stand up collar.costume, female

Long stole of fine tulle with four lines of embroidery running down length and heavier embroidery of machine made guipere lace at each end.handcrafts, lacemaking, costume, female

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Late Victorian black watered silk cape with a wide border of machine made lace. The cape is extensively adorned with beads of black jet. Two long pieces of black lace fall from the neck at centre front. The cape was owned by one of the donor's maternal ancestors.capes, australian fashion, women's clothing, victorian fashion

Photo Album, brown in colour, 'Hanro' on front cover. 10 photo's in album - 'winding room','knitting room', 'knitting room', 'section of knitting room', 'finishing room', 'cutting and pressing', 'raschel machines and lace machines' 'jacquard machines (sports wear Dept)', 'folding and boxing', 'part of shipping room', 'shipping room'. 1932 on inside of cover. 'Hanro'products and 'Benknit' brand of sports wear. 2 loose photo's 'staff and Management' Hanro. Bendigo Show Display, Nov. 1950. A stand with 2 women working it.organization, business, hanro knitting mills, bendigo knitting mills. hanro. benknit.

Jabot donated by Rob Innes. belonged to his mother Miriam Effei Innes nee Drury,B 1895. could also have belonged to her mother B 1856.A Jabot made with Maltese lace and machine net torchon, also has a blue wool thread down centre used as a gather.costume accessories, clothes accessories

This dress belonged to Christina Barclay 'Ina' Strahan (nee Guinn, 1889-1974), the mother of donor Sheila Alston (1911-2008). Ina married medical practitioner Dr Septimus Strahan in 1909 and the family lived in a stately home in Moonee Ponds from 1912 until Septimus' untimely death at 56 in 1933. Ina later moved to Sandringham, where her daughter Sheila also settled after her marriage to Peter Alston.Black chiffon and lace dress with long sleeves, scooped neckline. Lozenge shaped lace pattern; machine top-stiched chiffon panels.Label, woven, blue on cream cotton, centre back: MADE IN FRANCElace, christina barclay strahan, 1920s

Large white cotton tray cloth. Machine made. Torchon lace border with hand embroidered button holing stitch. Leaf and flower pattern in four corners and cut out button holing pattern in centre and sides.manchester, table linen

Textiles, beige lace net curtain,Rows of embroidered blue flowers and green leaves worked in net. Machine made lace net has geometric pattern of squares of diminishing sizes.6 cm border on each side of open square pattern with scalloped edges. Rod pocket casing along top. Bottom of curtain is finished with 5 cm fringing of 2 cm twisted card.textiles, domestic, curtaining

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. White muslin camisole with fabric made by machine joined tape lace. Sleeves have three layers tape lace between three pieces of muslin. Edges are of a layer of scalloped tape lace joined to sleeves by a ribbon insert tape lace.fashion and textiles collection - kew historical society, lace, women's clothing, australian fashion, night wear

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in a mansion, originally named Illapa, at 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937), his wife Edith Mary Weir (1867-1948) and their children. George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926. This garment is part of a collection of women’s clothing, owned and worn by Edith Mary Weir (nee Betteridge) - born in Clare, South Australia 1867, died Kew 1948 - and also by her daughter. The garments date from the 1880s to the 1930s. The collection includes day dresses, evening dresses, evening coats, capes, and undergarments. As the wife and daughter of a mine manager, the collection includes representative examples of clothing worn by upper middle class Australian women in domestic circumstances, and at social and civic events. A number of the costumes from the 1920s to the 1930s are of a particularly fine quality, being both rare, representative and intact examples of Australian fashion of the period. The garments in the Weir Collection were donated to the Kew Historical Society by a granddaughter of Edith Weir in 2017.Long black single piece crepe de chine and valenciennes lace dinner dress. The dress has a high squared neckline. The sleeves are elbow length. The most significant aspect of the design are the layers of machine-made valenciennes lace that extend from the waist.edith mary weir (nee betteridge), illapa -- 84 princess street -- kew (vic.), women's clothing, weir collection, dresses, fashion -- 1920s

Christening gowns are traditional outfits made just for baby’s baptism. They are almost always white and can be very ornate, highly decorated garments. Usually, the christening gown is quite long – much longer than the baby being christened, particularly when it is worn by a young or very small baby. Many families keep a “family” christening gown that has been passed down through various family members and is used for the baptism ceremony. This christening robe was probably used by the Cameron family.The christening gown was a late 18th century innovation usually made of white lawn, muslin or net, longer than the baby and fancier than a day gown. The design was a more moderate version of contemporary adult fashion. Most 19th century christening gowns featured lace. All, until the end of the century, had low necklines and short sleeves. This gown reflects the style of christening robes in the early 20th century. A high waisted, short-sleeved long white broderie anglaise christening robe made of fine cotton. It is hand made edged with machine stitched cut work lace. The bodice is pin tucked.christening-robe clothing-childhood

This camisole was donated along with other well kept items of women's clothing. The clothing once belonged to members of a family who migrated from Faversham, Kent, England to Sydney, Australia in the late 19th - early 20th century and was passed down through the family. The items have been worn and have also been well cared for.Camisole, machine sewn, cotton with lace insert panels and lace trim around armholes and neck. Drawstring waist tie and button closure on back - 2 buttons. Inscription, handwritten in pencil on back opening "19428 - - - " c. 1900Handwritten in pencil "19428 - - - " flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ladies garments 19th century, cotton garments 19th century, ladies undergarment, camisole c 1900, handmade lingerie

Machine made camisole with lace yoke and short sleeves. Square neckline. There is a tape draw string in casing at the waistline and an 8 cm deep peplum. Peplum cut on the cross. Two pearl buttons and hand stitched button holes.costume, female, underwear

This item is one of many 19th century items donated to Flagstaff Hill Maritime Village by the Giles Family, and known as the “Giles Family Collection”. Henry Giles was born at Tower Hill, Victoria in 1858 and worked as a labourer on the Warrnambool Breakwater. His wife, Mary Jane, was born in 1860 at Cooramook and worked as a student teacher at Mailor’s Flat Secondary School. The Giles family lived at The Maam, Wangoom in the late 19th century, before moving to New South Wales in 1895, where Henry built bridges. Henry died in 1933 and Mary Jane died seven years later. Flagstaff Hill holds a number of objects associated with the Giles family, which were donated by Flagstaff Hill volunteers Vera and Aurelin Giles (Henry and Mary Jane’s daughter and granddaughter respectively). These are predominantly located in the Lighthouse Keeper’s Cottage and include: Living room • Cloths (made by Vera Giles) • Portraits of Mary and Henry Giles • 1 x dresser • Covers on dresser • 1 x bellows Baby’s room • 1 x blessing (in the baby’s room) • 1 x picture of boy and girl • 1 x rocking chair • 1 x cushion (made by V Giles) • 1 x chest (belonging to Mary Jane Giles’s mother, Jane Fleming who migrated to Australia from Ireland in 1843) • 1 x chest cover • Bed materials Bedroom • 1 x knitted bedspread and cushion cover (knitted by V Giles) • Pillow shams and covers (Mrs Catherine King) • Pillow cases (Mary Giles) • 1 x wash stand (Mary Giles) • Towels (lace knitted by Aurelin Giles) • 1 x washstand cover • 1 x white ceramic dog • Shaving items • 1 x dressing table mirror • 1 x dressing table cover (made by Aurelin Giles) • 1 x framed motto • 2 x texts • 1 x settee (sofa) • 1x wardrobe (Vera Giles donated the wardrobe in the Lighthouse Keeper’s Cottage to Flagstaff Hill. According to Aurelin Giles, it was originally owned by William Swinton junior and was later given to a friend of the Giles family.) Kitchen • Settee covers (made by V Giles) • 1 x sideboard • 1 x butter churner • 2 x pictures • 1 x white cheese dome • 1 x wash-up tray • 2 x jugs • 1 x vegetable bowl and dish • 1 x willow pattern dinner set • Glass butter and jam dishes. The Giles family collection has social significance at a local level, because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the Museum was established.Calico bag of assorted fabrics, trims and sewn pieces (originally donated together with sewing machine). Items include clothing, lace, tablecloth, tray cloth, collars, oversleeves, trims, jug cover, lace inserts. (part of the Giles Collection)flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, linen, fabric, dressmaking, sewing materials, 19th century sewing, 19th century fashion, giles family, 19th century hand craft, henry giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, 19th century clothing, 19th century linen, 19th century handcraft

Rectangular shaped tray cloth/hand towel, edged in 1.25 cm wide cotton lace edging - edging is a braid type, commercially made edging. One end has a 10 cm band of machine - made cotton lace, in a floral design. Lace has been attached to the linen fabric in a zig - zag machine stitch. Cream in colour.manchester, table linen, tray cloth/hand towel