This petticoat is demonstrative of home made infant undergarment clothing in the early 1900. Distance to and from commercial haberdashery store was too far to fit out young girls especially if the are undergarments. Mothers and other family members had the seamstress talent to make clothes that are not in full view of anyoneHistorically these undergarments have no fashion relevance for the younger fashion scene and this garment is an example of the self sufficient supply of home made articles. This was especially so within the Kiewa Valley and surrounds. Fashion in Australia and more so in areas with little or no access to overseas or city merchandise lacked "modern fashionable" clothes e.g. the latest from England and Paris. This region was and still is a rural backdrop of clothes that fit into the type of life and work of the society it holds.Cotton petticoat, white, three buttons on top back, 8mm wide straps of cotton tape. Gathered skirt with triple row of Rick Rack on the bottom edge and three pintucks, 17mm wide, on the lower edge of skirt. Garment is completely hand stitchedchildren's underwear, female underwear, dressmaking, handcraft, costume, clothing

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

Brian Millane's grandmother made gown and petticoat in 1881/1882. Used in 1967 at christening of Brian and Michelle's first child. Was worn by many generations of the Millane's family.Long cotton christening gown with handmade eyelet/broderie anglais on skirt and bodice. Four tucks on each side of broderie anglais on bodice. Sleeves and neckline edged with lace. Opening at back pearl button and tie at waist. Pin-tucks in skirt layered between broderie anglais lace. Petticoat is sleeveless with lace and tucks at hemline. Opening at back of bodice with ties.millane family, st john's church mitcham

Cream coloured pure silk ladies' peticoat with shoe string straps and embroidered crossover front. Scalloped hemline.Label 'Pure Silk. Hand embroidered in China'

Inscribed Staff Nurse Rose Eleanor Carter A.A.N.S. of Chiltern, b.1886 Wangaratta, d.1951 Worn in 1918, also worn by younger sister Hester. Trained at Wangaratta District Hospital, served in India during WW1 On loan from Susan HeatherTwo pieces - undergarments worn by 2nd Hall nurse. One with bib and straps and button hole on waist. The other one with waist opening and five hooks, two rows of pleating above hem. Cotton. Stained."H Carter" and "Carter T" witten in ink on inside of waistbands. "CARTER" external waistband of bib garment.susan heather, rose eleanor carter, suitcase, shoes, hester carter, world war 1 nurse

The coat along with matching hat and dress ensemble was made in 1980 at the Deniliquin TAFE 'Garment Assembly' course which was 2 years in duration. Mrs Sayer was always crafty but not great at other subjects. Coat is lined with a petticoat which Mrs Sayer wore in 1958. The seal fur collar was purchased by Mrs Sayer's mother at the shop 'Manly Corso' in Sydney, after WW1 with money from her father.Light brown wool coat with seal fur collar attached. Lined with red fabric from the petticoat of a taffeta and lace dress that was worn by Mrs Sayer in 1958. Wooden buttons down coat and on sleeves. Coat has been handmade and has no label.coat, wool, fur, fashion

Babies Petticoat, a button on each shoulder strapflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, babies petticoat

Worn by Edgar R. Sebire at age of approximately one year old in 1916, and made by his aunt Miss Lily Sebire.White child's petticoat with pleating and embroidery at hem.baby petticoats, petticoats

Laura and Bernard Ashley began printing fabric in their London kitchen in 1953. Commencing with head scarves and place-mats they gradually developed table-ware and bed sheets. In 1960 they entered the Fashion world with blouses and smocks . The ‘swinging sixties’ saw them in great demand for the feminine florals and flounces of the ‘maxi’ fashions and they opened in smart South Kensington, London. In 1970 they opened franchises in Australia, Canada, Japan, San Francisco that sold their range of fabrics, dresses and accessories. In 1980 home furnishings were added to the range. Laura died in an accident 1985, Bernard retired in1993 and the company is now Public Listed on Stock Exchange.‘Laura Ashley’ clothing, fabric and accessories were very popular in Melbourne in 1970’s.A lady’s white cotton half petticoat with crocheted flounce, Laura Ashley Pty Ltdclothing, brighton, moorabbin, dressmaking, market gardeners, early settlers, craftwork, textiles, laura ashley

White cotton petticoat with pin-tucking at hem. Tape drawstring at waist and neck.costume, children's

Possibly belonging to Mrs Jack Crowe of Yambuk. Owner of the Yambuck general store in later years. Lace top of an undergarment or night attireCottom trim irish crochet work for a petticoat. 3 buttons to fasten in frontlocal history, handcrafts, crochet, lace, top

Mrs Lemega wore these slips for years, first bought when she arrived in Australia and lived at Benalla Migrant Camp in the 1960s. After no longer wearing them underneath her dresses and skirts, she collected and kept her clothing like in a museum, for decades.Two petticoats, one yellow full and one light-blue half sliplemega, slips, underwear, undergarment, nylon

Baby's white cotton petticoat with deep cotton crochet border. Fastened with drawstring at neckcostume, infants'

Clothing. White cotton woman's half petticoat - below knee length. Three tiered petticoat. Second and third tiers gathered. Waistband (2.5 cm) fastned with 1.5 cm white button. Centre back opening.(23 cm).costume, female, white cotton half petticoat

Clothing. Child's cream coloured linen petticoat. Round neckline with embroidered scalloped edge. Short kimono cut sleeves with embroidered scalloped edges. Body of petticoat widens to hem. Edge of front hem has two brown printed stripes.costume, children's, child's cream coloured linen petticoat

Owned and worn by Susan Heywood (nee Cox). Later donated to SSHS.Flesh coloured half slip made from Nylon. Used as a petticoat. 3/4 length.Peter Dee: Size 18 To Fit: Bust 100cm, Waist 80cm, Hip 105cm.clothes

Part of a selection of garments knitted by ‘Tina Knitwear’. Tina Knitwear was a successful made to order knitwear business in Brighton from the mid-1960s to around 2010, run by Assunta and Franco Liburti. Daughter Melissa Persi writes: Our parents Assunta (Mum) and Franco (Dad) Liburti ran a successful made to order knitwear business in Brighton from the mid-1960s to around 2010. Assunta was affectionately known to her family as Assuntina, therefore the business was named "Tina Knitwear" after her. Assunta and Franco were born in the beautiful seaside town of Terracina in Italy in 1933 and 1930 respectively. As was so common in Italy in the 1950s, Assunta who was in her late teens and early twenties learnt the intricate skills of machine knitting, dressmaking and pattern making. Franco on the other hand, learnt the building trade with his 2 brothers and specialised in bricklaying and tiling. As was so common after the war, Assunta and Franco yearned for a better life so they decided that they would get engaged and then migrate to Australia to be married and raise their family in Australia, a land of much opportunity which they no longer felt their beloved Italy held for them. Assunta migrated to Australia first in 1957 and later Franco joined her in 1958 where they were married. For the first few years, Franco (also known as Frank) worked as bricklayer /tiler on buildings such as the Robert Menzies building at Monash University in Clayton and various buildings in the Melbourne CBD. Assunta on the other hand put her machine knitting skills to use working in factories doing piece machine knitting for various knitwear companies. The hours were long, the conditions were difficult, and travel was onerous without a car. After their 2 older children were born, it was decided that dad would leave the building trade and they would start their own made to order knitwear business. That way they could work from home and raise their family together. Mum taught dad everything he needed to know so he could operate the knitwear machinery. They purchased COPPO knitting machines from Italy and a Linking machine from Germany. Initially they had a knitwear shopfront in Bay Street Brighton where a store assistant would take the orders and client’s measurements and Assunta would then make the garments from a small workshop in their home. Unfortunately, the assistants were not skilled dressmakers and often measurements and orders were incorrectly taken. Assunta being the perfectionist and highly skilled machinist that she was, decided that she needed to oversee the entire process from meeting the client, to taking their order, right thru to the fittings and completion of the garment. It therefore made sense that they should close the shop front and run their business from their own home in Brighton and hence “Tina Knitwear” was born. Together, for more than 40 years they ran their very respected and successful business and were well known in the Bayside area. They specialised in made to order knitwear for both men and women using mainly pure wool (from Patons, Wangaratta Mills, Japan and Italy) but also lurex and estacel. Over those years, many of their clients became their close friends. It wasn't unusual for clients to come to order garments and then end up in the kitchen chatting over a cup of Italian espresso coffee and homemade biscuits. Some of their clients were especially memorable and became lifelong friends. Mrs Connell was a dear friend of mum’s, each year she would buy tickets for the “Gown of the Year” fashion show. She would insist on taking Assunta and her 2 daughters so that we could see the latest fashions. Then there was their dear friend Ms Griffiths. She had been a Matron nurse at the Queen Victoria Hospital when she met my parents in the 1970s. She returned to live in New Zealand in the 1980s but came back to Melbourne every year to stay for 2 weeks with the sole purpose of visiting my parents (she adored them) and order garments. For those 2 solid weeks, mum and dad would only knit for Ms Griffiths and she would go back to New Zealand with at least 5 or 6 new outfits. I actually think she enjoyed mum’s homemade pasta almost as much as her new clothes! Over the years, my parents learnt to speak English very well given that majority of their clients were not Italian speaking. Their oldest child John born in 1960 learnt to speak English with the help of those clients who were such a big part of our childhood. Mum and dad always went above and beyond to ensure their clients were satisfied. Mum was an absolute perfectionist and it showed in her attention to detail and the quality of their beautiful work. You only need to look at the garments that have stood the test of time or speak to their clients to know that this is true. Their clients would always comment on how well their clothes would last and much of their clients came via word of mouth and recommendations. Occasionally there would be disagreements because mum had found an error in dad's knitting (either a wrong stitch or a sizing mistake mainly) and would ask him to redo a piece, he would argue back saying that it was fine, but we always knew who would win the argument and that the piece would get remade! Similarly, we recall discussions where mum would ask dad to find a particular colour of wool in the garage where the stock was kept. He would try to convince her that they were out of stock of that colour and that the client should choose a different colour. She would insist they had it and then after hours of searching, he would return into the house sheepishly holding the wool! Our childhood is full of beautiful memories of mum and dad always being present, clients coming and going, mum humming her favourite songs as she worked often late into the night and sometimes, we even fell asleep to the hum of the machinery. They put their heart and soul into "Tina Knitwear" and took pride in providing only the best quality garments for their clients. In Italian there is a saying “lei ha le mani d’oro” which literally translated means “she has hands of gold”. Franco enjoyed his work but for Assunta, it was more than just work and there is no better way to describe her skills, passion and dedication to her machine knitting… she truly did have “hands of gold”. We will forever be grateful that our parents’ life journey gave us the opportunity to live in a home filled with creativity, dedication and passion, amazing work ethic and mutual respect, lifelong friendships and a lifetime of love. Red and green plaid children's pinafore with green hem binding and in-built petticoat with lace edging.knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community

Clothing. Half slip petticoat - elastic waist, peach coloured nylon. Embroidered with sprays of flowers on a band of sheer nylon inserted into the skirt of the petticoat, and a deeper band of the embroidered flowers on the hem. Main part of petticoat in 3 panels. Insert of decorative nylon.Strip of main fabric, then finish with a 12 cms deep panel at decorative nylon. Appears to have home made elastic casing, maybe modified from another garment.Label at waist band - Hanro 100% nylon - 40.costume, female, undergarments

This outfit belonged to Ethel May Robertson (nee Watt) b: 1879 in Jindiwick, Victoria, Australia. She was the daughter of John Alexander Watt. John Watt was an early selector who in 1879 selected land on the Marlo Road. She married Frank Edward Robertson on 4 March 1901 in Orbost.A black silk lace skirt and top. It has a petticoat attached. There is a black scarf with a cameo brooch attached.costume-women's lace robertson watt

Clothing. Child's cream coloured linen petticoat. Round neckline with casing and embroidered edge. Cotton tape tie threaded through casing and tied at centre front. Short kimono cut sleeves edged with pintucks and lace (2 cm). Body of petticoat widens to hem.costume, children's, child's cream coloured linen petticoat

Made by Isobel McNamara from recycled silk. Hand embroidered & crochet edging. Infant silk petticoat made from night dress. C 1965 -1967. Embroidered with hand crochet edging. Nilinfant clothing, silk embroidery, recycled clothing, heather mcnamara

Worn by patients at Sunbury Asylum.Petticoat, bodice unbleached cotton, sleeveless and fastened at back with four metal buttons. Skirt deep reddish brown flannel."F7" handwritten on shoulder in black ink.costume, sunbury asylum, george evans collection

This cotton 1/2 slip with large lace flounce was made by a woman of the early settler families in Moorabbin Shire c1900 and shows the needlework and lace work skills . The Cotton 1/2 petticoat is an example of the dressmaking, and lace work skills of the women of the early settler families in Moorabbin Shire c1900Lady's white cotton 1/2 Petticoat cotton lace flounce, elastic waist and 2 bone buttons at side seam clothing, petticoats, underwear, crochet, brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork , bentleigh, lacework, moorabbin shire, dairy farms, fruit orchards

Child's Petticoat. White cotton machine sewn. Crocheted hem around bottom of garment. Miss J Aitken Patrick Street. stawell clothing material

Beige Nylon petticoat with deep lace trim on bust line- three gored skirt and 15cm deep lace hem line.Lucascostume, female underwear

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.Simple fine, white cotton petticoat used underneath an outer christening gown. The petticoat uses the same silhouette as the gown. The sleeveless bodice is held up by shoestring straps at the shoulder. Gathered fabric at the waist creates volume as an undergarment. Six bands of decorative horizontal pleating are used in the lowest section of the skirt as well as a scalloped hem.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

Child's white cotton half petticoat. Wide waist band with 3 buttonholes. 5 layers of pin tucking and crochet lace at hem.costume, children's underwear