Clothing. Woman's grey, cream and black dress, with fine all-over swirling fern leaf design fabric.Eleven gores in skirt, home stitched dress. Long sleeves with a turn-back cuff 5cm wide at the peak, tapering to 2.5 cm wide at the 4 cm long opening, which fastens with one metal press-stud. The cuff is trimmed with decorative rouleau loops and coils, giving a flower petal effect. This effect is repeated on the peaks of the revere collar. A rouleau looped bow trims the centre front neckline. A shaped, peaked band on the front bodice extends from the side seams to give the effect of a belt at the back. This is stitched in place and trimmed with three rouleau coils-centre coil 2 cm in diameter, flanked by two coils 1-2 cm in diameter. Skirt has three stitched down pleats, ranging in length from 7 cm to 8.5 cm long,on either side of front skirt.costume, female, woman's grey.cream and black dress

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced by Coats Patons and contains knitting patterns for mens and womens garments. The skirt modelled on the front cover and on page 13 is acknowledged as being a 'Kenneth Pirrie Creation'. Kenneth Pirrie was an Australian fashion designer from the 1960s who appears to have worked in Melbourne and Sydney.Patons / KNITTING / BOOK No. 708 / Latest young fashion - long / stockings or socks with / sweater to match in / TOTEM or TYROL / Two-of-a-kind sweaters, / for him and you, in TOTEM, / ARIEL and MOHAIR / A sweater or shift in TOTEM: / a man's cardigan in JET / 2'3 / PATONS . BEEHIVEknitting handicrafts - history, coats patons (australia) limited, pirrie, mr kenneth - kenneth pirrie creations, knitting, handicrafts - history

This dress is of uncertain provenance. BHS records indicate that it was owned by Marion Jane Ellen Devlin, nee Stokes (1845-1936), who married Oliver Devlin on 2 April 1877 in Victoria. The dress is believed to have been worn on the Bendigo goldfields circa 1878. It may have been worn as a wedding dress. However, additional documentation discovered in August 2019 suggest that the dress belonged to Margaret Cocking, nee Carr (1850-1936), who married Gustavus Cocking in Bendigo in 1877.A grey-green circa 1878 dress comprising a matching jacket and skirt. The jacket (.1) features a standing collar that gathers to a low point at the throat. This point is concealed behind a bow with raw edges which may not be original. The centre front of the jacket has been secured with nineteen concealed metal hook and button holes. The centre front features fifteen sets of single fabric covered glass buttons secured in a diagonal pattern and appearing as double headed buttons. From the shoulder through the body the jacket is shaped with decorative panels with grey silk detail. Beside these panels shaping into the waist and under the arm are a further two pleats. On the left side waist is a small pocket with decorative flap, grey silk trim and button. The base line of the jacket features a decorative horizontal panel that wraps around the jacket. The sleeve head is small and sits on the natural shoulder line with a slim fitting, curved, full length sleeve. At the base of the sleeve, there is a decorative panel reminiscent of a formal cuff, with a decorative turn back and two buttons. Secured underneath this turn back is a bow like decoration. From the back the jacket features a V shaped decoration, an extension of the front two decorative panels. From the shoulders the jacket is shaped by four panels curving tight into the waist and flaring out again to fullness of the bustle. These seams are also finished with decorative binding. This peplum-like shape features two decorative flaps and six covered buttons. The skirt (.2) is shaped to the waist with pleats and secures on the front left hand side, the original waistband and fastenings have been replaced. The skirt front features a large decorative panel of the same fabric that curves from the front at approximately shin length, upwards towards the back securing underneath the bustle decoration. A second panel, plus a pleated panel finish the hem of the skirt continuing around to the back. At the back the skirt features two deep pleats with a large decorative bow that would sit out over the bustle. The skirt is long featuring a small train at the back. The dress is lined in a brown waxed cotton.wedding dress, 1870s fashion, marion jane ellen stokes, oliver devlin, margaret carr, gustavus cocking, bendigo

Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design.Custom made wooden hinged box with a hook latch. Brass yarn spinner, attached to a mahogany wood plinth base, which spins fibre into cord/yarn/thread. It has dials to set the rate that it spins. Metal plaque with black inlaid enamel lettering. Small cork inlay. Brass rod with hinge and wingnut, and ball at end. Ball at end has an adjustment mechanism. Rod also has an adjustable circular collar. Pair of curved tweezers. Circular magnifying glass on long thin handle. Glass has two concave lenses. Weaving sample in shades of blue, green and brown. Twill weave. Alternate pattern samples separated by red thread.Brass plaque on base of spinner: 42 MARKET St / John Nesbitt / REGd TRADE MARK / LIMd / MANCHESTER Underside of wooden plinth: 4976apparatus, textile, testing, spinning, nino corda, magnifyer, tools, brass, mahogany, tweezers, yarn, spinner, design, john nesbitt, manchester, england, 19th century, engineering, manufacturing

This apron 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.The apron is an example of late 19th century ladies' clothing for use in domestic service or hospitality.Apron, ladies size, cotton, machine made. Bodice has hand made Broderie Anglais lace trim and neck ties, skirt has gathered waist and ties, three pin ticks around hemline. Would have been worn for 'best' wear. C. 1900flagstaff 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, apron late 19th century, broderie anglaise, handmade lace, apron, domestic clothing, domestic work, domestic service

Small full length portrait of a lady standing beside a cupboard with a large jug on it. She is wearing a long high neck dress with large sleeves and a full skirt with a large bow on the side front. She is also wearing a locket and a long necklace. Behind her is garden scene.London & Provincial Photographic Company 443 West Strand, London. W. C.photograph, portrait, female, portrait of a lady

Small portrait of a lady seated on a chair with her left arm resting on a table. She is wearing a long, high neck dress with a full skirt and large sleeves. She is also wearing a head dress with a frilled edge and wide bow under her chin. No photographer's name.photograph, portrait, female, portrait of a lady

Garment was worn by female patients at the Sunbury Asylum.Inmate's dress in off-white canvas (?) with red stripe (blue stripe on left arm only). Round neck with front reinforcement and added panel and binding in cream cotton. Bodice and skirt pleated into waistband. Back opening to thigh level with three pairs of button-stitched eyelets.costume, sunbury asylum, george evans collection

Long sleeveless dress. Empire line bodice. Skirt pale aqua background with lurex spots in shades of aqua. Deep aqua ribbon under the bust line with low and diamondé clip in a circle shape. Bodice is pale aqua silk with deeper aqua sequins around neckline.costume, female, handcrafts, dressmaking

Photograph of unknown woman standing in a garden wearing a straw boater hat, white blouse and skirt and cropped jacket, and holding a flat top racquet. This outfit is also an accessioned object in the collection: hat (2009.730) and clothing (2009.748). Materials: Paper, Photographic emulsion, Metal, Plastic, Glasstennis

Silk, lace and cotton top, probably matching the skirt, 0258. Silk outer, with cotton on the inside, high necked with lace decoration. Shell buttons running down front, silk decorated on sleeves with similar floral/pleated design. Sleeves puffy at top, fitted lace at bottom.No visible markings.costume, female, top, blouse, silk, cotton, cream, lace, clothes

Harriett Wilson was the wife of William Wilson, an active member of and preacher with the Linton Methodist congregation. This is one of two photographs of Mrs Wilson in the collection. This one appears to have been taken earlier than the other. The other photograph is Registration no. 480 (Box 14, also Mounted photograph 21), and shows a somewhat older Mrs Wilson, although Mrs Wilson is wearing the same dress in both photographs. An inscription on the back of the photograph says that this photograph was given by Mrs Wilson to F. Bryant on December 16, 1890. Part of Old Lintonian collection ; No. 126. Photographs of Mr Wilson are also in the collection - see Registration nos. 45, 479 & 642. It is understood that Mrs Wilson was one of the first teachers at Linton State School. Mrs Wilson died in a fire in 1900 and is buried in Linton cemetery.Small sepia photograph of a woman with hair drawn back from face, wearing a long-sleeved, full-skirted gown with beaded detail on bodice and white collar, seated with left hand resting on lap, right arm crooked on back of a chair, holding a book in her hand.In faded pencil on reverse of photograph: "James / Wilson / Linton / Given by Mrs Wilson / to F Bryant Dec. 16, 1890". Written in darker pencil over the top of this: "Mrs Wilson / (Granny)".mrs w. wilson, harriett wilson ("granny" wilson), old lintonian collection

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.A sturdy white cotton christening gown that confirms to a number of conventional design rules. These include pleating on the bodice and at the front of the skirt. The width of the pleats below the waist would indicate a later rather than earlier manufacture. Lace is used in a vertical band at centre front, on the neck and at the waist. christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

This skirt is part of an official uniform by Sister Danson (VFX151507) during the British presence in Japan following the end of the Second World War. About 16,000 Australians served in the British Commonwealth Occupation Forces, including 130 from the Australian General Hospital with whom Sister Danson presumably served. Sister Danson was born in Numurkah and served as Leiutentant with the Heidelberg Military Hospital before embarking for Japan in 1947.Grey slim line with side 5 press studs and 2 hook and eyes "L Danson"japan ww2, occupation force, british commonwealth occupational forces, ww2, world war 2, world war two, wwii, second world war, nurse, military, heidelberg military hospital, vfx151507, sister danson

This dress belonged to Meredith Lenné, a lifelong Brighton resident. She bought it around 1965-66 at Oggi, a fashion boutique at the "Paris End" of Collins Street, while she was working at the Royal Children's Hospital as an occupational therapist. It was her 'good' dress, worn to dinner parties, balls and lunches throughout the 1960s. The hem was taken up and adjusted several times as the fashion moved towards shorter skirts.Emerald green print midlength shift dress, sleeveless, with high neckline and high waist. Back zip. Hem has been let out, having been altered multiple times during the 1960s. Label reads "Oggi of Collins Street".oggi, melbourne designers, 1960s, meredith lenné

taken after their wedding at Wesleyan Church Bairnsdale Victoria. Walter wearing three piece suit white shirt turned down collar with narrow tie, hair short at sides brushed back and thick on top. Frances in dark dress tight fitting hip length buttoned bodice narrow flounced skirt sleeves tucked with contrast of wrist, hair parted in centre and pulled back severelyBlack and white photograph of Walter Grant and wife Frances Mary Bowrangenealogy, fashion

This child's dress 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. A photograph of their youngest child, Alice, taken in circa 1903 depicts her wearing the dress. The dress would have been only worn on special occasions (such as a formal family photographic portrait) as most young girls in that era would have smocks or pinafores for everyday wear. The age of the dress is in question as it may have been made by Eliza for her eldest daughter, Dorcus, who was born in 1884. This dress has some machine sewing at the neck, waistband and pintucks but much of the dress is handsewn and richly embroidered with Broderie anglaise. Broderie anglaise (also known as eyelet lace) is a form of cutwork embroidery. The foundation fabric is cut to make decorative holes which are sewn with overcast or buttonhole stitches to create a lace like effect. Designs often involve floral motives that are enhanced with simple embroidery stitches such as stem stitch and satin stitch and scalloped edges finished with buttonhole stitches. It was commonly used to trim baby clothes, dresses, nightclothes, underclothes and household linens - particularly in the Victorian and Edwardian eras. This item is an example of the needlework skills of women in the late 19th century - combining machine stitching with hand embroidery to personalise and embellish a child's special dress.Child's white dress made of cotton and lawn, with a skirt of hand embroidered circular cutwork (broderie anglaise), a scalloped hem edged in buttonhole stitch and a gathered waist. The lined bodice has three panels of hand embroidered broderie anglaise (eyelet lace) inserted in a V shape with pintucks and bordered with a broderie anglaise lace frill. The short sleeves also have an inserted broderie anglaise lace strip, three pintucks and a broderie anglaise lace frill. The skirt is semi lined with fine lawn. The dress has a back opening with one button and two ties. The neckline is decorated with two rows of hand embroidered broderie anglaise lace.flagstaff hill, flagstaff hill maritime museum & village, warrnambool, shipwreck coast, great ocean road, nhill, wimmera, eliza towns, dorcus towns, child's dress, machine sewing, hand sewing, broderie anglaise, cutwork, embroidery, eyelet lace, clothing, handmade, charles towns, alice towns

Full length ivory coloured wedding dress. Fitted bodice of lace lined with satin. Small cap sleeves of lace. Vneckline edged with tulle. Nine appliqué flowers with beads and pearl in centre edging the neckline. Piping around waistline with V at centre front. Full length satin skirt with small train at back. Two layers of tulle over skirt at waltz length with dips to floor at centre front and back. Top layer of tulle has lace insert from waist to 37 cms drop back and front.Top layer of tulle below lace has scattered lace flowers appliquéd. Zip (35cms) opening left hand side.costume, female, wedding dress

Small, full length portrait of a lady standing beside a pedestal which has a vase and some books on it. The lady has her right hand resting on a book. She is wearing a long dress which has pleats on the skirt and bodice. Her dress has a high neckline. She is also wearing a small hat. Photographer's name and address is printed in purple on the back. The lady has her right hand resting on a book. She is wearing a long dress which has pleats on the skirt and bodice. Her dress has a high neckline. She is also wearing a small hat. Photographer's name and address printed in purple on the back.T. M. Cleaves, View Point, Eaglehawkphotograph, portrait, female, portrait of a lady, t m cleaves

Clothing. Infant's cream coloured cotton nightdress. High round neckline with 1.5 cm lace edge, and casing with .8 cm cotton tape drawstring. Yoke front and back. Casing below yoke. Front yoke has layers oversewn below neckline - three vertical strips of lace. Long straight skirt sections gathered at yoke. Set in sleeves, pleated at wrist with 1.3 cm lace trim. Centre back opening (27 cm) fastened with cotton tape at neckline and 1 X 0ne cm patterned button at lower edge of yoke. Lower edge of skirt has five horizontal pin tucks above the hem.costume, children's, infant's cream cotton nightdress

Clothing. Women's black silk calf length skirt. Skirt has silk lining with a layer of silk fabric stitched to cover lower section of lining (52 cm). An outer layer of silk fabric falls from the waist to overlap the underlayer. The top layer has an irregular curved hem line.The inside waistband of ribbed cotton fabric (7cm) has six boned casings. The centre back opening (28 cm) overlaps at the waistband and is fastened with metal hooks and eyes and press-studs. The silk lining opening is fastened with four metal press-studs. The outer layer of silk fabric is fastened with five metal hooks and cotton loops.costume, female, women's black silk calf length skirt

Clothing. Long pointed sleeves, fastened with one press-stud at the wrist. Full circular skirt, lined with cream, synthetic lace type fabric. Fabric of the gown is a small floral type design,in a corded style, on a fine net backing. Sleeves are not lined. Back upper bodice has a lining in a double thread net. The sweetheart neckline is edged with a fine tulle frill. Bustline panels gathered top and bottom, and joins a peaked midriff panel, 15.5 cm deep at the centre bustline. Skirt is highly gathered to this panel, at the waistline, is a full circle and extends into a small train at the back. A small 23 cm zip on the left side seam.A KEAM Creation, Regd. Melbourne.costume, female ceremonial, ivory corded lace wedding gown

Hand knitted, short sleeved dress, with a tiny square neckline, with a two button opening on each shoulder. A dainty pattern, which repeats every 10 rows. A 3 cm moss stitch band on each of the short sleeves. A 2 cm band of stocking stitch defines the skirt and yoke. Stocking stitch also defines the neckline and shoulder openings. Two little 1 cm plastic pearl buttons fasten the shoulder openings. A 1.5 cm wide nylon ribbon passes through eyelets around yoke/skirt join, and ties in a bow .A picot crochet edge defines the neckline. Set-in sleeves. Matches jacket 11400.657.costume, children's, baby dress

Clothing. Child's white linen waisted nightdress. Scooped round neckline with casing and lace trim. V shaped broiderie lace insert below neckline with 2 cm fabric trim on each side. open at waist. Skirt tightly gathered into casing at waist. Skirt has inverted V shaped insert at centre front from waist to hem. Overlay on each side with decorative stitching. Item is trimmed with two rows of 1.5cm lace. Double layer cap sleeves of broiderie lace with scalloped edges.Centre back opening (33cm) fastened with cotton tape ties at neckline and waist. Fold over collars at back neckline (12cmX 4cm).costume, children's, child's nightdress

BHS CollectionCalf length, waisted purple dress of synthetic crepe fabric with elbow length sleeves. U shaped neckline at front. High rounded neckline at back with centre 8 cm opening fastened with two hooks and eyes. Decorative beading at centre of bodice. Flower and leaf patterns. Bodice has two small pleats at waistline on each side . Padded shoulders. Side opening at waist on LHS with 20 cm metal zipper. Same fabric belt with 4 cm fabric covered buckle of different purple colour. Front of skirt has eight gored panels from the waistline. Back of skirt has three panels. Dress unlined.costume, female, calf length purple dress

Formal mourning dress possibly worn by Mrs Vyner senior. This dress would have been made circa 1930s - 1940s. The McKendrick family came to Mt Beauty very early in the Kiewa Hydro Electric Scheme (KHES) days. Their son, Ian, worked in the Mt Beauty Post Office for 40+ years. The Vyner family also were long time employees of the SECV working on the KHES and were residents of Mt Beauty. Margaret was a nurse at the Tawonga District Hospital at the Tawonga site and the Mt Beauty site.Three quarter length black crepe dress with an 8 gored skirt and with a sash made of black crepe attached to the dress. Fitted long sleeved V neck bodice with satin applique and a pink nylon ruffle pleated around the neckline. Fitted sleeves with 2 covered buttons at the end. mourning dress, mckendrick family, vyner family

Gas and Fuel Fashion,Food,Fitness. 4 people on a stage - 2 Females 2 Males one of the females in a school uniform the other in black skirt and white top - One of the men in a suit the other, who is holding a microphone in trousers, jacket and polo shirt. Date and Location Unknownevent, social, gas & fuel fashion, food, fitness

The dress belonged to donor's mother or grandmother.Multi coloured blue chiffon dress, with splashes of pink, yellow and white flowers, shaped bodice, V-neckline, eight covered buttons down front, and four panel flared skirt and puffed short sleeves. Mauve Rayon under slip. A line and shoulder straps to be worn with dress.costume, female