Black & white photograph of a bride. She is wearing a long, white dress with a lace panel starting at about knee length. The bodice is lace and the dress has elbow length sleeves. She has elbow length gloves with a bracelet on her right arm. She has a long veil with embroidery at the lower edge. Her bouquet with it's large white bow is on a pedestal in front of her. Photo is mounted on white cardboard.The Muntz Studio, Puckle St., Moonee Pondsphoto, individual, wedding, foster & wilson collection, photograph

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

Tilly Aston wearing a dark coloured plain dress with lace cuffs and a hat adored with flowers and ribbon on the side. She stands with her arm holding the back of a chair, and in her hand she holds a purse. Around her neck rests a multi-swirled scarf and around her neck lays a necklace with a single bead. Unknown date, however this portrait was taken at the Gainsborough studio, which was also used for another portrait shoot. Various tones and sizes have been made.B/W photograph in various tonesGainsborough ... embossed upon lower left cornertilly aston, gainsborough studio

Clothing. Child's white linen dress. Wide round hemmed neckline. Dress made up of two pieces of fabric. Dress is straight to below the waist (35cm) and then widens to the hem (51 cm). Sleeveless with arm holes edged with one cm lace. Front of dress is cotton fabric with alternating vertical stripes of embroidered fabric and floral patterned lace. Back opening (16cm) with placket, fastened with two metal press-studs.costume, children's, child's white linen dress

This is part of a parade held on the main street of Halls Gap in conjunction with the 150th anniversary of Major Mitchell's visit to the area. Thephoto is a close up of a young girl. She is wearing a broad brimmed straw hat and a flowery print dress with lace around the sleeves and a shawl lice cowl edged with lace. She is handing (or receiving) a flower to a woman, whose arm is the only part visible in the photo. The woman is wearing a bracelet with a heart shaped charm.events, parades

Portrait of an older lady wearing a floral dress with lace at the neck and sleeve edges. She has a black band with a brooch holding it at the front around her neck. She is holding a black bowler hat in her right hand. She has curly hair and is wearing glasses. On the rear is written Wedderburn Old timers? And 106/F16photo, individual, female, peter ellis collection, female portrait, wedderburn old timers?

Cream lace sleeveless wedding dress, V neck. Bodice lined with satin in four pieces. Upper piece forms part of neckline. Full length unlined skirt - slightly gathered. Piping around waistline. Train at back. Back opening with six fabric covered buttons and loops. (top half of bodice). Four unmatched press studs on back of bodice. Lining torn away from back opening. Opening at back of skirt has torn edges. Hem is edged with lace.costume, female, wedding dress

1.. Grandfather Colgan standing in Military uniform with 2 medals 2.. Mother and father Colgan ( of Miss Colgan ) mother in long black dress, lace robe, sitting holding umbrella. Father in black suit, white shirt, black tie, white handkerchief in pocket, top hat, standing holding umbrella. 3.. Brother of grandfather Colgan ( Miss Colgans great-uncle ) sitting in military uniform with 2 medals. Ornamentation on wooden frame with grey mount, under glass.Bartlett Bros Bendigo & David Wood Sth Melbourneperson, family, colgan family portrait

This doll belonged to member Allan Blain's sister. It was donated to WDHS and then recently returned after an extended loan. The doll has been re-dressed. Dollmaker Carl Trautmann founded his doll factory in Finsterbergen, Germany, in 1884. The firm made high quality ball jointed dolls and also pull-the-string mechanical and speaking dolls. In 1906 the factory moved to Catterfelder, Germany, and the company name was changed to Catterfelder Puppenfabrik. The firm JD Kestner supplied the bisque heads.This doll is significant as an example of the toys available in the early 20th century. It shows the manner in which dolls were jointed to allow movement of the limbs and head.12 inch (30cm) doll with fully jointed composition body and bisque head with open mouth containing two tiny teeth, and sleep eyes. She has a hair wig stitched down the centre of the head and has tiny pearl earrings. The doll is dressed in a lace trimmed pink nylon dress with puffed sleeves and matching hat, and cream shoes.Catterfelder Puppenfabrikblain, children's toys, dolls, warrnambool, catterfelder puppenfabrik

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

Doris Mercy Willmott was born in May 1896 in Stamford Hill, London, the eldest of three daughters of Albert and Minnie Willmott. The family lived in various parts of north London until the beginning of the First World War, when they moved to Redhill in Surrey. It was in Redhill that Doris met her future husband, Frederick John (Jack) Bennett. Jack had met Eric Mercy, a cousin of Minnie’s, in the Australian Imperial Force (AIF) and visited the Wilmotts with him whilst on leave from France. Although Jack Bennett returned to Melbourne in March 1919, he and Doris continued to correspond and they were engaged in March 1923. She came to Melbourne on her own, and was married in the Congregational Church in Canterbury on 23 December 1923. By 1931 Doris and Jack and their three sons - John Willmott, Winfield Robert Curtis and Peter Reginald Dane - moved to 21 Tooronga Road, Hawthorn but moved back to his father’s home, Therapia, 2 (now 6) Hepburn Street, Auburn, shortly before his father’s death. In 1937, the Bennett family moved back to the United Kingdom, spending the war years in Uxbridge and Torquay. The family returned to Melbourne in October 1946, after the deaths of Doris’ parents. The family lived at 12 Stanhope Grove, Camberwell and 51 The Ridge, Canterbury before Jack died in February 1952. After this Doris moved to 12 Stanley Grove, Canterbury, her home until c. 1970 when she moved to 25 Corhampton Road, North Balwyn. She died in May 1980 in Princeton Nursing Home, 3 Bellett Street, Camberwell. (Adapted from notes provided by Sue Barnett, the donor).The collection of evening clothes owned and worn by Doris Mercy Bennett, of which this item is one, date from the 1930s and may have been purchased in Australia or in the United Kingdom. Each of the items, apart from the evening dress, which has a few minor tears in the lace, is of fine quality and evidences Doris Bennett’s love of glamour and style. While the evening dress and the mantilla are of the same fabric, the two capes might have been worn with the dress as alternative fashion accessories. None of the items has a maker’s mark, however each displays evidence of fine dressmaking skills. It is however probable that the two fitted capes were commercially made.Long black lace, floor-length evening dress extending to a short train at the back. The dress has a belt at the waist that is joined by two white metal clasps studded with diamentes. With the dress there is also a matching lace square (2017.00921) that might have been used as a mantilla or as a shawl. The dress was owned and worn by Doris Mercy Bennett (nee Willmott) [1896-1980], and donated to the Society by her grandaughter. women's clothing, evening wear, evening dresses, doris bennett (nee wilmott)

Tom Marks sits at a table with four others, holding a cup of tea and dressed in a day suit with tie. The woman to his right looks straight at the camera whilst she pours tea from a teapot into her cup, and is dressed in a black dress with a white flounce. Opposite Tom Marks sits a teenaged girl (probably daughter Hilda) wearing a pinafore over her dark dress with lace collar, and an older woman in a dark coloured dress with dark ruffled edging (who maybe his wife Mary Cecilia). The only other person to look towards the photographer is the gentleman to Mr Marks's left, in a suit and vest, white shirt and tie, balancing his cup on a saucer. The group sit in a backyard garden, around the turn of the century based upon their clothing.B/W photograph of group having tea in garden attached to cardboard mountOn the back: Mr T Marks 6. 59 Clarke Street Prahran Victoria Australiathomas marks, association for the advancement of the blind, mary cecilia marks, hilda marks

A dress belonging to the family of George Ward Cole in the late 1800s; possibly his wife Thomas Anne Ward Cole or one of his daughters, Margaret or Agnes. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished. A hand sewn, brown silk, evening dress, circa 1860, consisting of a bodice and skirt. The bodice features an off the shoulder neckline edged with cream lace. A chevron design of black velvet trim, passes from the shoulders to the centre front waist, then hangs loosely to the hip line. The black velvet trim on the sleeves and the skirt is edged with a black fringe. The bodice (.1) base is finished in a v-shaped front at the natural waistline. There are short puffed sleeves also feature the black velvet fringed trim and lace at the edge along with three epaulette style strips, which pass from the shoulder seam to the edge of the sleeve. Each strip finishes with a decorative bobble. The bodice lining is cream glazed silk with steel boning, cotton tabs sewn into both sides have four eyelets for lacing. The dress has a full, floor length unlined skirt (.2) which is slightly longer at the back creating a modest train. The skirt has horizontal bands of the velvet trim and finishes with a box pleated trim of the dress fabric. The dress is fastened at the back using two connecting rows of black velvet covered buttons.brighton, st ninian's, 1860s, evening dress, george ward cole, thomas anne ward cole, margaret morison ward cole, agnes bruce ward cole

Black and white portrait of Mrs Helen Barton (nee Robertson), cream mat with wooden frame. Helen is standing and holding an Australian flag. She is dressed in a dark coloured long dress with lace V shape insert at neck. Written on bottom of photograph: 'Mrs Helen Barton, Organiser W.C.T.U. Work. Gift of Mrs. A.T.Lanyon, Golden Square, 1934' On bottom of mat: 'The Crown Studio, Sydney' See also Cat No. 11202.1 (Folder 92) for advertising flyer for a temperance and social reform presentation by Councillor Mrs Helen Barton.

Clothing. Infant's white spotted muslin waisted dress. High round neck with lace trim. Front of dress has alternating vertical stripes of pin tucks and lace. Skirt tightly gathered into casing at waist. Lower section of skirt has alternating horizontal stripes of pin tucks and lace. Long shaped sleeves with fabric cap around arm hole. Sleeve gathered into casing at wrist. Item edged with lace, forming a frill. Centre back opening (20cm) fastened with five X .9mm white buttons between neckline and waist.costume, children's, infant's white spotted muslin dress

Taken to mark the wedding of Patrick James Burns and Ivy Lillian Ellen Bolton at Holy Trinity Surrey Hills in 1940. Ivy's sister Beryl Torey is at right and Beryl's daughters were flower girls. Patrick's brothers Eddie and Emet are at either end and his cousin Win Ramage is on the left. Patrick and Ivy's home was at 244 Union Road, Surrey Hills. Ivy was born in 1908 in Seymour, the daughter of Samuel Henry Bolton and Elizabeth Beatrice Maher. She died in 2004 in Mansfield and is buried at Fawkner Cemetery. Patrick was a mechanic. He was born in 1906 at Longwood and died in 1964 at Surrey Hills.A black and white photograph of a wedding group showing bride and groom, two bridesmaids, two flower girls and 3 other men. The men are dressed in dark suits and have a buttonhole flower in their lapel, the bride dressed in a floor length dress of lace with a long train supported on her head by a headband, the bridesmaids are wearing floor length dresses, with short sleeves and a hat styled like a small beret, and the flowergirls are also wearing floor length dresses and short sleeves, and also hats styled like the berets. All the females are carrying bouquets.(mr) patrick burns, (mrs) ivy burns, (miss) ivy bolton, (mrs) beryl torey, (mr) eddie burns, (mr) emet burns, (ms) win ramage, union road, surrey hills, holy trinity church, churches

Belonged to donor's aunt1960s navy blue fine silk shantung fabric dress with lace bodice and elbow length sleeves. Metal zip, hook& eye down back. A-line skirt with two front seams and pockets. Dress is below the knee length. Lined from above bust line in bodice with fine blue crepe fabric. Matching jacket of fine silk shantung with lace trim on collar& cuffs of full-length sleeves. Self-covered shantung 4 buttons and stitched buttonholes. La Petite label in jacket and underarm on dress.La Petite Model Frocks, 165 Collins St Melbourne.la petite

Clothing. Child's white linen dress with fold over lace trimmed sailor collar (13cm) and neckline casing. Dress has yoke front and back with a dropped waist trimmed with insert lace (ribbon missing). Above the hem is a horizontal strip of lace (3cm) and two narrow tucks.Item is edged with 5 cm broiderie lace with scalloped edge. Dress has cap sleeves of 5 cm broiderie lace. Full length centre back opening fastened with cotton tape ties at neckline and two pearl like buttons at lower edge of yoke and at dropped waistline.costume, children's, child's white linen dress

Heubach German porcelain doll. Head badly cracked and taped together. The face is OK. Doll’s eyes are loose. Eyes need to be reset. All parts are separate. Composition body in need of repair. Open mouth. One tooth. Pierced nostrils. Clothed in red cotton drawers with long legs. Not original. Knitted singlet – badly moth eaten. White lawn dress with lace. Tied together with mourning ribbon. Crocheted bonnet lined with silk. Ernst Heubach was a company in Köppelsdorf, Thuringia, Germany, that manufactured porcelain-headed bisque dolls from 1885 onwardsHeubach

Two items of newborn clothing dating to 1944. The first item is a dress and the second is a singlet. Both items are made from wool and are in new, unused condition. The clothing was owned by Mrs L. Brawdrup and was donated to the National Wool Museum in 2022 by Lila Gore.Clothing item one is a cream woven dress. It is finished at the sleeves, neck, and hem with a white lace trim. The trim is formed from a thread that has a metallic gleam, presumably cotton. The dress is styled under the neck with a stitched patterned of frills and flowers in the same white metallic thread. The dress gathers under the armpits, similar in style to a dirndl. At the rear, the dress is loosened and fastened by 3 press stud buttons in an opening at the centre. Clothing item two is a cream woven singlet. It is finished at the sleeves, neck, and hem with a white lace trim. The trim is formed from a thread that has a metallic gleam, presumably cotton. The lace is like the dress; however, it is less intricate. baby clothing, 1940s, 1940s baby clothing

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 wedding dress was worn by the grandmother of Val Warren.Raw silk wedding dress. The full length dress has lace on the bodice and long sleeves. Other decorative elements include finely pleated silk panels on the bodice, an insert on the skirt and on the cuffs of the sleeves The dress features extensive use of both utilitarian and decorative buttons that are covered in the same silk fabric as the dress. The final photograph shows two early repairs to the dress. Lydia Edwards in 'How to Read A Dress (Bloomsbury Academic, 2017), when describing a 1912 dress in the McCord Museum notes that: 'In 1911-12 the use of buttons for both fastening and decoration was extremely popular, the American women's magazine The Delineator declaring at the end of 1911 that "one cannot use buttons to liberally in the present mode".' (p.132)costumes, wedding dresses, women's fashion - 1910s, fashion design, fashion -- 1910s

Mid blue waist length long sleeved jacket to be worn over 11400.522 11cm fold over collar that extends to waistline with crossover front and scalloped lapels. Right over left crossover (3.5cm) fastened with one fabric covered 2.4cm button with centre circle and narrow edge. Lapels have decorative cut out lace motifs attached – match lace across midriff of dress. Ten motifs evenly spaced around collar. Front pieces have vertical darts from hem under bust. Back of bodice has two pieces with centre seam. Vertical dart on either side of the centre seam. Unlined. Machine made. Kimono sleeves. Three quarter length. Gusset under each arm 12 x 13cm. Part of ensemble with 11400.522.Created by ZANKO of Melbournecostume, female daywear, coat

The dress was in the cupboard of Muriel Kerr, the donor's recently deceased mother. The donor remembers being shown it and trying it on in the late '70s or early '80s and being told that it belonged to her great-grandmother, Lilian Armstrong Ballantine (nee Power) [1887-1967]. Lilian Ballantine lived at 31 Harp Road (now the site of the Leo Baeck Centre) from the early 1920s to 1967. Lilian's married Archibald Dill Ballantine [1883-1947], in 1910. He was a member of the Monumental firm of A&G Ballantine, responsible for the Kew War Memorial (and possibly the Springthorpe Memorial). Lilian was highly involved with the Finlay McQueen Memorial Church [ie the East Kew Presbyterian Church]. Lilian's daughter, Mary (the donor's grandmother) married Alan McQueen, the son of Finlay McQueen, the first Minister of the East Kew Church. Mary Macqueen lived at 1 Oswin Street; she was a well-known artist. The dress is significant due to its associations with a family with strong connections, through a number of generations, to Kew East and its spiritual institutions. The garment's integrity and design also contribute to its aesthetic significance as a representative item of women's outerwear during the first decades of the twentieth century.Pale blue striped muslin single-piece dress with lace, tulle and embroidery at the neck and on the cuffs. The lace at the neck and cuffs is embroidered with coloured flowers, and edged with tulle. Bordering the v-neckline is a deeper blue guipure lace (possibly added later). There is a satin flower on the right side of the skirt which gathers the hem, exposing the deeper blue cotton underskirt. The dress has a narrow band of blue satin at the high waist. The cotton underskirt is attached by thread in places to the outer layer. Both the outer and under layers are attached with metal hooks and eyes. Edging the cuffs and hem of the dress is blue commercial fringing. The exterior of the dress has a slight brown tinge which is not apparent on the inside hem, suggesting that it has been discoloured through exposure. There are minor stains.women's clothing, edwardian dresses, lilian ballantine, australian fashion - 1910s, mary macqueen, finlay mcqueen memorial church, east kew presbyterian church, alan mcqueen, kew war memorial, archibald dill ballantine, leo baeck centre, 31 harp road -- kew (vic.), a&g ballantine, women's clothing -- 1900s, fashion - 1900s, fashion design

This gown, one of two similar items in the collection belonged to one of the Ward Cole sisters, Miss Margaret Morison Ward Cole or Miss Agnes Bruce Ward Cole, daughters of George Ward Cole. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son at St Ninians in 1867. In later years St Ninians was subsequently sub divided and later demolished. A black and yellow velvet, wool, lace and silk dress from circa 1882. The bodice features a yellow silk, black lace and black velvet collar finishing high on the neck just below the chin finished with a black lace ruffle. The collar has a flap across the front of the throat that attaches at the side with a V-shaped baseline that contributes to concealing the fastenings of the bodice. The dress features a gathered central panel of black lace covered lemon silk, which falls from the neckline to the floor. At either side of this panel are matching panels of black velvet. The remainder of the dress and sleeves are made of black wool featuring a self-striped and spotted pattern. The dress fastens down the centre front with concealed black buttons hidden underneath the right velvet panel. The head of the Amadis sleeve sits on the natural shoulder line and finishes tightly at the elbow. The volume of the sleeve is created by ten pleats at the head of the shoulder, sewn to the bodice and is gathered at the elbow. The sleeve is finished with a black velvet ribbon with a bow and a black lace frill. The base of the dress is finished with a ruffle of the black dress wool. The dress features a small train. The dress is boned at the back waist and features an inset panel just below the waist of gathered fabric which forms the train. st ninians, george ward cole, visiting gown, brighton, margaret morrison ward cole, agnes bruce ward cole

Clothing. Cream coloured lace silk wedding dress. Dress made from fine silk fabric with self stripe, fully lined with cream coloured linen. High round neckline with stand up lace collar(6cm). Bodice at front has crossover from shoulder to waist, forming deep Vshape at centre front with net insert below the collar. Net insert has vertical pin tucks. Bodice front and back has cream coloured lace overlay that extends over the shoulders to halfway down the 3/4 length sleeves. Hem of sleeves trimmed with embroidered lace with geometric pattern. Cummer bund of pleated silk fabric (7cm) is attached around waistband. Floor length skirt is gathered into the waistband.Front of skirt has straight lace panelsoverlay (37cmX 90 cm) including 20 cm flounce at lower edge, attached at waistline. Back of skirt has gathered lace overlay attached at waistline extending across side seams and over the edge of front lace panel. Centre back opening fastened with eighteen metal hooks and eyes from collar to waist and six metal press-studs below the waist. Cummerbund fastened with three metal hooks and eyes. A fabric insert at centre back fastened with press-studs. Collar has five pieces of stiffening plastic. Bodice has three bone casings across front above waistline, and four across the back. Cotton tape band (66 cm X 3cm) attached inside bodice at front with hook and eye fasteing.Printed on inside waistband, ''AMALIA SALXANO FARRONE'' NAPOLI ''MODE +CON----'' VIA EGIZIACA A PIZZO FALCONE 93''. Printed inside LHS sleeve at arm pit ''SAXONIA 48X''.costume, female, cream coloured wedding dress

This gown, one of two similar items in the collection, belonged to one of the daughters of George Ward Cole, Miss Margaret Morison Ward Cole or Miss Agnes Bruce Ward Cole. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished.A black and mint green wool, velvet, lace and silk dress from circa 1882. The bodice features a wired, standing collar, finishing just under the chin and open at the front of the throat. On either side at the front of the throat it features long black lace ties with black jet bead fringe. The centre front of the dress from the neckline to the base of the skirt features an insert panel of mint green corded silk. The silk is gathered and the neckline and waist and overlaid a panel of gathered lacy net. Inserted into the seam at either side of this panel at the waist are two velvet ties. The dress secures closed with eight black buttons and one hook and eye down the right side of the mint panel to mid thigh. The edges of the collar and black front panels are finished with a looped ribbon trim. The remainder of the dress is made of a black wool fabric woven a checkered pattern of larger and looser threads and smaller and tighter threads creating a seersucker like pattern. The bodice features a natural shoulder line and an Amadis sleeve of full cut gathered to the bodice at the shoulder and finishing at the elbow with a large black lace flounce. The front panels of the dress are flat and shaped neatly to the body from neck to hip line and gently out to create the Victorian silhouette. On the back of each shoulder the dress features a leaf like, small jet beaded embellishment with multiple long loops of jet beads falling down the back to the waist. Underneath this embellishment is a pleated black ribbon that runs from the shoulder to the back of the pelvis. Over the pelvis are another two jet beaded embellishments of a floral design with two tassels. The skirt is full and pleated in under this embellishment and fulls to the floor with a small train. The base of the dress is finished with a ruched band of the main dress fabric.st ninians, george ward cole, visiting gown, brighton, miss margaret morison ward cole, miss agnes bruce ward cole, 1880s

Handmade ivory coloured cotton full length night gown. Front has yoke of diagonal pieces of lace with cut work and floral patterns, squares, embroidered flowers with horizontal lace pieces across shoulders. The top edge of the skirt has an edge of lace with square shapes and centre flowers of cut work across the front and back. The back has five 1cm tucks on either side of centre that extend 5cm below the lace edge. The high front neckline is square and the high back neckline is rounded. The neckline is edged with cotton broderie lace and insert lace with cream coloured satin ribbon threaded through. Below the decorative lace strip at the front is a section of fine pintucking 12cm on either side of centre and 9cm below lace strip. The night dress has a front opening extending 31cm from the throat. It has a placket with two button holes 10cm and 20cm from the throat. Two buttons on other side. No fastening at throat. French side seams. Long set-in sleeves with two rows of lace and three rows of pintucks extending from shoulder down top of sleeve to wrist. A piece of insert lace at wrist. A frilled cuff of broderie lace widening from 9cm at inside seam to 12cm at outside edge, machine stitched.costume, female underwear, nightgown