Home made or hobby lacePocket flap. Machine made tapes with needle made fillings. A narrow piece of machine Valenciennes has been added to the top edge.

Valuable old lace was often salvaged to be used again. Here motifs have been reclaimed from an earlier 18th Century lace (probably damaged) and appliqued onto machine made cotton net probably early in the 19th Century. The original motifs are either Flemish or Honiton. Use: as a costume trimmingBobbin lace motifs appliqued onto a machine made net. Edging.

A very light and delicate lace for costume trimming. Probably hand made but could be machine made.Bobbin lace edging. Sample

Tape lace in the making. The lace is incomplete and still attached to the backing cloth. It is shaped - possibly as an edging for a tray cloth. Home made or hobby lace.Tape lace edging. Incomplete. Machine made tapes with needle made fillings.

Flouncing - costume trim.Embroidered net. Flounce of machine made net with floral design worked in chain stitch. Could possibly be handmade but is more likely to be machine made.

Flouncing - costume trimmingCarrickmacross flounce - muslin applique on machine made net. Handmade including some embroidered net fillings and some guipure sections. The inclusion of embroidered flowers is rather unusual.

Fashion accessory. Home made or hobby lace. Belonged to Mrs Calder Oliver (donor's mother)Tape lace dress front. Machine made tapes with needle made fillings

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

Fashion accessory. Collar of Machine made tapes with needle made filling stitches.

Home made or hobby laceHandkerchief Machine made tape with needle made filling stitches

Costume trimming. Probably machine madeEdging. Cut edge is irregular

Fashion Item. Bonnet veils were very fashionable during the 19th century. At this time old lace was highly valued - in this case old Argentan needle lace motifs (mid 18th century) have been reclaimed and appliqued onto machine made cotton net to form this 19th century bonnet veil. Probably home-made.Mid 18th century Argentan needle lace motifs appliqued onto machine-made cotton net.lace veil, bonnet veil.

Use: Domestic. FashionMachine made embroidered net

Five embroidery threads in skeins of shades of yellow (2) and green (3). One large wooden spool with small amount of brown thread. One Coats 60 thread bobbin lace white on a wooden reel. One Sylko 24 beige thread on wooden reel. One small wooden reel with no labels and pink thread. One ball of DMC 12 Perle thread in pale pinkCoats - J & P Coats 1000 Beste Qualitat meter vier fach Spezialertzeugnis fur fabrikanten 60. Dewhurst's Sylko Machine twist 24 Silk Substitute Shells. DMC Coton Perle 12 Made in France 10grams 141 yds. Anchor Soft Embroidery Fast Colour 110m/10.9 yd. Lesh & Handsley Perline Mercerised cottons . Sylko Trademark Embroidery Shade no 13 Made in England Silk Substitute J Dewhurst & Sons (Skipton) Size A color 334

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

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 cotton machine made net bolero with tambour work and a chemical lace medallion inserted centre backfashion and textiles collection - kew historical society, lace, women's clothing

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. Length of heavily embroidered tulle with a border detail on three edges and one cut side. The pattern is of flowers and leaves. Machine chain stitch onto net. The floral centres are hand madelace, embroidery, tulle

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. Cream crocheted bodice with pearl buttons. A net band has been attached at the waistline to facilitate the garment being tucked in. There are some machine made elements hand tacked on but the garment is mainly hand made. Most of the garment is diamond mesh with picot. The yoke is crotchet mesh with applied daisy motifs. Large daffodils and daisy motifs are applied to the main body of the garmentlace, women's clothing

One of a group of items including lace and crochet collars and pelerines, a jabot, a chid's dress and a wedding dress donated by KHS member, Kathryn (Kate) Gwynne Reeve (nee Marx) that belonged to members of her family. Tape lace is either a hand made (with a bobbin) or a machine woven tape. The tape is folded into the required design and then fixed and embellished with connecting lace or embroidery stitches of various kinds.Tape lace collar. L 17 cm / W 39 cm / Circumference 98 cmaccessories, tape lace, lace collars

This dress was worn by Brighton's first female mayor, Councillor Di Lopez, to a Mayoral Ball held at Brighton Technical School in 1977. Diane Margaret Lewis completed a law degree at the University of Melbourne, later marrying one of her classmates, criminal lawyer Ramon (Ray) Lopez. When she decided to run for the Brighton City Council in 1975, she was seen as an outside chance. Undeterred, she rallied a small group of friends and supporters and set out on an extensive door-knocking campaign that won voters to her side and successfully unseated former mayor Keith Devenport. She went on to serve two terms on council from 1975 to 1981. Di initiated many local projects, including the creation of a bike path along Nepean Highway and the first Brighton Festival, while balancing family life and a demanding ‘day job’ as personal assistant to Victorian Minister for Youth, Sport and Recreation Brian Dixon. She was a member of the Women’s Electoral Lobby and a champion for women’s representation, encouraging both Sally Allmand and Kate Harman to run for council (both were successfully elected). She advocated forcefully for an open, transparent local government in which ratepayers had the chance to participate and be heard. In 1976 Di became the first woman to hold the title of Mayor of Brighton, and she made it clear from the outset that she was going to do it her way. For the annual mayoral ball in 1977, ordinarily a staid traditional function, she chose a discotheque theme based on the Rod Stewart album Night on the Town, with a broad dress code of ‘black tie or jeans’: ‘You’ve got to get with the times,’ she said. ‘We want people to wear whatever they feel comfortable in.’ Di herself chose to attend in this knee-length chamois dress embellished with strings, ribbons, beads and feathers. It was both a fashion statement, exemplifying her colourful, flamboyant and forthright style, and a political one: a declaration of her intention to lead a progressive council, embracing the new and refusing to be hemmed in by dated traditions. In 2020 she was awarded an Order of Australia Medal for her service to local government and to the community of Brighton.This dress has local historical significance for its association with Brighton's first female mayor, Councillor Di Lopez, who wore it to a Mayoral Ball in 1976. The dress exemplifies her flamboyant reputation, modern outlook and willingness to break norms. At the time, the dress was a radical choice for a Mayoral Ball, where women typically wore formal evening gowns. With her choice of dress, Cr Lopez was making a public statement, breaking away from dated traditions and announcing her intention to bring the Mayor's office into the 1970s. In this way, the dress also points to the wider social and political changes taking place both in Brighton and across Australia during the mid-1970s.Three quarter length chamois dress circa 1974. Machine stitched with a v-neck and full length sleeves and an uneven raw hem, the dress is decorated with narrow thongs of chamois embellished with red beads and blue feathers. The open-fronted bodice is laced with red ribbon and the skirt is decorated with a large blue wool cross stitch and a combination of blue wool and purple ribbon cross stitch. Made in the style of an Indian 'Wild West Dress'.di lopez, chamois, brighton, brighton council, brighton technical school, mayoral ball, 1970s, feminism

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

Used for placing food on or ornaments on furniture.A rectangular ornamental machine made doiley made of white cotton with a cut out pattern for use under cakes or ornaments placed on furniture.table linen, lace, cotton, cotton thread, table accessories, soft furnishings

This outfit was worn by Kate Dabb for her wedding to Alf Meyer on the 6th of June 1900 at the Maldon Wesleyan Church. Kate was the 3rd daughter of Samuel Dabb.This dress is in two parts, a bodice and a skirt. Made of cream satin, mostly machine sewn with some hand sewing. The bodice is finely worked with applique panels of scrolls, petals and leaves decorated with glass beads and sequins. The back panel and cuffs are trimmed with lace.wedding dress, samuel dabb, meyer, "dabb, catherine maud", "callow, phoebe"

Donated by Yvonne Fitzmaurice as examples of women's handkerchiefs.10 female handkerchiefs made from handkerchief cotton/linen embroidered (hand and machine), some machine lace and some coloured embroidery, 1 gold and 9 cream/whitecostume accessories, female

This corset cover 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. This corset cover is an excellent example of an everyday clothing item with the decorative trim favoured by women in the late Victorian era. Eliza Towns has added pintucks, embroidered feather stitch and a highly decorative hand crocheted lace trim to the neckline, sleeves and front of the bodice. Corset covers (sometimes called camisoles) began to appear in women's fashion around 1840 and continued through the late Victorian decades into the Edwardian era. The long chemise was considered too bulky to cover the corset and so the corset cover was developed to be short and light and was worn over the corset and under the bodice of the outer garment. A woman would dress into her chemise and drawers first, followed by her corset and finally her corset cover as a final layer under her dress. Corset covers served several purposes. They provided protection against sweat (and the need to regularly wash the corset), helped smooth the lines of the corset and increased a woman's modesty.This item is an example of the needlework skills of women in the late 19th century - combining machine stitching with hand embroidery and crochet to embellish an item of personal underclothing. It is also significant as an example of a practical solution to the difficulty of hand washing a corset in the Victorian era.A short (waist length) corset cover of fine cotton. Short sleeves fall from a square neckline and are gathered into a wide crocheted lace trim with a band of embroidered feather stitch. The same crocheted lace design and feather stitching are also on the square neckline which is finished with a drawstring ribbon. The bodice has a front opening with five buttons and is bordered on each side with four pintucks. It has a drawstring ribbon at the waist and an extra layer of fine cotton lining has been added to strengthen the corset cover under the arms. The back has two bands of three pintucks running vertically from the neckline to the waist.flagstaff hill, flagstaff hill maritime museum & village, warrnambool, great ocean road, shipwreck coast, nhill, wimmera, eliza towns, underclothing, corset cover, camisole, machine sewing, hand sewing, crocheted lace, pintucks, feather stitch, embroidery, underwear, victorian era underclothing, victorian era corset cover

This nightgown 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. This nightgown is machine sewn by Eliza Towns and she has added a detailed design of pintucks and broderie anglaise lace to the front yoke and cuffs as a decorative element. The 1800's bought a shift in attitude towards modesty as the Victorian era progressed and by the mid to late 1800's it had become more acceptable ladies to wear simple, modest nightgowns. They tended to have a very loose fit and were usually made of linen, cotton or flannel, which had the advantage of providing warmth and also being easy to wash - a necessity for a garment worn next to the skin. Although the basic design of the nightgown was fairly simple, the wearer was free to add various types of trim e.g. lace, crochet, pintucks, embroidery etc.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 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 long, white, cotton nightgown with a V shaped bodice decorated with bands of nine pintucks alternating with strips of broderie anglaise lined with pink ribbon. The opening front placket and neckline are bordered with a simpler broderie anglaise lace. The long sleeves are gathered into cuffs with a matching V shape, pintuck and broderie anglaise design. The front placket fastens with three cream buttons although one is missing. The back of the nightgown has gathered fabric on a plain, narrow V shape yoke. A narrow gusset has been added to the both sides at the bottom of the nightgown.Noneflagstaff hill, flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, victorian era clothing, victorian era nightgown, nightgown, nightdress, eliza towns, nhill, wimmera, textiles, clothing, machine sewing, hand sewing, pintucks, broderie anglaise, sewing

This chemise 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. This chemise is machine sewn by Eliza Towns and she has added pintucks and broderie anglaise lace as a decorative element. A chemise was usually a sleeveless garment made of linen or cotton (so they could be easily washed) and its shape was much like a modern day nightgown. The name comes from the French word for "shirt" or "shift". Women wore chemises next to the skin (under the corset) to keep stains and odors away from the less washable corset and gown.This item is an example of the needlework skills of women in the mid to late 19th century - combining machine stitching with hand embroidery to personlise and embellish an item of clothing. It is also significant as an example of a practical solution to the difficulties of needing to regularly hand wash a bulky outer garment or gown in the Victorian era.A white cotton, short sleeved, knee length chemise. The fabric at the front is gathered on a yoke which is decorated with bands of five pintucks alternating with broderie anglaise lace and embroidered strips lined with pink ribbon. A different broderie anglaise design decorates the sleeve edges, neckline and center broderie anglaise strip. The back of the chemise is gathered on to the neckline. There are two bands of pintucks on each sleeve. The fabric around each armhole has been strengthened with another layer of cotton and a length of cotton has been added (from the left shoulder to the hem) to increase the width of chemise.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, great ocean road, south west victoria, victorian era, victorian era undergarments, chemise, victorian era chemise, undergarments, pintucks, victorian chemise, eliza towns, nhill, wimmera, home sewing, machine sewn, hand made

An example of a pair of pillowcases from the early 1900s. The item is of significance socially as an example of decorative domestic objects in the early 1900s.Pair of pillowcases made from soft white cotton and machine stitched. Cotton ties are sewn into the back of each pillowcase. A combination of material and hand crocheted lace forms the edging of each pillowcase.flagstaff hill maritime museum and village, great ocean road, shipwreck coast, pillowcase, decorative lace edging, domestic object, pair of pillowcases, cotton, crochet lace, warrnambool, textile

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

An example of a decorative domestic object from the early 1900s.The item is of significance socially as an example of decorative domestic objects in the early 1900s.Single pillowcase made from soft white cotton with a crochet lace edge. The pillowcase is machine stitched and on the front has three fine pintucks at each end. The lace edging has been handstitched on.flagstaff hill maritime museum and village, great ocean road, shipwreck coast, warrnambool, pillowcase, cotton, crochet lace, domestic object, textile, decorative lace edging