From the Chapman family photograph albumPhoto on card backing. Studio portrait of couple, in front of photographers drape background. Gentleman has a moustache and is in a three piece suite with large tie, corsage. Woman is in white dress and collar with puff sleeves, waist with white tie. Woman is resting her hand on husband from behind. Her other arm is resting on table with fern. Uncle John and Auntie Clara Henderson. Stawell Photographic Co. Close Railway Station, C Herbert.

Wedding gown worn by Dianne Warren for her wedding in 1978, daughter of Frances Warren1978 White wedding dress in a fibre material with all over pattern embossed full length with train, long sleeves coming to a point, 5 buttons and loops fastening. Curved shape neckline, high waist, curved at front, seams over bust, five panel skirt. 34 covered buttons and loops down back.costume, female ceremonial

White cotton Nightdress with round neckline and long sleeves. 4 buttoned front concealed in placket. Pink ribbon threaded through eyelets. White lace on front neckline and hem of sleeves. Pink ribbon bows on sleeves. White cotton embroidery of bow and circlet of flowers on front of sleeves. Pink ribbon threaded through eyelets at waist.costume, female nightwear

Colour photograph. Band on stage. Emu Creek Bush Band. Young man in suit shaking hands with older man in tartan waist coat. Band members clapping. Back of photo reads: Bradley Barker receiving musical instrument from Peter Ellis at Dinki Di Ball Eaglehawk. A program to encourage young people.entertainment, music, emu creek bush band

Norma Tullo began her dressmaking business in 1956. At the age of 20, she rented a small shop in the Metropole Arcade, initiating a career that included manufacturing, designing and retailing. In 1965, she became the first Australian to be selected by Butterick Company Inclusive to join their pattern making company. The stylish Tullo ‘look’ in the first half of the 1960s was young, colourful, feminine and most importantly had a strong American appeal. The patterns were distributed worldwide except to Russia and Germany. In the second half of the 1960s, she developed a new design range, influenced by the American 'hippie' style, featuring floor length dresses with long narrow sleeves, high round collars, and ruffles on the hems and at the cuffs. Patterns and colours became brighter to match prevailing tastes. Patricia Desmarchelier, the donor, purchased this and two other items of evening wear by Norma Tullo in a Brisbane CBD boutique fashion store during 1967/8 for her personal use. At the time, she was an undergraduate student who saved earnestly to buy the outfits to wear to college formals and balls that were popular during those years.Aesthetically significant dress by Norma Tullo.Long blue evening coat designed by Norma Tullo. The floor length coat has a wing collar, long sleeves and silver buttons at the front. The coat was worn over a long blue evening dress by the same designer and could be worn buttoned or unbuttoned. Dimensions: Shoulder width 38cm Bust: 96cm Waist: 87cm Hips: 116cmLabel: TULLOaustralian fashion, fashion designers, norma tullo, fashion -- 1960s, hippie style, evening wear, evening dresses, dresses, melbourne fashion houses

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.Edith Mary Weir (nee Betteridge), Illapa -- 84 Princess Street -- Kew (Vic.), Women's clothing, Weir Collection Dresses, 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.Two piece lightweight purple silk outfit consisting of a bodice and very full skirt. The loose fitting bodice is joined at the front by three fabric covered large buttons beneath which are two flat ties of the same fabric that are also buttoned. The bodice has wide pleats at the waist. The long full sleeves have wide cuffs.edith mary weir (nee betteridge), illapa -- 84 princess street -- kew (vic.), women's clothing, weir collection, dresses

This skirt belonged to Olga Black, a long-time Brighton resident. The linen used for the skirt were woven by Olga's great-grandmother Efstathia in the late-nineteenth century with flax grown on the island of Ithaca. In the 1950s, Olga made the fabric into a skirt, embellishing it with hand embroidery. Olga Maria Black was born in Melbourne in 1930, the daughter of Ithacan migrants Constantine and Toula Mavrokefalos. Constantine first emigrated to Australia in 1902, returning to Greece circa 1912-13 to serve his home country in the Balkan Wars. Toula's family had left Ithaca for Romania when she was only six months old, but she happened to be visiting the island at the very time that Constantine arrived, fresh from the war. Within three weeks they were married, and when Constantine returned to Melbourne in 1914 his new bride came with him. Constantine had trained as an accountant, but his qualifications were not recognised in Australia. Changing his surname to the Anglicised "Black", he started off working in his older brother Dionysios's cafés before going into business on his own. In 1917 he opened the Paris Residential Café at 54-56 Swanston Street, which offered both dining and accommodation. The business saw some years of success, but did not survive the Great Depression. Constantine died in 1944. Olga's mother Toula learned to sew as a child, while growing up in the Romanian village of Brila. She developed her skills making lace and embroidering items for her trousseau. Some of the linen she embroidered had been woven from flax on Ithaca by her own grandmother, Efstathia. During the Depression, when money was scarce, Toula embroidered at home, doing work for a factory in Flinders Lane. Using a cotton reel, a threepence and a sixpence she created and embroidered designs on hundreds of blouses. Olga spent her preschool days sitting at the table where her mother worked. Toula would involve Olga by allowing her to help choose the colour combinations. Toula lived with Olga in Brighton until her death in 1976. Olga inherited her mother's sewing skills. She re-invented some of Toula’s trousseau nightdresses and skilfully altered other clothing, making dresses which she wore around Brighton for many years.Ankle-length full cream linen skirt with multi-coloured cross stitch embroidery featuring mountains, birds and trees. Fullness is pleated into wide waist band. Left side opening. The fabric widths have been whipped together by hand probably at the time the cloth was woven in the late-nineteenth century. The skirt is machine stitched.skirt, linen, hand woven, embroidery, ithaca, migration, greek diaspora, olga black

Unknown provenance.Coffee-coloured cotton and chiffon evening gown. Net yoke with vertical pintucks and high neck. Pintucked bodice. Trim of meadering cream cord bordered on either side, around yoke, waist, shoulders, cuffs and down centre of skirt. Printed on interior of bodice: "Professional & Civil Service Supply Association / 80 George Street Edinburgh".Printed on interior of bodice: "Professional & Civil Service Supply Association / 80 George Street Edinburgh".1900s

standard style of a jacket battle dress from the late 1940s to 1982; it was used for parade dress; this jacket was worn by a warrant officer class 2 of the Royal Australian Electrical and Mechanical Engineers.This jacket has historical significance because it representative of a standard style service battle dress worn by soldiers of the Australian Army Post WW2 until the introduction of the modern polyester cotton uniforms. It is also in excellent condition, which is special considering it's age. Waist length jacket, with two breast pockets either side, collar, olive green, two shoulder patches on both side ones says “Royal Australian Electrical & Mechanical engineers” in Bright yellow/gold writing on a in navy blue shoulder patch; a ranking insignia of Warrant Officer class 2 above the cuff of both sleeves Label located inside the jacket on the right hand side it says “A.G.C.F. VIC 1977 8405.66.025.6423 Size of chest: Size. 109/112PR. Yarra Falls. Batch 21657. Dry clean only Crease upper half of labels only.jacket, jacket battle dress, jacket khaki

Alice Bertha Schwerkolt was the second daughter of Louis and Francesca (nee Both) and the granddaughter of August Johann and Paulina Schwerkolt. In 1913 she married William Tanner.|The donor Rosemary Tanner had married Edgar William Tanner and is the daughter-in-law of Alice Bertha.Framed sepia photograph of Alice Bertha Schwerkolt ( 1891-1954) in an afternoon gown. Photo taken at age 20 in 1911.|The gown is waisted, with a high neck with a brooch at throat. It has long sleeves with a pigeon point front and a 'hobbled' band of lace around the skirt at knee height. Decorated with lace on front of bodice, collar and 'hobbled' band.schwerkolt, alice bertha, schwerkolt, louis, schwerkolt, francesca, schwerkolt, johann august, schwerkolt, paulina, tanner, rosemary, tanner, edgar, ronald

Copy of original photograph. Photograph shows an older woman with hair drawn back off face, wearing a hat and a long-sleeved, waisted outfit with front buttoned bodice, lace at throat and striped tie, large round brooch at throat, standing with left arm by her side, right arm bent hand resting on back of a chair."Helen Christie nee Clarke Mrs William Christie of Piggoreet Station".helen christie, helen clarke, mrs william christie, piggoreet station

BHS CollectionImage shows full length female adult long light coloured gown, with pin tucking, sash at waist. Frill to edge of sleeve. Fine chain necklace. Bar brooch left side of bodice, floral wreath in hair, elbow length gloves. ' Yours truly Daphne' bottom left hand corner. Some damage to signature.unknownperson, individual, female

Doreen O'Dea married Alfred Webb 14th February 1951Cream lace wedding dress, lined with crepe, fashioned with a round neckline, with three rows of lace accents; long sleeves with approx. 16 buttons on each sleeve; the bodice comes to a point at the waist, attaching to a beautiful full length flowing skirt containing a small train and to finish the bottom of the skirt has a wide gathers tulle trim wedding dress, fred webb, 1951, doreen o'dea, alfred webb

Attached George Gross Biography. Vogue Australia|With more than 40 years in the industry,- George Gross is one of Australia's best known fashion designers. Designing his own. label for the last 35 years, Gross is renowned for his glamorous evening wear, corporate and race wear ranges. Embodying style and sophistication, Gross has dressed celebrities the world over in his eponymous label.|With his first creation - a sequined shift, at the tender age of 16 George still believes 'every collection starts with the fabric and is all about the cut and proper finishing. The looks and silhouettes change every season but not dramatically, it is more that they evolve from season to season.'|The George Gross label was first conceived in Adelaide by Gross and his business partner Harry Watt. As designer, both were working for other fashion houses and saw a gap In the market for elegant evening wear, suiting and separates. Joining with his twin sister Kathy, the three began with a small Adelaide store and expanded to include more than 500 retailers worldwide at the height of their business.|Inspired by real women, Gross showcases his love of colour, cut and quality with each collection. His aim is to create sensuous clothing that women of any age, shape or taste look fabulous wearing. Attributing his longevity to a desire for experimentation while also listening to his customers' needs, Gross designs the fabric prints and only uses the best quality natural fibres from Europe.|Gross and Watt have won 13 Australian fashion design awards between them and both work closely with charities throughout Australia. Working primarily with Breast and Prostate Cancer Research, George organises parades around Australia, especially in their home town of Adelaide.|Gross now has seven stand alone stores, nine concession areas in David Jones department stores and numerous wholesale clients Australia wide. Having finished summer 2009, George is now working on winter 2010, his 73rd collection with many more to come.Three piece Grey - brown pin stripe pants suit. Fully lined pants, shaped waist band. Zip front & turned up cuffs. Jacket fully lined, wide reveres, single breasted, one button. Two pockets. Tailored waistcoat, 5 buttons. Two imitation pockets. Stretched lace backGeorge Grosscostume, female

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

Small, oval waist length portrait of Soln Small, oval waist length portrait of Soln S. Allsop. He is wearing a jacket over a waistcoat. The jacket is buttoned at the neck. He also has a watch chain. He is seated in a chair with his left arm resting on the chair's armrest. Photographer's name and address printed on the front and back. Printed on the back is 'Prize Medal, Wisbech Industrial & Fine Art Exhibition May 1886. S. Allsop. He is wearing a jacket over a waistcoat. The jacket is buttoned at the neck. He also has a watch chain. He is seated in a chair with his left arm resting on the chair's armrest. Photographer's name and address printed on the front and back. Printed on the back is 'Prize Medal, Wisbech Industrial & Fine Art Exhibition May 1886.Edward Johnson, Lower Hill House, Wisbechphotograph, portrait, male, portrait of soln s allsop, edward johnson

Shaped, brown wooden picture frame with rectangular picture in the centre and an oval one on each side of it. At each end are carved wooden gumnuts which have been glued on. Some pieces are missing. The left photo is a sepia, waist high portrait of two young women. Both are wearing lacy type dresses with high necklines. One is wearing a locket? and the other a brooch. The centre photo is a young woman sitting at a window. She is wearing a lacy type dress and a bracelet on her right arm and also a ring. There are some flowers in a vase and on her lap. The photo on the right is of an older woman wearing a dark embroidered high neck dress with a white frill collar. She has a brooch at the neckline. Also a waist high portrait.person, family, family, foster & wilson collection, photograph

George Harold Merrett married Dorothy Lorna James at Christ Church, Horsham 14/08/1954. wedding gown and accessories were donated by family members. Photo of wedding couple.Cream lace dress and train overlaying pink satin with attached cream taffeta half slip trimmed with 4 cm cream lace inserted with blue ribbon. Design is scalloped sweetheart neck, dropped waist line and 34 pink satin covered buttons down centre back of the bodice. Sleeves are crossover cap sleeves and 180 cm train from centre back waist line. Pair of elbow length cream kid gloves, three pearl buttons at wrist and cream net horseshoe with apple blossom and pink rayon horse shoe. Full length cream veil attached to pearl and blossom headdress. See also NA4231 Mauve Bridesmaid's dress, NA4138 Mauve hat for bridesmaid's dress and NA3949 Mauve fingerless gloves for bridesmaid's dress.costume, female ceremonial

"W.J.BERTUCH" SERVICE DETAILS - REFER CAT NO. 1664.2.1. Jacket - khaki colour, wool fabric, Battle dress style, belted at waist with metal buckle and brown plastic buttons. Collar, shoulder epaulettes, two front pockets with button down flap and sleeve cuffs. Shoulder insignia, white on red lettering "ROYAL AUSTRALIAN REGIMENT". Light khaki cotton twill fabric pocket lining. Manufacturers white fabric cotton labels. - Left pocket lining. Handwritten information. 2. Trousers - khaki colour wool fabric, Battle dress style, with two side pockets, two back pockets with concealed button down flap, one side leg pocket with concealed button down flap, button down belt loops on waist band, five button fly. Brown plastic buttons. Light khaki colour cotton twill lining to waist band and pockets. Manufacturers white cotton label, back waistband lining. Handwritten information. 3. Braces - type known as "POLICE AND FIREMEN". Set of cotton, flat elastic braces with leather button attachments for trousers. Stripes on elastic are brown, beige, blue, black and grey in colour. Metal slides for adjustment to wearers size. 1. & 2. Manufacturers information on labels. 1. Tw labels - black ink print - "Regimental NO./ NAME". Red ink print "M.T.X./ SIZE 3". Third cotton label - black ink print - all print indecipherable. Handwritten information - blue ink pen "PTE W.J. BERTUCH" 2. Black ink print "J. WILSON PTY LTD/ 1953/ SIZE 118/ MADE IN AUSTRALIA/ REGIMENTAL NO. / NAME". BLACK INK STAMP "?? - RO-SET" Handwritten information, blue ink pen "BERTUCH/ 59060". 3. Stamped on metal adjustment slides 'POLICE AND FIREMEN". Black ink stamp on leather F.B.??/ ^/ 1966/38.uniform, army, battle dress, w.j. bertuch

The donor and family of this gown were long-term Brighton residents, and the gowns were held by them as family heirlooms prior to donation to Brighton Historical Society. Originally owned by Elizabeth Emma Adams and Cecilia Elizabeth Adams, it is believed that the dress was brought to Australia by either a half brother, James Smith Adams, or a younger sister, Sophia Charlotte Louisa Adams (later known as Mother Rose Columba Adams). Elizabeth and Cecilia were the daughters of James Smith Adams (a squire, 1780-1860) and Elizabeth Emma McTaggart (1793-1843) of Tower House, Woodchester in Gloucester, a property which Elizabeth later inherited. Originally a monastery, Tower House had been converted into a stately home after the Reformation. According to information originally provided by the donor, the skirt portion of this dress (along with the bodice T0004.3) was made for either Elizabeth or Cecilia to be worn at the young Queen Victoria’s first 'drawing room ball' following the end of court mourning in 1838 for her uncle William IV who died in 1837. In 1838 Cecilia would have been twelve years old and Elizabeth would have been ten years old. It is possible that this dress was worn by one of the girls to this event as it is of appropriate dimensions for a child of that age, although its design is very formal and adult. Elizabeth was born on 30 June 1828 at Tower House and died on 1 May 1909. She created a scandal when she eloped with her first husband, Thomas Charles Gardiner at the age of 18. The validity of the marriage was later formally investigate and, while it was confirmed as valid, a second church wedding was subsequently held. Thomas died in 1878. Elizabeth subsequently remarried Reverend R. E. Blackwell, but was widowed again by 1889. Cecilia was born on 17 December 1826 and died in 1902 a spinster recluse in England. At the inquest into Cecelia's death in 1904 it was revealed that she had clearly come from a family of means as her home was filled to the brim with highly valuable goods, many in boxes. She was buried in the family vault at Woodchester. Elizabeth and Cecilia's sister Sophia converted to Roman Catholicism in 1851 and became a nun, taking the religious name 'Rose Columba'. In 1883 Mother Rose Columba led a group of eight to Australia, answering a call for Dominican sisters to nurse the sick in Adelaide. Upon arrival, she founded St. Dominic's Priory and the Church of Perpetual Adoration in North Adelaide, using her inheritance to build the chapel. Elizabeth's second son, George Henry Somerset, who inherited the Adams family estate dropped the 'i' in Gardiner and added the maiden name of his grandmother. Therefore, the family name has now become Gardner McTaggart. These Adams family entries have been updated with information provided by Dr Herbert Gardner McTaggart, great-grandson of George Henry Somerset in April 2016. Mr McTaggart contacted the society after finding our entries online.A hand and machine sewn cream, pale blue, orange and gold embroidered satin formal dress, the bodice dates from circa 1890. This dress shares a skirt with T0004.3, which dates from circa 1840. The bodice features a high scoop neckline with gathers at the base of the scoop and directly below where the bodice finishes creating fullness over the bust. The bodice front encloses the bust with a right panel over the top of a left panel and securing with two hook and eye closures over the left shoulder. The panels are secured together with 15 hook and eye closures. The sleeves are set neatly on the true shoulder and are elongated full puffs to just above the elbow. The fullness is created by nine pleats from the top of the shoulder over the back of the shoulder. At the base of the sleeve the fullness is gathered just above the elbow. At the centre back of the bodice are four inward facing pleats running from the centre neck to the waist. The bodice is secured around the waist with a tape and four hook and eye closures. The bodice is boned around the sides and back of the torso with eight bones. This bodice is finished at the waist with a pleated cummerbund of the dress fabric that is designed to appear to be a sash with two decorative bows. One front left of centre and one back right of centre. The skirt secures at the waist with an opening to the left of centre at the back. The skirt gathers tightly at the centre back with a dart on either side. The skirt has a front central panel and the skirt falls to floor length. At the back, the skirt is also floor length. The back of the skirt may have been modified at some time and may have originally finished in a train. It would be more appropriate to the period of the bodice, and the believed use of the dress with a train.cecilia elizabeth adams, elizabeth emma adams, queen victoria, tower house, woodchester, james smith adams, elizabeth emma mctaggart, sophia charlotte louisa adams, 1890s fashion

Ivory coloured waist length silk wedding bodice with front opening. Silk fabric has alternating striped pattern of chequerboard pattern, running stitch pattern and diagonal woven pattern. The bodice is made of two layers of the silk fabric with cotton fabric lining. The front inner layer has two darts from the waistline. The back inner layer has a centre seam and three darts from the waist on either side. The outer layer on both front and back has three knife pleats falling from the shoulders creating a gathered effect. These side panels of pleated fabric create a deep V neckline by crossing over 5cm above the waist. The V shape neckline is filled with an insert of cream and dark green lace with a floral pattern. The lace insert extends to the throat to form a high round neckline. The neckline is edged with cream coloured woven cotton braid. The side edges of the outer layers are trimmed with cream lace with a floral pattern and 5cm zig zag peaked edges that extends from centre waist at the front, over the shoulders and to the crossover section at centre back where there is a decorative silk fabric flower stitched at the crossover point just above the waist. The front opening is fastened with fourteen hooks and eyes plus another hook and eye offset 5 cm above the waist at the crossover point. Set in long sleeves are in two sections. An inner layer of silk fabric widens to the elbow where two five cm frills of gathered tulle are attached. Each frill is edged with a row of silk stitching. Attached below the frills are two 7 cm strips of lace stitched together to form the lower part of the sleeve. The edge of the lace forms the hem at the wrist. Each sleeve has a 5 cm hemmed V shaped split from the hem at the wrist. The outer layer of the sleeve is bell shaped falling from the shoulder to the elbow. This section of the sleeve is edged with cream lace with a floral pattern and 5cm zig zag peaked edges that are stitched to the fabric of the sleeve. Ivory coloured full-length wedding skirt with train. The skirt is made in two layers. The under layer is made from cotton from the waist with a wide border of silk fabric - 18 cm wide at centre front, widening to 37 cm at the side seams. The back of this skirt extends to a train and the border widens to 48 cm. The border section is lined with cotton fabric. At the centre back, the border has two godet inserts to create fullness in the train. The outer layer of the skirt is of ivory silk fabric with alternating vertical stripes of a chequerboard pattern, a running stitch pattern and a diagonal woven pattern. The lower edge of the skirt is edged with an 18 cm border of lace patterned with embroidered circles. The edge of the lace forms a zig zag pattern of elongated V shaped peaks (7 cm). The front of the skirt dips to a V shape at centre front with the point of the V reaching the hemline. The back of the skirt dips below the front hemline in a U shape over the train. The waist band is made of cotton tape. The centre front of the waistband has an embroidered pattern in silk thread. The centre back opening is fastened with seven metal hooks with six cotton loops plus one metal eye on the waistband. There are two cotton tape hanging loops on either side of the inner waistband. Hand and machine stitched.costume, female ceremonial, wedding bodice

This is a dress for a young girl aged about twelve. It seems to date from the late 19th century and would have been worn at a wedding or a family celebration. This dress is a fine example of vintage clothing and is a valued display item.The dress is made of fine muslin. It has a round neck with lace edging, the gathered skirt has pin tucks with a spoke stitched wide hem. There is lace insertion at the waist and on each shoulder. On the three quarter sleeves there is lace edging at the cuffs. The bodice has machine made embroidery, spoke stitching and tucks. The back has press studs and hooks and eyes .vintage clothing, warrnambool and district historical society collection

Uniform issued to “Maj Andrew John BALSILLIE MBE”. Refer Cat No 118.5 for his service details and RSL, Council history..1) Tropical green jacket, cotton drill with shoulder rank epaulettes with “Major” insignia, Unit arm patches on both upper arms, left sleeve has embroidered Rising Sun with lettering under, right sleeve has a blue patch with red crown and lettering, a waist let and metal buckle. .2) Tropical green shorts, cotton drillUnit Arm Patches, “Royal Australian Electrical and mechanical Engineers” Left sleeve, “Australian Military Forces” Right sleeve, “Commonwealth”uniforms, tropical

The dress was probably worn at a christening in one of the Kiewa Valley churches (denomination unknown). The importance of the event to family and friends is shown by the quality of the garment. These style Christening dresses were often worn buy several children of the one family , both boys and girls. Other items such as hand made bonnet may have been part of this out fit. "KVHS 0123" The quality of the garment and the fashion style it represents is both historical, not only the time of its manufacture but also of the fashion in that era. It has christian religious implications and values of the time frame of regional life in the early1900s. Girl's white dress (christening event), fine cotton with lace border "broderie anglaise" with a row of lace flowers mid skirt "battenberg".This lace is also inserted in centre front panel and sleeves. Scolloped cotton is also on sleeves, neck and front. Pin tucked skirt. Opening back with drawstring fastening at neck and waist. Short sleeves and machine stitched children clothing, lace-battenberg and broderie anglaise, female clothing, dress, cotton, christening, dressmaking

part of a three item pantaloon set of a child at different ages of development. As no manufacturing details are affixed to the garment and taking into account of the relative isolation when the garnet was made it is reasonably to make an assumption that it was made by a local seemstress or by the motherHistorical significance of the type of garment places it Circa 1930s to 1940s and is fairly rare to find the garment as part of three detailing the physical growth and development of a young child cross reference to KVHS 0248 and KVHS 0240Garment has sleeveless top with 8mm straps.The top is attached at the waist to the pantaloons. Pantaloons are crutchless extending down the inside of each leg to 17cm from the bottom.The back of the top is fastened by three plastic(not original) buttons. "Ric Rack" has been hand stitched onto the bottom of each leg. The rest of the garment has been machine stitchedNo manufacturer's details are on the garment vest, undergarment, underwear, lingerie child

Camisole. Ivory coloured fine cotton with lace inserts. Short sleeves edged with lace. Round neck. Front opening with three buttons. Small peplum. Cotton tape tie around waist. Two looped panels of lace inserted into each side of front. One looped panel of lace in each sleeve, Fabric probably was once a tufted voile.costume, female, underwear

White fine cotton lawn waist apron. Pentagon shaped bib with spoke stitched hems on four sides. Waistband with ties attached, Skirt has two pleats on each side. Spoke stitched hems on sides and lower edge. Lower edge has spoke stitched detailing of two rectangular shapes, and a centre peak. Old box 160.costume accessories, female, waist apron.

Black velvet jacket. Black velvet has cream coloured spot pattern. Long sleeves with wide gathered black velvet cuffs (18cms). Front opening with ruffled black velvet edging which continues and widens to form a collar. Satin lined jacket and sleeves. Fastened at waist by a large velvet covered button (3cms) and velvet loop.costume, female, ladies velvet jacket