Gladys Reed was a member of the Ormond Choral Society c 1950. who performed plays and musicals the City of Moorabbin and she was an accomplished dressmaker and made this blouse for her daughter Judy.Manufactured lace became affordable and plentiful so it was used by home dressmakers like Gladys Reed in City of Moorabbin c1960A white cotton lace, sleeveless blouse c 1960 with opening front fastened by hooks and eyes clothing, manufactured lace, dressmaking, blouses, theatrical props, craftwork, sequins, beading, early settlers, moorabbin shire, mechanics institute cheltenham, ormond choral society, postworld war 11 settlers, housing estates moorabbin 1950, bentleigh, ormond, moorabbin, cheltenham, drama societies, musical society cheltenham, clark judy, reed gladys, reed george

Foam rubber (also known as cellular, sponge, or expanded rubber) refers to rubber that has been manufactured with a foaming agent to create an air-filled matrix structure. Foam rubber was first produced in 1929 by Dunlop researcher chemist Eric Owen using whipped latex. In 1937 isocyanate based materials were first used for the formation of foam rubbers, after World War II styrene-butadiene rubber replaced many natural types of foam. Foam rubbers have been used commercially for a wide range of applications since around the 1940s. A foam rubber ,cylindrical, pin-cushion decorated with lace ribbon c1950 With steel dressmaking pinsmoorabbin, brighton, early settlers, pioneers, cheltenham, dressmaking, craftwork

This girl's half petticoat is an example of the dressmaking skills of the women of the early settlers families in Moorabbin Shire in the early 20th C Early settlers and market gardeners established their families in Moorabbin Shire and this item shows the skill and craftsmanship of the women of these families A young girl’s pinafore dress with a drop-waist, lace insert , pin-tucking and buttoned back clothing, brighton, moorabbin, dressmaking, market gardeners, early settlers, craftwork

Photograph - Sepia. Portrait of a baby,wearing a white lace outfit, placed on a fur looking rug.Bartlett Bros. - Sandhurst.person, individual, baby portrait, photograph. unknown family. portrait of a baby.

Mackay collection - White collar embroidered with flowers and trimmed with lace and a white crocheted sleeve cuff.costume accessories, clothing accessories, collar/cuff

Clothing. Women's elbow length cotton fingerless gloves. All over geometric lace pattern.costume accessories, female, woen's elbow length fingerless gloves

Silvesters patent number 4 curved bottom cast iron for pressing lace and celluloid collars.Silvesters Patent & logodomestic equipment, laundering, iron

This Brassiere belong to Mrs Zilpah Winifred Carroll (nee Parker) (1914 - 2001) and formed part of her trousseau. Zilpah, known as Win, married Harold Stewart (Bill) Carroll on Dec 21, 1938 at St MAry's Anglican Church on Glen Eira Rd, Caulfield. The Carrolls moved to Belgrave with their children in 1954 and lived there for over 40 years. Zilpah was supposed to be names "Zilpha" after a fictional heroine, however her father misspelled the name on her birth certificate. Cream lace bra with elastic and ribbon shoulder straps, two buttons to stretch and fasten at front.

White Cotton Nightgown. Lace insertions & pintucks on bodice and sleeves. Squared neckline. Owens Family.stawell clothing material

Used by Mrs Jean Ashcroft, (nee Broad)originally from Galasheils ScotlandCream linen, drawn thread and cream embroidered. Tray cloth with cream knitted lace bordermanchester, table linen

Pink silk boudoir cap pin tucked, embroidered with cream silk and cream lace border.costume, female headwear, female underwear

Cream lace insert used for demonstration purposes. Four pieces at top narrowing to one piecehandcrafts, lacemaking

Made by Nora Driscoll O'Donnell on voyage out from England to Point McDonnell, South Australia about 1843White cotton half petticoat with drawstring waist. Deep 'over' flounce of broderie anglaise lace.costume, female underwear

X 3 handmade wedding horseshoes C 1963. Carried by Estelle Macnaughtan at her wedding on 23 September 1963.Wedding regalia C 1960'sX 3 decorative wedding horseshoes. Handmade with satin ribbon, 'orange blossom', and lace & net.Nilwedding regalia, accessories

Cotton Lace, embroidered with pearls, gold and silver beads and leaf like flat iridescent decorations

Curved blade wooden handle complete with leather and wood scabbard with lace up belt loopCircles around handle

1 Square White Linen & Lace Tablecloth With Floral Motifs & Curlicews In All Four Corners.handcrafts, country crafts, tablecloth, https://www.lynxlace.com/pulledthreadgallery.html

Square white linen handkerchief with triangular lace edging on all four corners. Central cloth handkerchiefs, lace

Piece of very finely constructed coffee-coloured lace probably removed from the bodice of a dress.fashion and textiles collection - kew historical society, textiles - lace

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. Net jabot with 3 machine made filet inserts. Edged with machine made tape lacelace, women's clothing, jabots

This is the wedding dress of Ella Janetzki, nee Sutcliffe, who married Eric Janetzki in Adelaide on 25 January 1941. The dress was made to measure in a shop in Rundle Street, Adelaide, and cost four guineas. Eric had enlisted in the army in 1940 and was called to duty in 1941, which determined the date of the wedding - though Eric very nearly didn't make it! He caught the train from his home town of Nhill, Victoria on the eve of the wedding only to be held up by flooding on the tracks, ultimately arriving three hours late amid much fuss. Ella later said that there were so many setbacks it was amazing they married at all. They remained together for 58 years until Eric's death in 1999. The dress was also worn by Ella's sister Eileen in October 1943 when she married Jack Edwards at the Church of Christ, LaTrobe Terrace, Geelong. As this was during the war, the sisters did not have enough clothing coupons to purchase another dress. BHS also holds Ella's daughter Rayleen Haig's wedding dress (T0131).Cream lace wedding dress with high square collar, short puffed sleeves and long train.wedding dress, wartime bride, 1940s, ella sutcliffe, ella janetzki, eric janetzki, eileen sutcliffe, jack edwards

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

The sewing palm was used by visually impaired workers in the mat making workshop at the Royal Victorian for the Blind Institute during the binding of mats to protect their palms from the 17cm-long curved mat making needle.1 leather folded band with indented metal square attached and leather lacing fastening at back assistive devices, employment

not recordedA lovely example of a fine cotton nightdressFull length Scooped neckline short sleeves front bodice made in fine lace nightdresscostume, female, nightdress

Handmade black lace and fabric flower bonnet. The flowers are edged in white. The lining is in black net.visiting, outing, dressed up