Lace wound around a card with black paper label with gold printing ' Pearsalls Cotton Antimacassar braid'.Pearsalls Cotton antimacassar braid. PAT3611 No.2 warranted 12 years. Made in Germany.lace, jennings patrice

Selina Ann was the wife of Samuel Bowyer stonemason in Belfast/Port Fairy. Selina arrived with her family, William and Mary Oaff in 30th January 1855 on the ship 'Clara'. She had 6 children. She died in 1924 aged 78 and is buried at the port Fairy CemeteryEarly settler's wifeBlack and white formal portrait of woman seated with an open book and wearing a feathered hat and lace jabotpioneer, settler, portrait, people, family, selina bowyer, selina oaff

Made by Esther Johnson (Mrs Cooper) for trousseau which was never worn as the groom died in action in WW1. Circa 1914. "Melrose" Queens Road no longer exists.Ladies white cotton with lace trim combination underwear with trapdoor. Blue ribbon threaded around the neckline. combinations, underwear

One square neck white cotton camisole with lace insertion at neck and sleeves. Has covered buttons.camisoles, underwear

This wedding dress was worn by Grace Hamilton-Smith (née Ellwood) at her marriage ceremony. Grace married John Hamilton-Smith on the 31st May 1941 at the Presbyterian St David's Church in Albury. The wedding breakfast that followed was held at the Albury Hotel in Kiewa Street.This item has well documented provenance and a known owner and represents the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.A white slipper satin wedding dress with structured shoulders and bodice, embroidered with cornelli lace and studded with diamante. wedding, marriage, dress, wedding dress, satin, 1940s, christianity, wodonga, albury, albury wodonga

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Full-length cream silk taffeta bridesmaid’s dress. Same colour lace on the upper bodice and sleeves. australian fashion, grace james collection, bridesmaid's dresses, grace james, fashion design, fashion -- 1970s

Clothing. Infant's cream silk christening gown. High round neckline edged with gathered .7 cm lace. Yoke front (7cm) and back (8cm) of lace pieces and pin tucks. Skirt has 37 cm border of horizontal pin tucks, embroidered sections, piping and hemmed with scalloped embroidered lace.Centre back opening (21 cm) fastened at neck and lower edge of yoke with one cm pearl look buttons. No button holes. Long sleeves gathered at shoulders and gathered into 3 cm band of lace at wrist with gathered lace frill at hem. Three pin tucks around sleeves at elbow.costume, children's, infant's cream silk christening gown

Clothing ,white cotton christening gown. Low round neckline with casing and cotton tape ties. Bodice at front and back.Casing at waist with cotton tape ties to back. Back opening 31 cm. Long sleeves trimmed with 3 cm broderie lace and vertical pintucks. Front of christening gown has inverted V section from waist to hem of broderie lace (9 cm at waist to 51 cm at hem). Centre panel edged with 3 cm lace from neckline to hem. Hem at back and sides has 4 cm border of broderie lace below three tucks. Old box 524.costume, children's, christening long gown

Clothing. Infant's white cotton gown with long sleeves. Round neck with casing for cotton tape ties. 2cm lace trim around neck. Back opening (18cm). Gathered at back from neckline. Front has pintucks from neckline to broiderie lace band at waist (15cm X 2.8cm). Gathered below band. Cotton fabric ties (66cm) attached to either side of waist band.Centre front of bodice has vertical lace insert (10cm X 2.8cm) from neck to waist. Ties and sleeves trimmed with 1cm lace. French seams. Machine stitched. Old box 230.costume, children's, infant's gown

Used circa 1900 for boot makers to put lace holes in leather boots/shoesused during the late 19th and early 20th centuries for boot makingeyelet tool with wooden and metal hook bent to 90 degrees for pressing eyelet holestool, cobbler, hole making

Cream coloured full length cotton and lace dress with elbow length sleeves, Unlined bodice with high round neckline. Two lace panels at front to form crossover with Vshape filled in with lace panel to neckline. Back centre opening extending from neckline to 30cm below waist. Lace panel at back angling diagonally to LHS across opening. Seven press stud fasteners on bodice, hook and eye at waist. Four press stud fasteners on skirt. Sleeves cut as part of bodice - no seams. Sleeves edged with fine gathered lace. Skirt made from three panels. Two sections are of fine emblems, edged with a wide band of lace with scalloped edges. Third panel is of fine cotton on the LHS. This panel has fine vertical pintucks from the waist to below hips. A band of folded satin ribbon circles the waist with two large ribbon flowers - one LHS of back and one LHS of front(10cm diameter). Possibly a wedding dress.costume, female, dress

Clothing. Women's cream coloured long sleeved linen nightgown. High round neck with 4.5 cm broderie lace frill. Front has lace bib below neckline (45 cm X 35 cm deep) dipping to a V shape below the bustline. The outer edges of the bib have zig zag ribbon insert lace (4.5 cm) threaded with pink satin ribbon (1.5 cm) tied in bows on either side. The central bib section has vertical lace strips and pin tucks from the neckline. Centre front opening (28 cm) has a placket and is fastened with four press-studs. Long sleeves are trimmed at wrist with pin tucks, 4.5 cm ribbon insert lace threaded with 1.5 cm pink ribbon tied in bows and 4.5 cm broderie lace frill. A shaped nightgown widening to hem. At centre back 20 cm vertical pin tucks run from the neckline.costume, female, women's long sleeved linen nightgown

Boots made in U.S.A//imported by store owner Antonio Mascorini/owned by Mrs Mascorini of Bright/donated by her great,great granddaughter Josie CassarottoThe significance of these boots ' they were owned by Mrs. Fanny Augusta Masciorini, wife of Antonio, owner of the Fashion store London House in Gavan Street Bright00054,1 : left boot; 00054.2 : right boot Caramel-brown ladies leather boots, mid-calf, lace-up front, 36 eyelets with laces. Stitching near toes and around heels. Worn left heel with nails heads showing. Foam inside boots.Under left heel "THE LASALLE & KOCH CO." $11.00 inside boots "MADE IN U.S.A"ladies apparel, boots, leather, masciorini, cassarotto, london house bright

Else Oertel and her daughter Else-Lore were interned in Camp 3A from 1940. Her husband was not interned as he was on a business trip to Germany when war broke out. Friedel Dehnel "Tante Fiffi" made the authentic Bavarian doll and clothes. Friedel, wife of Walter Dehnel, arrived as a young woman from Austria, working in the Victorian snowfields as a chef and was a champion skier. She then became a dressmaker for Melbourne society and insisted that she be interned to be with her husband. She made costumes for the internment camp plays and took over her husband's duties as a cook for Camp A when he was locked up for "insubordination". She was deported with her husband back to Germany after the war and cared for her orphaned nephews and nieces in Garmisch-Partenkirchen.Doll dressed in authentic Bavarian costume. Black wool hat trimmed with gold lace and dried flowers. Gold coloured skirt on dress with sash. Bodice is black with traditional embroidery. White long sleeves with lace trim at cuffs. She is holding a basket with dried flowers."Merry Christmas Else-Lore" on baseelse oertel, else lore hukins, friedel dehnel, dressmaker, chef, camp 3

Sepia toned photograph of two sisters Alice and Lizzie Falk showing two young women one sitting, one standing beside a small table covered with a lace cloth in a garden, each wearing dark frock with lace bodice and large hat. Kalimna Westgenealogy, 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.Late Victorian black watered silk cape with a wide border of machine made lace. The cape is extensively adorned with beads of black jet. Two long pieces of black lace fall from the neck at centre front. The cape was owned by one of the donor's maternal ancestors.capes, australian fashion, women's clothing, victorian fashion

Black satin vest, trimmed all around with lace, and beading on joins between satin and lace. Rosettes and ribbons on the shoulders. V shaped back, with a black elastic suspender joining front and back. Front is high necked, tapering down into V shaped when fastened.No visible markingscostume, female, black, top, satin, lace, beading, vest

Historically the bodice is representative of a style from the early 1900s.As a hand sewn item it is significant to demonstrate the craftsmanship and textiles used in that time period.Deep pink bodice with velvet and lace at collar. Velvet ribbon and lace border on bodice edge next to sleeves, the edging goes from the front of the bodice and over to the back. Seven white mother-of-pearl buttons down the front and pintucks across the top back of the bodice. The sleeve cuffs have a lace border and are closed using hooks and eyes. The bodice is lined, with the lining visibly stitched to the back of the bodice at waist level. The bottom of the bodice is designed as a peplum.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, bodice, ladies bodice, hand sewn, edwardian

9059.1 Victorian handmade needle run lace collar 9059.2 Lace collar with two press studs 9059.3 9059.4 9059.5 Light blue crocheted silk collar and cuffs. c1920s. 9059.6 Cream silk crocheted collar 9059.7 Hand crocheted Picot collar, c.1930s 9059.8 Cream silk crocheted collar, 1920s to 1930s 9059.9 French needle run lace collar 9059.10 Black silk faille collar, c. 1920s

White cotton girl's nightdress with kimono cut short sleeves. Sleeves have 1.2cm casing at hemline with 2.5cm lace trim on edge. U shaped neckline with 2.4cm casing with 2.5cm stand up gathered lace frills. Back section of nightie gathered at centre back where attached to casing on front of night dress is a centre tab of lace (6cm X 10cm) with six vertical pintucks on either side. No openings. Heavyweight cotton fabric.costume, female, white cotton girl's nightdress

Chemical lace. The design was machine embroidered onto a base fabric which was then chemically dissolved away.Collar with standing neck edge.

Aboriginal Girl at Carrs Plains with slate on her lap. Dressed in simple frock and laced boots.stawell aboriginal portrait

Displayed at History HouseTin/metal doll with movable joints and wrists. Painted body and head. Paper-mache modelling on head. Burgundy velvet trouser and vest oufit with small pearl-coloured buttons, satin shirt (cream) with lace sleeves. Satin and lace shoes (cream). Burgundy velvet hat.

photo of sepia appearance, but may be a black and white. Two females, one adolescent, one young adult ( seated ) Dog on collapsible table. Girls wearing lace-up footwear and lace collars. Young girl with hair ribbons. 3 rail paling fence with creeper in background.person, group, two girls

sepia photograph, mounted on grey board. Two small children - one boy standing at left, infant sitting in cane chair at right. Infant wearing large lace collar, frilled sleeves. Boy wearing suit with large lace collar, dark boots. Studio portraitAlan Spicer, Bendigocottage, miners

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 garment was created by Margeaux (Melbourne) which specialised in the production of "high-class cocktail and evening wear" (The Age, 17 March 1956).Knee length short sleeved grey silk and grey tulle cocktail dress with an attached outer covering of patterned lace of a lighter grey colour. The garment has the label of ‘Margeaux Regd. Imported fabric’. There is a zip at the back. There is some discoloration (due to sun damage?) to the lace at the shoulders. australian fashion - 1950s, margaux of melbourne, cocktail dresses, women's clothing

This apron was used on Pastie Night at St Mungo's Church, Harvey TownSocial A net lace frilled apron with heart shaped bodice. There are three blue satin bows, one on LHS of bodice and two on added pockets to the skirt. There is a net lace frill around bodice and around apron skirt and a separate over frill above joined with blue satin ribbonclothing, pastie apron