Part of a trousseau for Helen Zerbe (Girlie) for her marriage to Clarence Pratt. Part of a Trousseau set - see NA2737 for bloomers and NA2738 for petticoat. Cream tussor silk nightdress and boudoir jacket. Round neck, magar sleeve with shell crochet around edge. Gathers on hip, floral motif at neck edge on Nightdress. Motif on sleeve. Straight jacket, magar sleeve crochet all around edge of jacket. Motif embroidered on front, spokee stitching on sleeve and on front.costume, female nightwear

Full length cream synthetic fabric wedding dress with long sleeves and a train. Front and back have a yoke of lace. Three quarter length sleeves are made of the same lace with roulette trim at hem. Inner and outer edges of sleeves ruched for 3 cm. High round neck at back. V neckline at front. Front of bodice has two side darts and two under bust darts. Bodice at waist line has three decorative scallops at front and back. Synthetic fabric of bodice has woven fabric backing. Side opening on left hand side is fastened with nine press studs. Full length skirt of lighter weight opaque synthetic fabric has centre seams at front and back. Fabric is cut on the bias to form a 360? full circle skirt with a train at centre back. An additional section of fabric is attached at either side to complete the circle. At centre back of the skirt is an inverted pleat to create fullness for the train. Hemline is edged with lace with four rows of tucks above the hem, 1 cm apart. Separate petticoat of heavier woven synthetic fabric attached at waist. Petticoat cut on the bias to create 360? full circle skirt with inverted pleat at centre back to create fullness. Narrow turned over hem. Petticoat skirt dips to a V shape at centre front and back seams. Machine stitched.costume, female ceremonial, wedding dress

Glass washboards were popular during World War II due to a shortage of metal. The body was made of wood, but the scrubbing area was glass. Washboards were normally two-sided with one side having more refined ridges and also came in a variety of sizes. The smaller washboards were used for delicates such as undergarments and petticoats, while larger washboards were used for such items of clothing as shirts and pants. They were used over the laundry tubs. (ref. Antique Traders)This glass scrubbing board is an example of the typical laundry equipment used by families in the Orbost district in the early 20th century.A rectangular glass washboard with a wooden frame. The glass insert is corrugated glass and the backing at the top is original. Frame is new (original had borer damage).On backing at top - Possum trademarklaundry-equipment washing scrubbing-board

Doll's Clothes made by donor. Shoes purchased by Society.Blue and white check seersucker dress with peter pan collar, puff sleeves, two ticks down front bodice. Gathered skirt with two buttons down back. Blue panties. Broderie white anglaise half petticoat with ties at waist. White sandal type shoes with cut out daisies on front of shoes, T bar with small pearl button. Shoes are white vinyl with leather soles.toys, doll's clothes

Doll maker Kammer and Reinhard bisque doll heads and bodies were designed by them, but most heads were manufactured by Simon & Halbig which is why heads bear both marks.Kammer and Reinhardt porcelain and cloth baby doll mould number 116A circa 1912. She has a porcelain head, forearms and lower legs and feet. The rest of her body is a stuffed material calico. Her legs are jointed at the knees. She is dressed in a long sleeved, extended christening like robe of cream broderie anglaise. The robe has decorative pintucking and lace on the bodice, sleeves, cuffs and skirt with a contrasting broderie anglaise hem. Part of a lace insert has become unstitched at the front. Underneath is a full petticoat of white cotton with pintucking and lace with a white broderie anglaise hem. Another full length petticoat of cream linen trimmed with lace is also underneath. She has a cream knitted singlet and knickers with cream knitted bootees. She has short blonde matted hair and wears a lace trimmed broderie anglaise bonnet with satin ribbons to match her robe.Initials K and R either side of a Star of David and the words Simon and Halbig below with the mould no 116/Atoys, dolls, porcelain

White fine gored, short nylon petticoat. Centre gore shapes up to the neckline at centre front, defining the shaping at the bustline. Bust shaping has one dart at top and bottom and has two bands of 3.5cms wide lace, decorating the bust line. Nylon ribbon shoulder straps 1 cm wide. A 6 cms wide band of lace, with a floral and spider web design trims the hemline.On ribbon label at upper right side seam: Hanro Bust 40. 100% Nylon.

The dress was worn by donor's daughter in the 1950'sBlue and white striped sleeveless dress. Attached white cotton petticoat. Skirt has two pockets in blue material with edging in the blue and white material with white cobble trim. The skirt is gathered on to waist with blue cotton binding. Blue 'Peter Pan' collar with white cobble trim. The opening at the back on the bodice has three button holes with three buttons. There is a sash of the blue and white material which is lined in blue cotton.costume, children's

1. Blue drill cotton polyester skirt. It has belt loops at the waist. It has a side zip held shut with one button -colour deep blue. 2. & 3. Blue cotton/polyester skirts. They have belt loops with an installed belt. The belt has a silver chromed buckle. It has a side zip held shut with one black plastic button. It has a sewn in lining/petticoat. It has two pleats either side of the zip.3. Written on label, “W.326143. B. Williams”raaf cadet uniform, skirts, female uniform

White cotton lawn, three tier waist petticoat. Elastic in casing at waistline. Second tier, also of white lawn fabric is gathered at the seamline. The seam is then covered by white cotton tape, machine stitched over the seam, to neaten the join. Second tier is 32 cm deep, while the third tier is a 14 cm deep band of broiderie anglaise.The seam between tiers 2 & 3 is oversewn with a 3 cm band of broiderie anglaise, with insertion holes but no ribbon is evident.costume, female, white cotton waist petticoat

BHS CollectionWhite cotton full length ladies petticoat. Made of five pieces - two at the back, three at the front. Back opening. Very tightly gathered onto a waistband (4cm). Back section of waistband has horizontal stitching to form casings for four narrow cotton ties. Ties extend from hips on either side across the back opening to be used for tightening and closing the opening. Lower edge finished with cotton cord. Two small frills above hemline.costume, female, cotton full length petticoat.

THE SKIRT The skirt has a gentle, soft, feminine design which keeps it in good shape and condition, preserving it from soiling and prolonging its life: - the satin fabric is softly pleated at the waist and falls gently to almost floor length - the opening is concealed at the back within one of the folds and closes with hooks and eyes underneath the bow at the back of the jacket - the horizontal stitching at the base of the skirt joins the lining to the skirt, and the firmness it creates allows it to gently flare out at the base without the need of hooped petticoats - a removable fabric lining at the hem protects the front and back of the skirt from friction and soiling from the wearer’s footwear THE SKIRT This evening outfit is significant for its connection with colonial Australia, Victoria and Warrnambool. It is a fine example of female fashion of the mid to late 1900s. The outfit is significant for its connection with a wedding uniting two colonial families from Northern Ireland who immigrated to Australia in the mid-1850s. The families had a significant role in the history of Warrnambool and district. The outfit is significant too for connecting the colonial families to the indigenous culture of the district and the contact between the native and European people. The lined, floor-length, amber satin skirt has gentle folds that gather into a fitted waistband. One of the folds at the back conceals the opening of the skirt that fastens using metal hooks and eyes. The bow at the back of the jacket covers the top of the closure. There are metal hooks distributed around the top of the waistband. The skirt is stitched horizontally around the hem in several rows. There is a removable fabric lining at the base of the skirt.evening skirt, ladies 1h century skirt, satin skirt, antique satin skirt

Negligee set or Wedding trousseau for the marriage of Charlotte Edith (Tottie) Ryder (aunt of donor) to Alfred George Tooke (b 1898 England d 1998) held at Church of England, Thornbury on 13 March 19481948 negligee set comprises two pairs of knickers, camisole, bed jacket, petticoat, nightgown. All items are cream coloured satin with appliqued coffee coloured lace. One pair of knickers has appliqued coffee lace encircling each leg with a hand-worked buttonhole and is missing a button. Second pair of knickers has appliqued lace floral design on each leg with an elasticised waist band and a plain band on the legs. Camisole has coffee coloured lace along the top edge and rouleau style shoestring straps. Bedjacket is short with long sleeves and a front fastening with four self-covered buttons and rouleau fastenings. Coffee coloured hand appliqued lace is around the neck and along the bottom. The shoulders are padded. The petticoat has coffee coloured lace around the hem and yoke. It has rouleau style shoestring straps. The nightgown is long with a coffee coloured lace Vee front. Two satin ties attach to slightly gathered waist. See also Knickers NA4921, Wedding Dress NA4923, Horseshoes NA4924 and Wedding Veil NA4925trousseau, tooke, wyatt m, wedding

19th century Irish linen Christening gown and matching petticoat donated by Ruth Starkey. The Christening gown and petticoat have been in the family for around 170 years, passed to generations. They were sewn by Eliza Lynon in Enniskillen, Northern Ireland. The following history has been provided by Ruth Starkey: • Town of origin is Enniskillen, Northern Ireland, sewn by Eliza Lynon. • The gown came to Australia with Eliza Lynon on the Red Jacket in 1855. • Eliza married Joseph Dobbyn (who was a member of the Royal Inniskilling Fusiliers Regiment) at Christ Church Geelong. • They built a home at 150 McKillop St, Geelong. Melrose was the name of the home. • Family name Dobbyn - Joseph Wilson Dobbyn b. 07/04/1844 - d 12/10/1892 and Elizabeth (Eliza b 12/03/1847 d 26/08/1934) and passed to Eliza Jane, Jessie Victoria Mary and Lucy Ellen Dobbyn (sisters). • Lucy Ellen nee Dobbyn, married Herbert Blunt, Boatbuilder Geelong at Christ Church Geelong • All lived at 150 McKillop St Geelong over the years • Passed to Marjorie May Fearn born nee Blunt who was baptized at Christ Church Geelong 29/5/1915 • Passed to Ann Rosemary Starkey nee Fearn • Passed to Ruth Norelle Starkey (me) I was baptized at Christ Church Geelong. • I am the great- great granddaughter of Joseph and Eliza and the great granddaughter of Herbert and Lucy.Irish linen Christening gown with cutwork anglais. Cutwork along hem is scalloped with a central motif going down the centre front of the body. Bodice is embroidered in a v shape at the front and has cutwork embroidered sleeves. Skirt is attached to the bodice with cartridge pleats.irish linen, christening, religion, children's clothing, ceremonial, church, geelong, red jacket ship, enniskillen, christ church geelong, northern ireland

Clothing. This petticoat is multi-layered with one layer of taffeta at the hemline, with black velvet, the top edge of which is scalloped-55 cms deep, and finished at the top edge - the scalloped edge, with a cotton braid 2mm deep. Two layers of tulle, over the taffeta, are gathered into a 1 cm wide waistband, which fastens with a metal hook, but no loop is visible. A 23 cm long plackett has a metal press-stud closure. Two cotton tape loops - 10.5 cm long are attached inside the waistband.costume, female underwear, black silk/ tulle/ velvet petticoat

J D Kestner manufactured the Hilda doll from 1914. They ceased business in 1938.J D Krestner 'Hilda' baby doll with hard composite body, jointed arms and legs and porcelain head. She dates from post 1914. Her hair is short, blonde and 'frizzy'. She is wearing a cream pintucked linen dress trimmed with cream lace at the hem, sleeves and yoke. Underneath the dress is a cream cotton pintucked petticoat with a lace insert and lace trim at the hem. She has a yellow knitted singlet and knickers. On her head she is wearing a cream linen mob cap of the same material and trim as her dress.JDK 137 on back of headtoys, dolls, porcelain

Clothing. Extremely fine linen petticoat, rounded neckline with a blue satin ribbon insertion, threaded through a lace insertion. This ribbon is now badly aged and shedding and splitting. A plackett at the centre back conceals six tiny 9mm covered buttons, and machine (?) stitched button holes. The neckline is outlined with three bands of cotton lace - the first band is 4.5 cm wide, and has a 'shamrock' leaf design. The middle band is 1.5 cm wide, and has a 'twisted' design, which holds the blue ribbon insertion. The outer row is 2.5 cm wide and has a scalloped edging.costume, female, lace trimmed fine linen petticoat

Large plastic doll standing 80cm tall. Red hair in two plaits tied with faded satin ribbons. Her eyes close when laid down on her back and legs are jointed at the hips. She is wearing an ankle length blue and silver satin dress with long sleeves and blue and white sequinned braid at the neck and sleeve edge. Underneath the dress is a pale blue taffeta petticoat with a white satin and lace trim and bloomers of the same material trimmed with white satin bows and faux crystal drops. She is barefoot and her feet are cracked and broken. Her face and hands have several marks.toys, dolls, plastic

This is a photo of Beth and Ida Johnson (now Ida Stanton).The photo shows two women posed for a photo. The woman on the right is standing; she is wearing what appears to be frilly, full length under-garments, a rough cloth jacket and a lace cap. She is wearing glasses, has blond wavy hair and is holding an open, folding fan. The woman on the left is seated; she is wearing a dark coloured dress or tunic with a frilly petticoat showing from the knees down. She also has a frilly cap on and is wearing glasses. She has long hair tied in two ponytails or plaits and she has a book on her knee. Behind them is a corrugated iron wall and a tree fern.people, johnson

Large 75cm tall plastic doll with curly blonde hair. Her eyes close when she is laid on her back. She is dressed in a cream muslin dress with vertical inserts of white braid. It is also trimmed with wide cream cotton lace on the bodice and hem and burgundy insert on the bodice. A burgundy sash is around her waist. Underneath the dress is a cream cotton pintucked petticoat trimmed with various cream laces and cream cotton bloomers trimmed with cotton lace and white satin bows. She is wearing black socks and brown canvas shoes with plastic soles. There is also a cream muslin bonnet, heavily trimmed to match her dress with a burgundy bow and a white muslin bow.toys, dolls, plastic

The dress was worn by Gladys May Moutray when she married Alan Tieman at St. John’s Anglican church Port Fairy in 1941.Home made wedding dress with attached train and lining/petticoat. Cream crepe over sewn in rayon lining. Material covered buttons x 7 with fabric loops on each wrist of long sleeves. Hook and eye (hand sewn) at back of neck closure and side closures of lining and dress. Velveteen ruffles around edge of train. Velveteen flower accent at front and back waist with Cornelli embroidery. Shirring at top of shoulders. Press studs at wrist closure. Dress L 134cm, W shoulders (flat) 32 cm, hem (flat) 80 cm. Attached train, L 134cm, W 164 cm. Sleeves, L (inside arm) 46 cm.female costume dress, wedding, gladys may tieman, alan tieman, gladys may moutray

Wedding Dress. A very delicate, beautiful dress, in a very fragile state, worn over a satin petticoat(11400.1154). Lace bodice, and full length tapered, lace sleeves. Boat shaped neckline, outlined with a tulle insert, that brings the neckline to a high round neckline at the throat. This fastens with two metal press-studs on the left shoulder. This high yoke is edged at the bodice edge with an 8 cm deep frill of tulle, edged at both sides with a narrow frill of tulle, and sewn to the yoke to give a scalloped effect. Skirt is sheer and made from two layers of tulle. A band of lace, 9 cm deep borders the hemline, at knee level and at hip level. Three metal hooks and stitched loops fasten a placket on the left hand side.costume, female, cream tulle and lace wedding dress

White embroidered nylon. Tiny yoke topped with a Peter Pan collar, edged with gathered fine lace. Puff sleeves - pleated at shoulder, and gathered into a 1.75cm band, edged with fine, gathered lace. Gathered lace and two white ribbon( .5cm wide) bows define the yoke.Skirt 40 cm long, edged with embroidery and scalloped hemline. Two pearl buttons fasten the back of the yoke. Dress has been made to take advantage of the embroidered fabric of the train of Merle's own wedding gown.Merle Houlden made this gown for her first child, Bronwyn, using fabric from the lower tier of the train of her own wedding gown. Bri-nylon sleeveless, and embroidered nylon skirt, edged with fine lace (on the frill of the skirt). Skirt has an 8 cm frill, attached with an embroidered band of ribbon insertion. The ribbon insert is finished with two small .5cm ribbon bows. Both dress and petticoat have been made to take advantage of the embroidered fabric of Merle's own wedding dress train.costume, children's, christening dress

This Edwardian era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death occurred often to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were a part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The black silk tailor-made jacket is one of three pieces of a ladies’ Edwardian mourning outfit. It has long sleeves, a stand-up collar trimmed with appliqued black crochet lace, and pleated sashes on the left and right sides from front to back fastened at the shoulder and waist. The jacket has a peplum or flounce below the waistline. The front of the jacket has brass hooks and fabric eye fastenings. The back of the jacket has two tails. The jacket is lined and the shoulders are padded. It has been machine sewn and finished with hand stitching. A white card is tied with a ribbon inside and has an inscription. The poplin skirt on the jacket has been cut up to the waist at the side seams. There is an attached card with an inscription, handwritten in ballpoint pen.“Jenny” and “Mrs Sheila Handscombe, Wallaura, Jenny”flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, sunburst pleats, western district victoria, mourning jacket

This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s, but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The full-length black silk tailor-made skirt is one of three pieces of a ladies’ Edwardian mourning outfit. The skirt is made from black silky fabric. The garment has only two seams; at the side closure and the centre back. The whole skirt has sunray pleats; narrow pleats at the waist that fan outwards towards the hem. The top of the skirt is finished with a waistband that is shaped as an upward V shape in the centre. The side seam is closed with four self-fabric buttons with silver metal backing. The shirt has been machine sewn.flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, mourning dress, death mourning, sunray pleats, western district victoria, full-length skirt

The Hanro company was established in Switzerland in 1884. In 1926 a site in Hargreaves Street Bendigo, behind the School of Mines, was purchased to establish the Bendigo Knitting Mills, a subsidiary of Hanro. The managing director was Charles Handerchin who came from Switzerland. The company was delisted from the Australian Stock Exchange in 1963 when it was taken over by John Brown Industries.Hanro Spring-Summer Catalogue 1962: The cover is of card with a white background and black, green and mauve print. Printed on the cover in black is *Hanro* Spring-Summer Catalogue 1962* To the left is green leaves with mauve wild flowers on two stems and to the right side corner is also green leaves and two stems of mauve wild flowers. Underneath in mauve print is *lovely lingerie featuring Australia's beautiful wildflowers. Inside the cover is advertising the line. Inside the catalogue on white gloss paper are sketches of ladies wearing matching Negligee/Night set, night wear, Pyjamas, Petticoats, Vests Briefs, scanties', Panties, Bed Jackets, half slips, house coats and spencers. Each item has a number, description, size and colour. The back page has advertising. A green paper sheet has been inserted with the retail selling price list with item number size range and price. Over the page has the trade price, item number size etc. On the back cover on a white background is a box with a back border and *Hanro* printed inside along with the Sales Office, address and phone number in each State. Box 116ACambridge Press, Bendigobook, magazine, catalogue, hanro. catalogue. cambridge press, bendigo

Lily and William Wishart lived during this period in 'Noranook', Fernhurst grove, Kew. There are numerous contemporary accounts of the social and civic activities of Lily Wishart as mayoress of Kew. In a description of a 'Mayoral At Home' in the Kew Recreation Hall, a report in The Australasian (10 Aug 1907, p.46) described the event thus: MAYORAL AT HOME In the Kew Recreation-hall on Thursday evening the Mayor and Mrs. W. Wishart gave an at home to between two and three hundred guests. ... Prior to the musical programme, the mayor and mayoress held a reception, standing on a dais at one side of the room. Mrs. Wishart was gowned in black glace silk, trimmed with handsome lace applique, and she wore a cream Maltese lace scarf over her shoulders, and held a bouquet of cardinal carnations.' This may be the dress in the collection. Another interesting and relevant report is an account in The Argus (19 March 1907, p.6): 'WOMEN'S WORK EXHIBITION The mayoress of Kew (Mrs. W. Wishart) invited the ladies of the district to meet in the mayor's room, town-hall, Kew, at half past 3 o'clock tomorrow afternoon, to consider steps to be taken locally in support of the proposed Exhibition of Women's Work.'The dress is locally significant as the work of a skilled home-dressmaker in Kew, who was also a leading civic figure in the municipality. One tends to think of amateur dressmakers as women who could not afford to purchase clothes from a retailer. Clearly, 'women's work' and the skills that educated and wealthy women acquired in the period allowed them to fashion their own garments.Full length evening dress in four parts. Undergarments include two items: a basic black silk petticoat and an upper black silk slip, the latter with two bands of ruffles. The lace dress is in two parts: a bodice and a skirt. The black, high-necked bodice is constructed of silk organza to which guipure lace has been extensively applied. The bodice has long puffed sleeves, gathered on the forearm to form a wide band of lace and ribbon at the wrist. The skirt is constructed of the same black fabric with descending bands of gathered black silk ribbon, used as ornamentation. The skirt also features a long train. Apart from the donor information about its provenance, the style of the dress can confidently be dated to the period 1900-1910. The dress was made and worn to civic functions by Mrs Lily Wishart, Mayoress of Kew in 1906-7. Earlier items belonging to William and Lily Wishart entered the collection as early as 2002. The dress was donated by a descendant of a friend of Lily Wishart in 2020. The photograph of the dress and its components attached to the record needed to be digitally enhanced so that details of the dress could be viewed online, as the fabric of the dress is an intense black. A physical assessment of the dress is included in the condition report.fashion & design collection - kew historical society, australian fashion - 1900s, evening dresses, lily clara wishart, fashion design, fashion -- 1900s

Clothing. Cream polished cotton, full length half slip petticoat. Plackett at the back, fastens with two metal hooks, and hand-stitched loops. The back features a 'crinolette', where two rows of tapes are gathered in to give volume to the back of the garment. As the crinoline started to subside at the end of the 1860's. The centre front panel features 6 angled bands of lace 4.5 cm wide and angled to form a V shape. (1) A 9.5 cm band of pleated linen gauze-like fabric, edged with a 5 cm band of linen lace. (2) A 15 cm double layered frill-top layer 2 cm wide silk like pleats, lined with linen muslin type fabric, and an under frill of polished cotton, pleated in one cm wide knife pleats. The top frill is of fine cream cotton lace. At the top edge is a 3.5 cm wide band of floral cotton lace, and adjoined at the lower edge with a 9 cm deep pleated trim of exquisite cotton "floral and swirls" lace. The top frill is 42 cm wide, and extends over the centre front panel only. A cotton covered " stiffening- possibly bamboo or whale bone, extends 31.5 cm ;long at the crinolette. An unusual 'pocket like bag' is sewn into the right side seam 14 cm below the waist. This has rounded corners, and is 8 cm wide at the top, 17.5 cm wide at the lower edge, which is then rounded slightly. Overall length of the 'pocket' is 38 cms.costume, female, crinolette full length half slip

Clothing. Very fine cotton petticoat with a fitted bodice, and dropped waistline. Back opening fastened with six 1 cm diameter buttons - three are fabric covered - (possibly the original buttons) and three plastic ''pearl'' buttons. The square neckline is outlined with 2.5 cm deep cotton lace inserted with 1.5 cm wide satin ribbon tied in a bow at the centre back and front. A row of very fine cotton lace, 1.5 cm deep then edges the square neckline, and also the arm holes. The back bodice is shaped in six panels, and front bodice is shaped in three panels. Three panels of embroidered cotton lace extends from the front neckline to the bustline. Outer panels are 5.5 cm wide and 7 cm long, while centre panel is 11 cm long and 5.5 cm wide. Each of these panels is outlined with the 2 cm wide cotton lace. From the dropped waistline, a 2.5 cm wide cotton insertion lace is threaded with 1.5 cm wide satin ribbon. The skirt is lined with fine cotton, finished at the lower edge with a 5 cm wide gathered cotton frill,and an over- frill, 14 cm deep of spotted tulle, edged with a 1.5 cm band of cotton lace. The outer skirt is spotted tulle in four bands- separated by four 3.5 cm wide bands of floral patterned lace. The hemline is trimmed with an eleven cm deep band of floral lace with a lower scalloped edge. The under-skirt is made with nine gored panels, and has a 5 cm deep lightly gathered frill at the hemline.costume, female underwear, petticoat.

Beautiful soft cream silk dress, with a random silk embroidered three petal flower over the fabric. Round neckline with overlaid square yoke of embroidered lace on a net background. Two 7cm wide bands of the lace are gathered over the shoulder armhole edge. These frills, and the scalloped edges of the front and back lace yoke are trimmed with 4 cm long decorative silk tassels.(one missing). Long sleeves, tapered in at the wrist are trimmed at the wrist with a 4.5cm wide band of lace, part of which is threadedwith two rows ofsoft pink silk ribbon insertion. Soft pink silk, folded into three 2.5cm tucks-overall width 6cm trim the high waistline, with a 7cm diameter rosette at the left front, and a bow(?), and tails, trimming the back waistline. This is severely damaged. Four metal hook and loops fasten the back lace collar, and nine metal hooks and eyes fasten the bodice. Bodice and sleeves are fully lined. Bodice is boned with thirteen 12-4 cm long ''bones''. Skirt is in two tiers; Top is 38cm deep, and made from the plain embroidered silk. A 5cm deep band of lace, with scalloped edges then joins the 36 cm deep ;lower panel of beautifully embroidery and pulled threadwork. Hem is faced, and finished or hemmed with french knots. Dress , which is hand stitched is fully lined with cotton. The lower 36 cm deep tier of the underskirt is trimmed with three .5cm tucks, and two 8cm bands of cutwork lace in a floral and geometric pattern. An oval shaped pocket is sewn into the front of the ''petticoat'' lining. This pocket contained some plant material, included in attached bag.costume, children's, cream embroidered silk and lace dress

Depicted are 14 students comprising the the 1952 Ruyton Girls' School hockey team. The photograph is an official school portrait taken outdoors on a patch of grass with a leafy bush visible in the background. The students are all dressed in light coloured shorts with a collared, buttoned blouse, wool blazers, white socks and white sneakers. Six girls are kneeling in the front row, and eight are standing up in the back row. All of the students are holding their own hockey stick. The idea of field hockey for female players was brought to Victoria by two sisters, Lillian and Margaret Irving, who had first seen girls playing it during their travels in England in 1902. By 1903, the Irving sisters were joint headmistresses of Lauriston, a school they had founded two years earlier. Both had deep connections to Ruyton Girls' School through their time as teachers at the older school during the 1880s-1890s. For Lilian Irving, this had included seven years as Ruyton's co-Principal with Miss Eliza Bromby from 1888-1895. With these links it was only natural that Ruyton students would join Lauriston to try out the new game. On a vacant block on the corner of Mercer and Malvern Roads, students from Ruyton and Lauriston Girls' Schools had assembled to play Victoria’s first ever inter-school hockey match for girls. Some students from Melbourne Girls' Grammar School came along to watch the spectacle and assess the new game's potential. Hockey quickly caught on, and friendly games were soon being played amongst a number of Melbourne's girls' schools. An Association was formed in 1905, and the rules formalised. These included arrangements around the competition fixture and the length of games (35 minutes for each half). In celebration of their joint role in bringing field hockey to Victorian school girls, Ruyton and Lauriston have met for friendly re-enactment matches in 2003 and 2018. The photograph also illustrates the shift in hockey uniform and apparatus. In the early 1920s, Ruyton established instructions for playing attire: "skirts must be eight inches off the ground. No white petticoats...", and importantly, least any team get an unfair advantage, "hard-rimmed hats and hatpins must not be worn during play." Ruyton appears to have taken the latter instruction to heart, and adopted the soft tam o’shanter hat as seen in surviving photographs of early teams. The tam o’shanter may have been removed for play, but the blouse and long skirt had to be put up with. According to Lilian Irving they had "a horrid habit of parting company", and she was delighted to see the transition to a more comfortable tunic in later years. Another change she observed was the hockey stick itself, which originally were all of "uniform thickness from handle to head, about the thickness of a stout walking stick" and so very different from the hockey sticks that are used today.The record has strong historic significance as it depicts a former notable student, Helen Gordon (maiden name Cole), pictured third from the right in the front row. Helen started at Little Ruyton in Prep 1940 and finished Year 12 in 1952 as School Captain, Bromby Captain, Form Captain for Matric, Tennis Captain, Hockey Captain, Swimming Vice Captain, and an award for Best All-Round Girl. She also played baseball for Victoria. After finishing school, Helen went on to graduate from the University of Melbourne as a physiotherapist in 1956. Her first position at age 19 involved setting up clinics with the Victorian Health Department Poliomyelitis Rural division. Helen’s strong ties to Ruyton continued when she held the position of President of the Old Ruytonians’ Association from the start of 1966 to the end of 1967. In 2019, Helen received an Order of Australia Medal for service to community health as a physiotherapist. She was also the recipient of the 2022 Victorian Senior Achiever Award at Parliament House. Helen passed away in July 2023 at age 88. The record's significance is further enhanced by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection.Black and white rectangular photographs printed on matte photographic paper.Reverse: gton / Margaret Hanesho (?) / Helen Gordon / 1952 / Mary Macpherson-Smith /ruyton girls' school, kew, victoria, tennis, sport, women's sport, students, school, 1950s, uniform, lauriston, hockey, field hockey, hockey stick