Belonged to Kathleen Marjorie Dunn (nee McKenzie)Day dress in fine silky fabric. It has a blue, white and green floral pattern on a navy ground. The skirt is gathered to the waist in two places in front and has two darts at the back. The sleeves are short, set in, gathered at the shoulder and end in inverted V shapes. The bodice is shaped with two sets of gathers in front and two darts at the back. The square neck dips to a shallow point in front, fastens with six self-covered shanks behind and is edged with cream net frill (probably discoloured white). There is a side vent wiht four press studs on the left at waist level. The hem is hand sewn.Nonecostume, george evans collection

The blouse made from a man-made fibre which resembled linen and trimmed with crochet motifs and edging was fashionable during the early 1970's. They were often worn with batik printed skirts.A cream linen blouse with three pin tucks and a crochet band on either side of the centre front opening. There is a shell pattern crochet border around the square neckline and across the hem of the short sleeves and around the bottom of the blouse. There are two darts in the back. there are five brown buttons down the centre front."Made in the/PHILIPPINES/..."1970s, clothing and dress, george evans collection

Associated with medal bar for dress uniform WW1. 1914-1918. Associated with dress uniform WW1. The ribbon bar is worn on the left hand side above the breast and the colours of the ribbons affixed determine the campaigns served and or other military awards with approval to wear. Circa WW1 1914-1918. Gold coloured metal and brass ribbon plate for military uniform (no ribbons affixed). The back of the plate has two round lugs and an attachment slide through pin. The front top of the metal bar has a feather leaf type pattern affixed on top of where the ribbon mount would sit. Nilribbon bar ww1, circa ww1 1914 - 1915, dress uniform ribbon bar ww1 (incomplete with no ribbons attached).

This bowl is part of a series completed in 1994 on the subject of the sin of 'Vanity' / A smug looking woman flirts coquettishly with a manservant who helps her to put on her shoes / The people depicted on the bowl are dressed in 18th century costumes / The court of Marie Antoinette of France is evoked / The blue and white drawing is in the style of 18th century woodblock prints and was drawn freehand / The bowl is signed and dated on the base / The technique is traditional tin glaze (majolica, maiolica or delft) / Coloured oxides were painted onto a clear glaze which had been opacified with tin oxide, and then fired at 900 degrees / The bowl was exhibited at Christine Abrahams Gallery, Melbourne in 1994 / A bowl from the 'Vanity' series is held in the Collection of the Queen Victoria Museum and Art Gallery in Launceston, Tasmania. Copeland's parents are John and Betty Hipwell, one of the founding members of Potters Cottage (an influential ceramic collective that grew out of Nillumbik) / Copeland grew up surrounded by this artform. Reg Preston (another founding member of Potter's Cottage) introduced her to the Majolica technique which has influenced her ceramic work to this day / This bowl is characteristic of Copeland's speciality and mastery of the Majolica technique. This bowl is hand painted with an image of a couple flirting (man-left side and woman-centre) in 18th century French dress / Decorative circle and polka dot pattern along the rim and underside of the bowl / The bowl is predominantly painted in cobalt blue and orange colour using the Majolica (maiolica or delft) technique; a traditional tinglaze method of application. Coloured oxides are painted onto a clear glaze which has been opacified with tin oxide / The bowl is then fired at 900 degrees.Underside has in colbalt blue artist signature and date / 'A. Copeland . 1.9.1994'.copeland, earthenware, majolica, potters cottage, vanity, bowl, eighteen century, french, marie antoinette

This dress belonged to Brighton resident Isabell Nora "Billie" Blair, nee McNamara (1895-1989). Born in Mirboo North, Billie lost her mother Catherine at a young age in 1898 and was raised mostly by Catherine's sister, Isabell Frances Vallender. She married magistrate Douglas Granville Blair (1893-1976) in 1926. The couple lived first in Benalla, where their daughter Katherine Blair was born, before moving to Brighton, where they lived the rest of their lives.Mid-length velvet and chiffon dress with shallow v-neck. Velvet features a geometric pattern in purple, maroon, gold and green. Skirt is slashed at front and back with dark purple chiffon. Long dark purple chiffon sleeves with velvet cuffs. katherine fennell blair, isabell nora blair, isabell nora mcnamara, 1920s

This dress belonged to Ethel Nina Blundell (1876-1949), having been first made for her mother Jane Blundell (nee Burkitt, 1845-1878). Born in Dublin, Jane married James John Blundell Jr at the Black Street Congregational Church in Brighton on 16 March 1874. The Blundells were a socially prominent Brighton family who played an important role in the development of the area. James' father, publisher and bookseller James John Blundell Sr, served as a Brighton Borough Councillor between 1862 and 1867 when the local government was still in its formative years, including holding the position of Mayor in 1864. He was involved in the foundation of the Brighton Volunteer Rifle Corps and was also a strong supporter of the Brighton Ladies Benevolent Society. The Blundell family were active members of the Brighton Congregational Church and supported the construction of the Black Street church, where James Jr served as a deacon for sixty years, in addition to his work in the Crown Land and Survey Department. The dress is believed to have been made for Jane in 1875 or 1876 during her early pregnancy, likely by a local dressmaker. Jane died in 1878 when Ethel was very young, and Ethel was then raised by her father and paternal grandmother. As she never married, Ethel remained living in the family home of 'Eumana', 164 Church Street, and as an adult she assumed the role of hostess whenever she or her father had guests. On these occasions, she reportedly wore her mother's dress. The family home was sold on James Jr’s death in 1924 and Ethel was living at 52 Black Street Brighton when she died in 1949. In the 1930s, Ethel gifted the dress to a close family friend, Dr Jean Kelly. She told Jean that the garment held precious memories, perhaps due to the connection it provided to the mother she had never known. Jean donated the dress to the Merimbula Old School Museum in NSW in 1987, where it was on display for many years. The Museum donated the dress to Brighton Historical Society in 2023.This is a good example of a late nineteenth century day dress, made from two different patterns of russet brown silk brocade and featuring a lobster tail style bustle. The lack of boning combined with waist and hip measurements indicates it may have been made as a maternity dress. It is lined with beige leaf pattern cotton fabric. The princess line fitted bodice of herringbone pattern brocade has a high round neck with small 'mandarin' style collar and buttons down the front to below the waist where it forms an overskirt which is bordered with a band of coffee bean patterned brocade. The overskirt drops down to hem length at the back but from the centre front it is draped up to the back to a point below the waist level. Here it is sewn to the edge of the lobster tail style bustle which is also bordered by the coffee bean fabric. There is a concealed pocket with the opening under the right edge of the bustle. The buttons on the front of the dress have a decorative circlet of small blue flowers around a russet silk covered dome. The long sleeves are set in and slightly full with a contrasting three pleat band of coffee bean fabric with an ornamental turn back from the pleats sewn just above the wrist. The skirt section of the dress is in four 20 cm bands of alternate fabric patterns with the top and third band of coffee bean pattern slightly gathered and the second and fourth bands of herringbone forming pleated ruffles.1870s, ethel nina blundell, jane blundell, jane burkitt, eumana

Made by the Returned Soldiers & Sailors Mill in Geelong, post-1924. Rug was owned by the donor's extended family.Tartan rug with cream base, featuring pattern with blue, black, green, yellow and red. RETSOL label stitched on one corner. Name of rug is The Dress Steward. Label has stitched signature of Stan Savige.

Part of the Running Stitch Collection. Possibly made at Ballarat.Patchwork quilt, made with small rectangular pieces of printed cotton dress fabrics in predominant shades of blue. Machine quilted and filled with woollen handknitted garment pieces. Backing is a cream cotton fabric printed with blue and green and brown floral pattern.quilting quilting - history, running stitch group, running stitch collection, quilting, quilting - history

This dress was created by Jean Inglis for a competition of garments hosted by the Geelong Handweavers and Spinners Guild at a ski weekend in 1979. It was entered in the ‘evening wear’ category of hand spun and knitted garments. The Warp was commercially brought 2/24 wool. The Weft was hand spun black Corriedale wool. This wool was brought at a sale in Geelong and was hand dyed and spun by Jean. The patter is a ‘Ripple’ variation of a ‘Crackle’ weave completed on Jean’s own Dobby Loom (pictured). Long black dress stretching from the feet, reaching up to a hood at the neckline and down to the hands in the sleeve. The dress is black with a glossy silver pattern in the form of a band around the hood, hands and feet of the garment. In these bands is a wavy pattern of silver and black lines. There are multiple thick and thin lines of both the silver and black colours mirroring each other as the pattern stretches around the garment. wool, weaving, hand spun, corriedale

This dress was made for the Melbourne Show in 1993 and won 3rd prize. It was designed by Jean Inglis who was inspired by the Blue Triangle Butterfly (Scientific name: Graphium sarpedon choredon). The Warp was 2/24 commercially brought black wool with a “tie down” thread of black polyester and Weft of the same 2/24 wool 2 ply. Jean utilised a twill technique devised by Theo Morgan in creating the dress. The dress was handwoven by Jean Inglis with the help of Ruth Rondell with some of the pattern and final sewing. Black dress stretching from below the knees, reaching up to the neckline and down to the hands in the sleeve. The dress has three butterflies attached to the front approximately 50mm in diameter going from right knee to left hip in a nonvisible diagonal line. Lower half of dress has ten thin blue & green lines of varying lengths, reaching a max height of the hip. The neck of dress has four frills of blue and green colour. The longest two frills are in the centre pointing diagonally outwards towards the hands. The second layer of frills is shorter and further around the neckline towards the shoulders. The dress is completed with a cape of blue and green colour with a thick black seam separating each segment of colour. The cape sits on the shoulders and droops to a height of the hips. At the rear, the cape reaches the height of the rump. The cape has two draw strings for tying to the shoulders. wool, butterflies, melbourne show, butterfly

Two items of newborn clothing dating to 1944. The first item is a dress and the second is a singlet. Both items are made from wool and are in new, unused condition. The clothing was owned by Mrs L. Brawdrup and was donated to the National Wool Museum in 2022 by Lila Gore.Clothing item one is a cream woven dress. It is finished at the sleeves, neck, and hem with a white lace trim. The trim is formed from a thread that has a metallic gleam, presumably cotton. The dress is styled under the neck with a stitched patterned of frills and flowers in the same white metallic thread. The dress gathers under the armpits, similar in style to a dirndl. At the rear, the dress is loosened and fastened by 3 press stud buttons in an opening at the centre. Clothing item two is a cream woven singlet. It is finished at the sleeves, neck, and hem with a white lace trim. The trim is formed from a thread that has a metallic gleam, presumably cotton. The lace is like the dress; however, it is less intricate. baby clothing, 1940s, 1940s baby clothing

One of a collection of 56 knitting pattern books donated by Mrs Hilma Carruthers. These books had been used by Mrs Carruthers, her mother and her two daughters. This book was produced by Coats Patons and contains knitting patterns for baby clothes.Patons / KNITTING / BOOK No. 709 / JUST FOR BABIES / 8 different jackets - / a hug-me-tight / A dainty lace dress / Knit them in Patons Baby Wool, / Patons Baby Wool with Nylon, / Patonyle 3-ply, or / Patons Orlon / 2'6 / 25 CENTShandicrafts - history knitting, coats patons (australia) limited, handicrafts - history, knitting

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced by American Vogue and contains knitting patterns for womens garments and mens jumpers.VOGUE / KNITTING / FALL-WINTER 1961 / 50c / 50 FASHIONS / FOR YOU / TO KNIT / new shapes / new textures / new colours / THE LITHE LOOK / IN KNITTED DRESSES / BOUTIQUE / OF SWEATERS / FOR MENknitting fashion, vogue - america, knitting, fashion

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was published by English Vogue and contains knitting patterns for womens garments.VOGUE / Knitting / Book / no. 65 / Over 28 / new designs / suits / sweaters / dressesknitting fashion, vogue - english, knitting, fashion

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced by English Vogue and contains knitting and crochet patterns for womens garments.VOGUE / KNITTING / NEW ISSUE No. 1 / 3/- / 28 / NEW / DESIGNS / INCLUDING / 4 / SUPER / SHETLANDS / 3 / SPRING / DRESSES / 5 / SUMMER / EVENING / LOOKS / 11 / SUITS & / SWEATERSknitting crochet fashion, vogue - english, knitting, crochet, fashion

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced by English Vogue and contains knitting and crochet patterns for womens garments.VOGUE KNITTING / No. THREE / 3/- / THE KNITTED / LIFE IN / AUTUMN / FASHION / DRESSES WITH EASE / AND ELEGANCE / FOR ALL AGES / SIMPLE LINES IN / TOWN AND / COUNTRY / SWEATERS / COAT-DRESSES / AND COATSknitting crochet fashion, vogue - english, knitting, crochet, fashion

This knitting pattern book was published by Coats Patons and contains reprints of knitting patterns for baby clothes.PATONS / FAVOURITE DESIGNS FOR / BABIES REPRINTED / No. R.26 / Patons / KNITTING BOOK / No. R.26 / BABIES' JUMPERS, JACKETS, CARDIGANS / COATS, DRESSES, TWIN SETS, UNDERWEAR / 2'3knitting handicrafts - history, coats patons (australia) limited, knitting, handicrafts - history

This knitting pattern book was published by the Melbourne 'Herald' newspaper, and contains knitting patterns for womens garments.The Complete Home / knitting / Illustrated / Jumpers and Cardigans / Twin Sets: Gloves / Man's Pullover / Ski Cap and Gloves / Teenager's Dress / THE HERALD, MELBOURNE / ONE AND SIXPENCEknitting handicrafts - history, herald and weekly times ltd, knitting, handicrafts - history

Titled - Enid Gilchrist's 70's Styles. More than 70 basic designs for mature figures. Picture of two women on front cover - one dresses in yellow and the other in a brown & white floral. Paper magazines of 55 pages featuring how to cut out patterns. Costing 75c. Special Reprint.books, magazines

Evening dress, burgundy velvet, 1950s. Shoulder straps, A-Line design, 30cm zip down back. Matching jacket, long sleeves, sixteen self covered buttons and loops down the front. Sequin design pattern down the front of the jacket and over the shoulders.costume, female

Worn by Susan, daughter of donor. Hand knitted by donorA 1964 creamy white knitted bonnet, pattern in the shape of petals from the centre at the back of the head. Nylon ribbon ties 2.5 cm long.Matching booties see NA3591 and Dress NA3587costume, infants'

During 1930s ladies made their own clothes and accessories were a big feature of dresses. The collar was an important item and great pride was taken in hand work and crochet was on of the skills of that era.White cotton hand made hairpin crochet collar. Collar is made of seventeen daisy pattern sewn to form a semi-circle. Each daisy is crochet into a daisy wheel pattern.costume accessories, collar accessories, handcrafts, crocheting or crochet work

Indian shawl owned by Edith Brydon who made the wedding dress NA3494 for her niece, Mary (Molly) Sprunt for her wedding on 12 March 1938Cream cotton net, stamped with gold metallic thread into a Vandyke pattern.|See also NA3495 - Wedding veil & NA3494 - Wedding dresscostume, female

A5 size 16 page illustrated pamphlet, a ' Knitting Supplement to the Australian Home Journal; July 1935. Features patterns for a raglan jumper; Toby Wing jumper; Baby's Outfit; Girl' dress - Mavis design; Blue bell dressing Jacket; Man's sock. Sepia printed. Stapled.handcrafts, knitting, documents, pamphlets

Item could date later if used by someone wearing ceremonial or uniform dress collars after collar attached shirts became the norm rep[lacing detachable collars for everyday wear.Small leather- look composition board, horseshoe shaped collar box with thin real leather strap and buckle fastening. Saddle stitched on outer edges, inside box is lined with paper printed with faux alligator or crocodile skin pattern in sepia colour.On top of lid in right lower corner: 'Collars' in faded gilt cursive printed text.costume accessories, male, personal effects, travel goods

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

Given to donor's daughter by her cousinPlastic baby doll dressed in pink hand knitted dress and pants. Doll is bald but has eye lashes and open and shut eyes. The pants are knitted in stocking stitch with elastic threaded through at the waist. The dress is sleeveless with a pink button on each shoulder. The skirt is knitted in a lace pattern with a crochet tie threaded through the waist. The bodice is knitted in stocking stitch.toys, dolls, doll's clothes

c1860s Long women's dress in fine two-toned pink strip. Skirt longer in back. Bodice has three deep pleats on each side from shoulder to waist.Sleeves have self ruffle and cream lace frill at wrist. Seven buttons gold backed and white stars pattern in centre run down the front of the bodice.costume, female