Showing 264 items
matching machine lace
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Kew Historical Society Inc
Clothing - Lace Jabot, 1900s
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. Coffee coloured smaller and larger frills to wear at the neck. Chemical lace daisies sith the net cut away with a punch. The machine was set precisely to repeat the design with lock stitch and then satin stitch around the edgeslace, women's clothing, jabots -
Kew Historical Society Inc
Clothing - Lace Jabot, 1900s
... Kew Historical Society Inc 1 Civic Drive Kew melbourne Lace ...The fashion and design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. The collection includes numerous fashion accessories including items of lace clothing.Machine embroidered broderie anglaise dress front with lace edging hanging from a shoulder to shoulder broderie anglaise panelwomen's clothing, lace, jabots -
Maldon Museum and Archives Association
Wedding Dress (Skirt and Bodice), © 1900
This outfit was worn by Kate Dabb for her wedding to Alf Meyer on the 6th of June 1900 at the Maldon Wesleyan Church. Kate was the 3rd daughter of Samuel Dabb.This dress is in two parts, a bodice and a skirt. Made of cream satin, mostly machine sewn with some hand sewing. The bodice is finely worked with applique panels of scrolls, petals and leaves decorated with glass beads and sequins. The back panel and cuffs are trimmed with lace.wedding dress, samuel dabb, meyer, "dabb, catherine maud", "callow, phoebe" -
Whitehorse Historical Society Inc.
Textile - Length of lace edging
... Mitcham melbourne Length of lace edging Textile Machine embroidery ...Machine embroidery on netmanchester, trimmings -
Whitehorse Historical Society Inc.
Clothing - Stockings, Machine knitted stockings, 1850-1880
Victorian 1850-1880 machine knitted stockingsMachine knitted stockings made of white cotton. The heels, toes and the top of the stockings are a plain knitted rib. The rest of the foot, ankle and calf feature a lace pattern. no markingsclothing accessory, knitting machine -
Whitehorse Historical Society Inc.
Machine - Household Chopping Machine, Mechanical Chopper, c1886
Used in kitchen to cut carrots, cheese slices, onions. boiled eggs, etc.Painted black guillotine on a wooden stand. An iron pole keeps the guillotine in vertical position at one end of the block. Driven by two wheels when a handle is turned. A tilting beam moves the guillotine up and down to cut vegetables, etc. Blade 18cm long by 6.5cm wide. Metal plate missing under blade. A rotatable drum to contain the food to be chopped, which is rotated by a cog at the base (also missing) turns the container. The upright holding chopper blade e is a modification made because of the missing container.|The following description is from Ken Turner Booklet referred to under 'Reference'. ----|The Starrett food chopper would certainly have to be considered one of the more interesting inventions, which incidentally is now considered the ultimate in kitchen collectables. Laroy Starrett in later years' told of how the design of his food chopper was inspired by the action of the walking beam engine used on the Mississippi steam boats. When the crank handle of the chopper is turned, this sets in motion a mechanism which is just fascinating to watch. The crank activates a flywheel which in turn, by a series of cogs and levers, simultaneously rotates a food holding container and raises and lowers within the rotating container, a guillotine like 'chopping blade - the action does not only look like that of a beam steam engine, it even in a way sounds like one, although somewhat noisier. Starrett produced seven different models of these choppers, ranging in size appropriate for domestic use to heavy duty models for butchers, restaurants and for hotel use. The small model was capable of chopping 3lbs in three minutes, and the largest had a capacity for chopping something like 100 lbs in an hour. The mechanical chopper, which became affectionately known as the 'hasher', was the first of some one hundred of Starrett's inventions, and these include a washing machine patented in 1865 which had a similar action to his food chopper, a food press patented in 1873, and a device for lacing shoes he patented in 1886.domestic items, food preparation -
Kew Historical Society Inc
Clothing - Lace Collar, 1910s
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. Cream organdie collar. Machine embroidered with flowers and leaves at the edge of the collar. Trifoils embroidered at the neck edge of the collar. The collar is divided into three panels by two embroidered lines which open into a diamond shape at the outer edgewomen's clothing, lace, collars -
Kew Historical Society Inc
Clothing - Lace Bodice, 1930s
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. Cream crocheted bodice with pearl buttons. A net band has been attached at the waistline to facilitate the garment being tucked in. There are some machine made elements hand tacked on but the garment is mainly hand made. Most of the garment is diamond mesh with picot. The yoke is crotchet mesh with applied daisy motifs. Large daffodils and daisy motifs are applied to the main body of the garmentlace, women's clothing -
Circa Vintage Archive
Silk two piece dress 1870s, Plum silk, lace and velvet bodice and bustle skirt 1870s, 1870s
An excellent example of Australian ladies fashion of the time.Exceptional two piece dress with fitted and boned bodice and bustle skirt and train. Bodice features many panels and internal whaleboning with cotton lining. Waist tape to secure. Pointed waistband to the exterior, trimmed in panels of velvet and lace inserts. Pleated sleeves and high, stand up collar with white cotton insert. Row of metal hooks and eyes to secure at the centre front, covered with a row of small metal and enamel buttons with butterfly design (all present) and hand finished button holes. Another row of hooks and eyes over the top. Skirt is full with the gathers focused on the centre back with a row of cartridge pleats and metal hooks and eyes to secure at the waist. Row of cotton tape sits under the hips to be gathered into the desired fullness. Ornamental panels of velvet provide a faux wrap styling to the front. Underskirt of silk faille with a box pleated trim to the hem. Underneath is a third hem finished in a row of white cambric and lace trim. Train falls from the waist and displays the same hem treatments as the dress. The dress has been mostly machine sewn but with large amounts of hand sewn finishing.none -
Royal District Nursing Service (now known as Bolton Clarke)
Photograph - Photograph, black and white, 1978
This photograph is showing a procedure performed by an RDNS Sister in the home of an elderly lady.Education was an integral part of Melbourne District Nursing Society (MDNS) from its inception in 1885, later called Royal District Nursing Service, (RDNS). Only Trained Nurses were employed by the Society, and on visits to patients they taught the necessity of hygiene and cleanliness, as well as the need for a good diet, to bring about good health. Doctor’s lectures were later given at the MDNS home to instruct patients and their families on prevention of disease. Education to patients continued throughout the years regarding health care and the use of equipment in the home. In 1961 Education programs commenced at MDNS with Sisters receiving In-service education. Staff could also apply for scholarships to further their education outside of RDNS. At RDNS many programs were run, including: a Post Basic Course, Cardiac Rehabilitation Nursing, Haematology/Oncology Nursing, Palliative Care program, Diabetic Stabilization Program, Leg Ulcer Management Program, HIV/AIDS Nursing Care, Cystic Fibrosis Home Support, Veterans Home Care Program, Breast Cancer Support Program, Continence Management Program, Stomal Therapy Program, In-Home Lactation Support Program and a Community Nursing Education Program extended to student nurses from hospitals and to other nursing organizations. RDNS staff attended several hospitals to observe and learn special care needed to some clients, e.g. to the Austin Hospital to learn the care required for paraplegic and quadriplegic clients at home and to Mount Royal Hospital to observe the care of clients in the rehabilitation ward.This Black and white photograph is showing Sister Liddalow, of the Royal District Nursing Service (RDNS), linking up a home dialysis unit into the left arm of an elderly lady. The lady who wears glasses and has wavy hair, is wearing a white nightdress with lace at the neck and down the centre front. Her left arm is resting on top of a surgical cover and she is clenching her left fist and has a tourniquet above her elbow. She is sitting against a flower patterned pillow on her bed watching the procedure. Sister Liddalow has short dark hair and is wearing a white gown over her uniform. She has a glove on her right hand and a syringe in her hand. In the left rear IV apparatus, with two syringes and a trolley on which a machine can be seen.date of photographroyal district nursing service, rdns, patient care - home dialysis, sister liddalow, -
Churchill Island Heritage Farm
Clothing - Lace Collar, Detachable
... This detachable lace collar has been machine made..." This detachable lace collar has been machine made and there was a note ...This detachable lace collar has been machine made and there was a note included with the piece to say “Dickie”. Perhaps calling it a lace collar is a misnomer. If it is indeed a dickey that would be a false front (e.g. the celluloid false tuxedo front for men) then the fabric would be at the bosom with the straight edge of the collar draped over it and perhaps the long pieces embellishing the sleeves. Dickeys made the transition to women’s wear in 1943 although they may have been worn by women before this time. The February issue of Vogue New York stated that one would “enliven your new suit or rejuvenate your old”. Women’s dickeys were made from cotton or rayon and embellished with embroidery, lace or ruffles. The lace itself is quite beautiful but the construction of the piece is quite confusing. Due to its ostensibly irregular and non-conformist shape, the members of the Lace Guild who examined this piece opined that it was made for a specific garment. This may have been an elegant jacket or blouse.The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess women, see above.Detachable lace collar, with plain netting overlaid with multiple stripes with small floral motifs repeating at regular intervals. Packaged with note "Dickie"lace, churchill island, janet amess lace collection, detachable, collar, machine, amess -
Churchill Island Heritage Farm
Textile - Lace Trim, Section
... Lace Trim, Section Textile Length of machine made ...This is a section of a machine made embroidered eyelet insertion piece. The holes are made for the insertion of ribbon and it would have been a pretty addition to a petticoat, bed linen or nightwear. The embroidered design is an indicator that perhaps this is later than the 19th century with the use of satin stitch. The edging is a type of fagoting where stitches are used to join two pieces of fabric together or threads are drawn and the gap created is decorated using a strong embroidery thread usually in a herringbone pattern but in a straight pattern in this case. In its most traditional form fagoting was done by removing weft threads and decorating the gap. When a plain linen chemise was your nightwear, it was an easy method for all classes of society to decorate their undergarment.The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess women.Length of machine made embroidered eyelet insertion piece.janet amess lace collection, lace, churchill island, amess, machine, embroidery -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Clothing - Nightdress, pink silk, lace top
... george, dressmaking, machined lace, ...Post World War 11 settlers in the newly opened estates of Ormond, Bentleigh, Cheltenham, Highett made their own clothes using the new fabrics and new sewing machines in the 1950s This pink silk nightdress, with an appliqued lace yoke, lace shoulder straps and waist ties is typical of the style c1950 in the City of Moorabbin Clothing, Nightdress, pink silk lace top clothing, nighdress, 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, dressmaking, machined lace, -
Flagstaff Hill Maritime Museum and Village
Clothing - Apron, c. 1900
This apron was donated along with other well kept items of women's clothing. The clothing once belonged to members of a family who migrated from Faversham, Kent, England to Sydney, Australia in the late 19th - early 20th century and was passed down through the family. The items have been worn and have also been well cared for.This items is an example of ladies' clothing worn during the late 19th to early 20th century.Apron, ladies, machine made, cotton, Gathered waist, waist ties, small bodice with Brodery Anglais lace hand stitched onto it, neck ties. Would have been work for 'good' wear. C. 1900. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ladies garments 19th century, cotton garments 19th century, apron late 19th century, domestic clothing, domestic service, hospitality service, broderie anglaise, ladies’ clothing, hospitality clothing -
Flagstaff Hill Maritime Museum and Village
Clothing - Apron, c. 1900
This apron was donated along with other well kept items of women's clothing. The clothing once belonged to members of a family who migrated from Faversham, Kent, England to Sydney, Australia in the late 19th - early 20th century and was passed down through the family. The items have been worn and have also been well cared for.The apron is an example of late 19th century ladies' clothing for use in domestic service or hospitality.Apron, ladies size, cotton, machine made. Bodice has hand made Broderie Anglais lace trim and neck ties, skirt has gathered waist and ties, three pin ticks around hemline. Would have been worn for 'best' wear. C. 1900flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, ladies garments 19th century, cotton garments 19th century, apron late 19th century, broderie anglaise, handmade lace, apron, domestic clothing, domestic work, domestic service -
Whitehorse Historical Society Inc.
Craft - Sewing and Embroidery Threads
Five embroidery threads in skeins of shades of yellow (2) and green (3). One large wooden spool with small amount of brown thread. One Coats 60 thread bobbin lace white on a wooden reel. One Sylko 24 beige thread on wooden reel. One small wooden reel with no labels and pink thread. One ball of DMC 12 Perle thread in pale pinkCoats - J & P Coats 1000 Beste Qualitat meter vier fach Spezialertzeugnis fur fabrikanten 60. Dewhurst's Sylko Machine twist 24 Silk Substitute Shells. DMC Coton Perle 12 Made in France 10grams 141 yds. Anchor Soft Embroidery Fast Colour 110m/10.9 yd. Lesh & Handsley Perline Mercerised cottons . Sylko Trademark Embroidery Shade no 13 Made in England Silk Substitute J Dewhurst & Sons (Skipton) Size A color 334 -
Flagstaff Hill Maritime Museum and Village
Clothing - Combination Undergarment, late 19th or early 20th century
... in the late 19th century - using machine stitching and lace ...This item of underclothing, called a "combination" is one of several linen and clothing items belonging to the deceased estate of Susan Henry OAM (nee Vedmore 1944 - 2021) that was donated to Flagstaff Hill Maritime Museum and Village. Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up in 2010 to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community. Combination undergarments combined the chemise and drawers into one garment. The combination is divided, or bifurcated, from the waist to the crotch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. Their primary use was to protect clothing from perspiration and because they were made with cotton or linen, were easy to wash. This particular item is made with lawn (a very lightweight fabric) and is sleeveless, making it suitable for hot weather. Although they were worn under the corset next to the skin (and therefore not meant to be seen), they were often decorated with lace or embroidery. This item is an example of the needlework skills of women in the late 19th century - using machine stitching and lace to personalise and embellish a practical item of clothing. It is also significant as an example of a practical solution to the difficulties that women of this era faced with regard to the washing of clothes and household linens.Lady’s white lawn and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has four buttons in the front and is trimmed with lace on the neckline, armholes, bodice (in a diagonal design) and legs. The left and right sides are divided from the waist to the crutch. The back of the garment is plain with a gathered section at the lower back.flagstaff hill maritime museum and village, great ocean road, combinations, lady's combinations, undergarment, lingerie, handsewn, underwear, clothing, victorian era undergarments, lady's garment, susan henry oam, vedmore foundation -
Flagstaff Hill Maritime Museum and Village
Clothing - Corset cover, Eliza Towns, Mid to late 19th century
This corset cover is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. This corset cover is an excellent example of an everyday clothing item with the decorative trim favoured by women in the late Victorian era. Eliza Towns has added pintucks, embroidered feather stitch and a highly decorative hand crocheted lace trim to the neckline, sleeves and front of the bodice. Corset covers (sometimes called camisoles) began to appear in women's fashion around 1840 and continued through the late Victorian decades into the Edwardian era. The long chemise was considered too bulky to cover the corset and so the corset cover was developed to be short and light and was worn over the corset and under the bodice of the outer garment. A woman would dress into her chemise and drawers first, followed by her corset and finally her corset cover as a final layer under her dress. Corset covers served several purposes. They provided protection against sweat (and the need to regularly wash the corset), helped smooth the lines of the corset and increased a woman's modesty.This item is an example of the needlework skills of women in the late 19th century - combining machine stitching with hand embroidery and crochet to embellish an item of personal underclothing. It is also significant as an example of a practical solution to the difficulty of hand washing a corset in the Victorian era.A short (waist length) corset cover of fine cotton. Short sleeves fall from a square neckline and are gathered into a wide crocheted lace trim with a band of embroidered feather stitch. The same crocheted lace design and feather stitching are also on the square neckline which is finished with a drawstring ribbon. The bodice has a front opening with five buttons and is bordered on each side with four pintucks. It has a drawstring ribbon at the waist and an extra layer of fine cotton lining has been added to strengthen the corset cover under the arms. The back has two bands of three pintucks running vertically from the neckline to the waist.flagstaff hill, flagstaff hill maritime museum & village, warrnambool, great ocean road, shipwreck coast, nhill, wimmera, eliza towns, underclothing, corset cover, camisole, machine sewing, hand sewing, crocheted lace, pintucks, feather stitch, embroidery, underwear, victorian era underclothing, victorian era corset cover -
Flagstaff Hill Maritime Museum and Village
Textile - Bolster Sham, Eliza Towns, Late 19th century to early 20th century
This bolster sham is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes and household linens - adding her own handmade embroidered or crocheted decorative trim. Most beds during the late 19th and early 20th century had a feather, hair or spring mattress covered by a blanket and topped with an under sheet, an upper sheet, several blankets and a bedspread. A flat bolster could be placed either under the pillows or on top of the pillows with a decorative sham. Washing pillows and quilts by hand would have been a very onerous task (involving heating water and handwashing in a tub or using a copper) and so it became the practise of many housewives to cover the pillows and bolsters with an outer slip (or sham) of washable material which could be easily removed and washed when needed. If the bolster was kept under the pillows it wouldn't need to be very decorative but many shams or slips that were "on show" were often highly decorated with embroidery, pintucks, ribbons or lace. This bolster sham is machine made and quite plain with the exception of some pintucking and eyelet lace on each end which suggests that it would mostly be hidden under the top pillows with just the decorative edges on display.This item is an example of the needlework skills of women in the early 20th century - combining machine stitching with hand embroidery to personalise and embellish a practical domestic object. It is also significant as an example of an early 20th century innovation that helped make the working lives of housewives a little bit easier.A long white cotton rectangular bolster sham, machine sewn, with seven ties and two buttons (plus one missing button) to enable it to be folded over lengthwise and closed. It has two pull string ties near each end to enclose a bolster and is finished with a decorative edge of pintucks and handmade eyelet lace and embroidery.flagstaff hill maritime museum and village, eliza towns, sham, bedding, great ocean road, shipwreck coast, warrnambool, household textiles, sewing, bolster sham, housework, pillow sham, charles towns, nhill, haberdashery, needlework, manchester, handmade, household linen -
Flagstaff Hill Maritime Museum and Village
Clothing - Chemise, Eliza Towns, Late Victorian era
This chemise is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. This chemise is machine sewn by Eliza Towns and she has added pintucks and broderie anglaise lace as a decorative element. A chemise was usually a sleeveless garment made of linen or cotton (so they could be easily washed) and its shape was much like a modern day nightgown. The name comes from the French word for "shirt" or "shift". Women wore chemises next to the skin (under the corset) to keep stains and odors away from the less washable corset and gown.This item is an example of the needlework skills of women in the mid to late 19th century - combining machine stitching with hand embroidery to personlise and embellish an item of clothing. It is also significant as an example of a practical solution to the difficulties of needing to regularly hand wash a bulky outer garment or gown in the Victorian era.A white cotton, short sleeved, knee length chemise. The fabric at the front is gathered on a yoke which is decorated with bands of five pintucks alternating with broderie anglaise lace and embroidered strips lined with pink ribbon. A different broderie anglaise design decorates the sleeve edges, neckline and center broderie anglaise strip. The back of the chemise is gathered on to the neckline. There are two bands of pintucks on each sleeve. The fabric around each armhole has been strengthened with another layer of cotton and a length of cotton has been added (from the left shoulder to the hem) to increase the width of chemise.flagstaff hill, flagstaff hill maritime museum and village, warrnambool, great ocean road, south west victoria, victorian era, victorian era undergarments, chemise, victorian era chemise, undergarments, pintucks, victorian chemise, eliza towns, nhill, wimmera, home sewing, machine sewn, hand made -
Flagstaff Hill Maritime Museum and Village
Clothing - Child's dress, Eliza Towns, Late 19th century
This child's dress is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. A photograph of their youngest child, Alice, taken in circa 1903 depicts her wearing the dress. The dress would have been only worn on special occasions (such as a formal family photographic portrait) as most young girls in that era would have smocks or pinafores for everyday wear. The age of the dress is in question as it may have been made by Eliza for her eldest daughter, Dorcus, who was born in 1884. This dress has some machine sewing at the neck, waistband and pintucks but much of the dress is handsewn and richly embroidered with Broderie anglaise. Broderie anglaise (also known as eyelet lace) is a form of cutwork embroidery. The foundation fabric is cut to make decorative holes which are sewn with overcast or buttonhole stitches to create a lace like effect. Designs often involve floral motives that are enhanced with simple embroidery stitches such as stem stitch and satin stitch and scalloped edges finished with buttonhole stitches. It was commonly used to trim baby clothes, dresses, nightclothes, underclothes and household linens - particularly in the Victorian and Edwardian eras. This item is an example of the needlework skills of women in the late 19th century - combining machine stitching with hand embroidery to personalise and embellish a child's special dress.Child's white dress made of cotton and lawn, with a skirt of hand embroidered circular cutwork (broderie anglaise), a scalloped hem edged in buttonhole stitch and a gathered waist. The lined bodice has three panels of hand embroidered broderie anglaise (eyelet lace) inserted in a V shape with pintucks and bordered with a broderie anglaise lace frill. The short sleeves also have an inserted broderie anglaise lace strip, three pintucks and a broderie anglaise lace frill. The skirt is semi lined with fine lawn. The dress has a back opening with one button and two ties. The neckline is decorated with two rows of hand embroidered broderie anglaise lace.flagstaff hill, flagstaff hill maritime museum & village, warrnambool, shipwreck coast, great ocean road, nhill, wimmera, eliza towns, dorcus towns, child's dress, machine sewing, hand sewing, broderie anglaise, cutwork, embroidery, eyelet lace, clothing, handmade, charles towns, alice towns -
Whitehorse Historical Society Inc.
Accessory - Lace collar, 1880's
See attachedA Victorian Battenberg Lace collar in two tones of ecru. It is mounted on to pink polished cotton with paper backing. Tape is machine made with infilling by handcostume, female, handcrafts, lacemaking -
Churchill Island Heritage Farm
Clothing - Lace Trim
This is a fine example of tamboured net executed in the Limerick style but it is very difficult to assess if it is handmade or machine made. Typically, machine made motifs were identical, and while these motifs do have some variation this could be due to the age and storage conditions of the piece. At 13.4cm in width it would be an elegant trim for bed linen or lingerie. Tambour lace is so called as it is made with the net stretched over a circle (tambour or drum) and the lace made by hand using a very fine crochet hook, or it could have been machine made on a Bonnaz machine from the 1890s onwards or the Schiffli machine.Churchill Island has a large lace collection, which was added to by three successive generations of the Amess family - Jane, Janet, and Unity. The Amess family owned Churchill Island from 1872 to 1929. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island. The examples of lace are notable for their variety, and provide respresentative examples of techniques from the late nineteenth to the early twentieth centuries. Length of tamboured net limerick lace with repeating motifs of foliage and branches primarily concentrated to one edge. Some distortion of the motifs due to either stretching or style.lace, janet amess lace collection, churchill island, amess, trim, tambour, limerick lace -
Churchill Island Heritage Farm
Clothing - Lace Trim
This is a machine made copy of a Brussels lace applique or Brussels Point border which has most likely been cut from a larger piece, perhaps a wedding veil or a net for a baby’s cradle. There are two main types under the Brussels lace heading, one is Brussels Pillow lace which is a bobbin lace and the other is Brussels Point lace which is needle run. Belgium or Flanders was one of the premium lace making centres in Europe for two reasons, one that the flax grown in the region was of a very high quality and secondly the highly skilled lace workers living in the area. The flax harvest and linen production was jealously guarded and along with neighbouring Holland which in the 16th century was joined to Belgium as Spanish Netherlands, there were many flat areas to lay out the linen for bleaching in the sun. The flax was spun into the finest linen thread in rooms kept damp to prevent the thread from becoming too brittle and the one ray of sunlight allowed was directed onto the thread. The quality of the linen made Brussels lace extremely popular for centuries and it kept pace with the changing fashions of Europe. Not all of the lace labelled as ‘Brussels’ comes from that area, the name has been given as a type rather than a source and there are many types of lace under that name. Because of the quality and the standard of the linen used, Belgian lace was one of the last types of lace to be imitated in the 19th century by mass production machinery. Because of the close chain stitch evident in this piece, a Cornelly machine may have been used to embroider this design onto machine made net.Churchill Island has a large lace collection, which was added to by three successive generations of the Amess family - Jane, Janet, and Unity. The Amess family owned Churchill Island from 1872 to 1929. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island. The examples of lace are notable for their variety, and provide respresentative examples of techniques from the late nineteenth to the early twentieth centuries. Length of lace trim, with finely worked sprays of flowers intertwined with foliage and abstracted branches.Package with note "LIMERICK LACE TRIMMINGS"lace, janet amess lace collection, churchill island, amess, trim -
Churchill Island Heritage Farm
Clothing - Petticoat
This elegant petticoat has been made with rows of hairpin crochet interspersed with traditional crochet. Hairpin crochet is worked over a ‘loom’ to keep all of the loops the same length. What a special wedding petticoat this is and perhaps the bride had worked it herself to keep in her ‘hope chest’ or trousseau. The thread used for this project is a machine braid. Note that this is only a half petticoat as the bride would have worn a camisole under the bodice of her gown.The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess women. white petticoat, with crochet trim, and a machine made elasticised waist bandPackaged with note: "Wedding petticoat. Hand crocheted. Handmade button holes. Pure cotton. Machined waist band".janet amess lace collection, lace, churchill island, janet, amess, petticoat, garment, clothing, machine, braid, crotchet -
Churchill Island Heritage Farm
Textile - Bed Jacket, Cuff, 1860
This is a fine cotton bed jacket decorated with beautiful whitework embroidery. Whitework is any type of embroidery where the threads worked are the same colour as the base fabric. It is usually worked on white linen but this could be worked on Hardanger fabric which is 22 thread count cotton. The embroidery is a combination of types but drawn thread work and Hardanger work can be clearly seen on this garment.The Amess family owned Churchill Island from 1872 to 1929. This lace collection was owned and contributed to by four generations of Amess women, see above.Bed Jacket with open frontPackaged with note: "Limerick lace bed jacket Janet Amess 1860 from Kel Bright collection with separated cuff".janet amess lace collection, lace, churchill island, janet, amess, bed, jacket, cuff, garment, clothing, princess, machine, bobbin -
Flagstaff Hill Maritime Museum and Village
Clothing - Nightgown, Eliza Towns, circa 1890's
This nightgown is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. This nightgown is machine sewn by Eliza Towns and she has added a detailed design of pintucks and broderie anglaise lace to the front yoke and cuffs as a decorative element. The 1800's bought a shift in attitude towards modesty as the Victorian era progressed and by the mid to late 1800's it had become more acceptable ladies to wear simple, modest nightgowns. They tended to have a very loose fit and were usually made of linen, cotton or flannel, which had the advantage of providing warmth and also being easy to wash - a necessity for a garment worn next to the skin. Although the basic design of the nightgown was fairly simple, the wearer was free to add various types of trim e.g. lace, crochet, pintucks, embroidery etc.This item is an example of the needlework skills of women in the late 19th century - combining machine stitching with hand embroidery to personalise and embellish a practical item of clothing. It is also significant as an example of a practical solution to the difficulties that women of this era faced with regard to the washing of clothes and household linens.Lady's long, white, cotton nightgown with a V shaped bodice decorated with bands of nine pintucks alternating with strips of broderie anglaise lined with pink ribbon. The opening front placket and neckline are bordered with a simpler broderie anglaise lace. The long sleeves are gathered into cuffs with a matching V shape, pintuck and broderie anglaise design. The front placket fastens with three cream buttons although one is missing. The back of the nightgown has gathered fabric on a plain, narrow V shape yoke. A narrow gusset has been added to the both sides at the bottom of the nightgown.Noneflagstaff hill, flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, victorian era clothing, victorian era nightgown, nightgown, nightdress, eliza towns, nhill, wimmera, textiles, clothing, machine sewing, hand sewing, pintucks, broderie anglaise, sewing -
Flagstaff Hill Maritime Museum and Village
Costume - Satin Bodice, Possibly in the 1920s or later
The bodice is of a style from the Victorian Era and so provides a good example of women's clothing from that time. Although it appears to have been made at a later time the lace possibly came from an earlier time period. It is of historic interest as it was amongst the belongings of the donor's Great Aunts who were both dressmakers at the original Terang & District Co-Op which was established in 1908.The item is of significance socially as an example of women's clothing in the Victorian era.A short, waist-length bodice most likely made as a performance costume. It is representative of a Victorian bodice style though the lacing used indicates that it would not have been worn in those times due to its revealing design. Flexible metal stays provide shape to the bodice at the front and back. Sleeves are elbow length and lined with cream fabric. The bodice has a lace collar and the sleeves are trimmed with the same lace. Small gold coloured beads are stitched to the flower centres of the lace pattern. The burgundy coloured satin has an embossed floral pattern. The lace is of interest as it is from an older time period and being beaded would be especially sought after. Machine and hand stitched.flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, satin bodice, beaded lace, victorian era, metal stays, terang & district co-op -
Australian Lace Guild - Victorian Branch
Textile - Blonde, Early 19th Century
... . Probably hand made but could be machine made. Bobbin lace edging ...A very light and delicate lace for costume trimming. Probably hand made but could be machine made.Bobbin lace edging. Sample -
Australian Lace Guild - Victorian Branch
Textile - Flemish or Honiton
Valuable old lace was often salvaged to be used again. Here motifs have been reclaimed from an earlier 18th Century lace (probably damaged) and appliqued onto machine made cotton net probably early in the 19th Century. The original motifs are either Flemish or Honiton. Use: as a costume trimmingBobbin lace motifs appliqued onto a machine made net. Edging.