Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". It looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. Paragon knitting, crochet and tatting books have been distributed throughout Australia since the 1930's, originally by "Paragon Art Needlework Pty Ltd" of Sydney, N.S.W. From 1946 these books were designed and printed in Australia from patterns provided by British and Australian thread companies. Consequently these patterns may also appear in similar British and American publications. Paragon Book No. 104 is an instruction book designed for the "beginner" whilst Paragon book No. 105 is designed for the more experienced tatter. The layout of these books was typical of the 1940s period when paper was in short supply. Most of the pattern books were approximately 18 cms wide by 24 cms high and some were smaller at about 13cm by 21 cms. The type used was small (about four lines of text per centimetre) which was difficult to read.This item is an excellent example of a needle work pattern book available to women in the 1940's in Australia.A soft covered 16 page instruction book with black and white photographs and detailed instructions explaining how to tat and eight tatting projects including how to make a collar and handkerchief edgings, published by Paragon Art Needlecraft of Sydney.Front cover - "PARAGON BOOK NO. 104" "PRICE 1/3" "Learn to/ TAT' Back Cover - "36/D5 E/A DO2" - handwritten in pencil flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, tatting, tatting pattern book, tatting instructions, handicraft, needlework, shuttle, tatting shuttle, paragon needlecraft, paragon craft book

Silver silk, with a jacquard woven floral pattern. Long sleeves have pleated tops, forming a leg-o-mutton sleeve, which gathers in at the elbows, to a narrow fitted sleeve to the wrist. A 4cm wide band of cream satin embroidered and corded lace. Cream cording and lace trims the cuffs, the shoulder/arm hole seam, and two bands on each side of the V shaped cross-over bodice. Metal press-studs fasten the cross over bodice at the waistline. Cream satin with embroidered lace overlay forms a 5cm wide stand-up collar and a centre front panel at neckline. Twelve metal hooks and eyes fasteners fasten the grey cotton front lining of the bodice. The cotton lining of the bodice is part machine, and part hand stitched. Relocated to Clothing Box 176 10.2.2022costume, female, silver silk and lace trimmed bodice.

These boots show an early design of ski boots. The design of boots, materials and closures have changed dramatically as technology has evolved. Early ski boots were little more than lace-up work boots. in 1928, the Swiss ski racer Guido Reuge invented a cable binding designed to hold the heel down for alpine skiing. He named the binding after the Kandahar series of alpine ski races. After World War II, custom bootmakers developed the double boot, with a soft and comfy lace-up inner boot protected and stiffened by a thick bull-hide outer casing laced with heavy-duty corset hooks. A solution towards making boots stiffer and more durable arrived in 1954, when Swiss bike racer and stunt pilot Hans Martin patented the ski boot buckle as shown on this pair of boots. The real revolution in boot design occurred in 1966, when the Canadian ski team were equipped with plastic boots for the Alpine World Championships. Since then manufacturers have competed to further refine designs to meet a range of needs from the weekend skier to elite athletes. These boots were donated by DIana and Neville Mashford who owned the Hub and Snowlands at Falls Creek.These boots are significant because they demonstrate a stage in the evolving technology of designs for the ski sport industry.Red leather ski boots with four metal buckles and black lining.SEROC Made in Franceski equipment, ski boot design, vintage ski boots

These boots show an early design of ski boots. The design of boots, materials and closures have changed dramatically as technology has evolved. Early ski boots were little more than lace-up work boots. in 1928, the Swiss ski racer Guido Reuge invented a cable binding designed to hold the heel down for alpine skiing. He named the binding after the Kandahar series of alpine ski races. After World War II, custom bootmakers developed the double boot, with a soft and comfy lace-up inner boot protected and stiffened by a thick bull-hide outer casing laced with heavy-duty corset hooks. A solution towards making boots stiffer and more durable arrived in 1954, when Swiss bike racer and stunt pilot Hans Martin patented the ski boot buckle as shown on this pair of boots. The real revolution in boot design occurred in 1966, when the Canadian ski team were equipped with plastic boots for the Alpine World Championships. Since then manufacturers have competed to further refine designs to meet a range of needs from the weekend skier to elite athletes. These boots were donated by Mt. Beauty Rotary Club President Bob Flower.These boots are significant because they demonstrate a stage in the evolving technology of designs for the ski sport industry.Black leather ski boots with five metal clips on each boot and black lining. A carry case is included. Tyrol is a family owned specialty outdoor store selling quality gear. It was started in 1965 by Jerry and Barb Schliep in Rochester, Minnesota, USA. In 2003 the store was purchased by their daughter and son-in-law, Kristin & Robb Welch.TYROL is imprinted on the carry case.ski equipment, ski boot design, vintage ski boots

Former Collingwood Football Club player Danny Hibbert of Montmorency laces up with the help of his father Ron. Hibbert was at Collingwood for three seasons. During the 1969 season, he scored five goals in a win over Geelong. Later, in the 1970s, he played with Dandenong and won the J.J. Liston Trophy in 1976.Digital copy of newspaper articlemontmorency - people, hibbert family, danny hibbert, australian rules football

Herbert Edgar Hewston No 40 AIF. Refer 2759.2 for his service history. Part of the HEWSTON collection WW1 & WW2.Two Identity Discs, 1 round aluminium, 1 eight sided fibre and 1 badge with crown & Edward VII & Alexandra depiction, with a small piece of red cloth attached to the metal. All are attached to a length of laced leather“40 H HEWSTON 3 Aust Pnrs AIF Pres 1916” “Edward VII Accession 22.1.1901 Coronation 26.6.1902”military history - identification, identity discs

Items belonged to Quentin Clifford BINKS, V245016 & VX114178 2nd AIF. Refer Cat No 1835 for his service history..1) Gaiter US Army issue khaki colour made of heavy canvas has 10 metal loop holes and studs with lace. The base has a webbing adjustable strap under the instep of a boot. 2.) Same as above.uniforms - army, gaiters, u.s

This beautiful costume was the 'going-away' dress worn by Mrs John Russell at her wedding in c.1884. It has been passed down through the Russell family and was donated by her grand-daughter Mrs David Nixon. John Russell was an early Orbost blacksmith in Orbost, and director of the Orbost Butter Factory for 50 years. He came to Orbost in c. 1890 at the invitation of another early settler, James Nixon, became a blacksmith, and later a farmer and landholder. Many of his descendants still live in the Orbost area. This full length female costume is made of moroon satin with gold velvet inserts. It has a small train at the back, scalloped folds with lace edging down the front of the skirt, and two rows of 14 buttons each down the bodice.going-away-dress 1890s-dress

The Uebergang family lived at Tooram Park, Allansford from 1912 to 1992. The bed jacket is part of a collection of items relating to rural life in the mid 20th century.White cotton bed jacket with scalloped satin stitch edging and cut work with butterfly motif lace insertions. Front closing with press studs and a tie. Cap sleeves with a V-shaped slit and butterfly motifs either side.201 (on tape at the side)costume accessories, female costume, uebergang, allansford, women's bed wear

The former manse is located at 954 Linton-Carngham Road. According to the donor these image copies were used in an exhibition, and distributed at the conclusion. The originals are thought to be in the collection of Snake Valley HIstorical Society.Black and white photograph mounted onto strawboard showing the a brick building with iron lace work around the verandah. It is the Cargnham-Snake Valley Presbyterian Manse, and the Rev. J.S. Drummond, his wife and two children are featured in the foreground. snake valley, carngham, j.s. drummond, presbyterian manse

These white cotton underpants were made for Mr Geoff Maggs by his mother in 1907 as his first underwear at age 2 years old. The Maggs family were early settlers in the Moorabbin ShireThe pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of many items that exhibit the skill and craftsmanship of the women in these families. White, cotton underwear for a 2 year old boy. Made at home on a sewing machine with hand feather stitching and factory-made guipure lace on leg-bands. Buttons at waist, and a tuck pleat to let down as child grows.clothing, brighton, moorabbin, pioneers, dendy henry, dressmakers, market gardners, early settlers, maggs geoff

Machine made camisole with lace yoke and short sleeves. Square neckline. There is a tape draw string in casing at the waistline and an 8 cm deep peplum. Peplum cut on the cross. Two pearl buttons and hand stitched button holes.costume, female, underwear

Camisole. Cream coloured cotton, cotton crochet lace with short sleeve & top. Square pattern. Pintucks front and back. Square neckline. Front opening with three buttons. Small peplum. Cotton tape tie around waist. .costume, female, underwear

Small, full length portrait of a lady standing beside a table with her right hand resting on the table with a book on it. Her dress is long with the back of the skirt longer than the front. It has wide gathered sleeves with lace on the cuffs.Bent late Batchelder, Centre of Pall Mall, Sandhurstphotograph, portrait, female, portrait of a lady, bent late batchelder

The series of 15 photographs were taken to bless the laying of the keel of the schooner 'Enterprize' on the 29th August, 1991. George Evans, who settled at Emu Bottom in Sunbury, travelled from Tasmania to Melbourne in the 'Enterprize' in 1834. The event took place at South Wharf in Melbourne. The Rupertswood Battery were present and Irene Evans was a member of the official party.Irene Evans is seated on the keel of the 'Enterprize' and is surrounded by eight members of the Rupertswood Battery who are in full ceremonial dress. Irene Evans is wearing a red and grey flecked tweed 2 piece outfit and grey lace-up shoes.schnooner 'enterprize', mccaughey, dr. david, grant, james. the rr. reverend, evans, irene, south wharf - melbourne, rupertswood battery, george evans collection

MISS FLO PERRY CONDUCTED CHOIRS IN CLUNES AND WON MANY CONTESTS..1 BLACK AND WHITE PHOTOGRAPH, MOUNTED ON CARDBOARD - GROUP OF BOYS AND GIRLS, MISS PERRY IN THE MIDDLE. BRICK HOUSE, TILED ROOF ON RIGHT OF PHOTOGRAPH - LACE WORK ON VERANDAH POST ON LEFT. .2 BLACK AND WHITE PHOTOCOPY OF THIS PHOTOGRAPH CLUNES JUVENILE CHOIR. MISS FLORENCE PERRY.local history, photographs, choirs

Colour photograph, Victoria Hotel,Corner High and Victoria Streets, Eaglehawk. Two storey hotel, rendered brick, iron lace trimmed verandah on both levels with gable on corner, top level. Appears to be early 70's ?bendigo, hotel, victoria hotel eaglehawk

The Fashion & 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.Black silk hostess apron embroidered with sprays of flowers using multi-coloured silk thread. The apron is bordered by black commercial lace. Based on an examination of the embroidery, it has been deemed to be a commercially produced item made in India.clothing - women's, aprons, protective wear, fashion design, fashion -- 1960s

An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in a mansion, originally named Illapa, at 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937), his wife Edith Mary Weir (1867-1948) and their children. George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.This garment is part of a collection of women’s clothing, owned and worn by Edith Mary Weir (nee Betteridge) - born in Clare, South Australia 1867, died Kew 1948 - and also by her daughter. The garments date from the 1880s to the 1930s. The collection includes day dresses, evening dresses, evening coats, capes, and undergarments. As the wife and daughter of a mine manager, the collection includes representative examples of clothing worn by upper middle class Australian women in domestic circumstances, and at social and civic events. A number of the costumes from the 1920s to the 1930s are of a particularly fine quality, being both rare, representative and intact examples of Australian fashion of the period. The garments in the Weir Collection were donated to the Kew Historical Society by a granddaughter of Edith Weir in 2017.Pale blue, floral cotton full-length peignoir, comprised of overlapping gathered layers of chiffon. The sleeves are lined and the bodice has a lace yoke. (Measurements: Length 140, Shoulder 36, Chest 102, Waist N/A centimetres)edith mary weir (nee betteridge), illapa -- 84 princess street -- kew (vic.), women's clothing, weir collection, peignoirs

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Late Victorian highly remodelled black silk bodice with pleated silk to neck. The bodice has distinctive sleeves in two sections, the lower part constructed of black lace. The bodice has an original arm pad with makers name in it.fashion -- melbourne -- 1880s, bodices, women's clothing, netta fuller

Patience (Pat) and Ruth Cornell, c1914 - 2 of the daughters of Frank Cornell and his wife Blanche Annie Parsons Cornell. Frank Cornell was first listed in Surrey Hills in 1906 at (6) Lorne Parade. In 1908 the listing gives his occupation as a clerk. He was born in 1869 in Richmond, Victoria and died 15 April 1917 in Surrey Hills. Blanche Annie Parsons Cornell (nee Bracher) was born in 1869 in Hokitika, New Zealand; she died on 21 January 1940. Children were: Gilbert Frank Cornell (b1894, Hawthorn; d1908, at Frankston beach, an accidental drowning) Ruth Amelia Cornell (b 1899, Kew; d 29 May 1977, Kew) Lorna Amy Cornell (b 1906, Surrey Hills; d unknown) Patience Blanche Cornell (b1907, Surrey Hills; d unknown. Frank and wife Blanche are buried in Box Hill Cemetery - CE-*-1058. Ruth Amelia married David Ellis, c1922 in Surrey Hills. David was a dentist who practised in Surrey Hills for many years; practice located in Windsor Crescent. Patience (Pat) Blanche married Norman Henry Brewer (1893–1975) in 1931 in Surrey Hills. Frank became a director of Buckleys & Nunn. The photo was taken in the garden of Felix Lloyd, Managing Director of Buckleys and Nunn. His home was in St Johns Avenue and was bought by Ormiston Girls School.A black and white photograph of two young girls dressed alike in long sleeved cotton dresses with large lace collars and a belt just below their waists. They are also wearing sun hats and knee-high dark coloured socks.(miss) ruth cornell, (miss) pat cornell, 1914, clothing and dress, uniforms, (mr) felix lloyd, buckley and nunn, st. johns avenue, surrey hills, ormiston girls school, (mr) frank cornell, (miss) patience cornell, (mrs) blanche annie parsons cornell

This gown was the winning entry in the Mannequins and Models Guild's Gown of the Year competition, held at the Chevron Hilton Hotel, Melbourne in November 1963 in aid of the Torch Bearers for Legacy. Designed by Lorna White for Hartnell of Melbourne and modelled by Marien Brindley, the dress’s construction is reputed to have consumed 300 hours, with the finished dress weighing 6 kilograms and costing around 3000 pounds. Evening gown made of cream ribbon lace and a rich latte-colured satin; applied beading. Cut with a high waist, short sleeves and deep V at centre back. Boned interior bodice. Centre back zip and train. gown of the year, hartnell of melbourne, lace, beading, ralph samuel, lorna white, marien brindley

The bridal coat was part of a wedding ensemble worn by Peg Young in 1939. The final two images in the carousel include a wedding photograph of Peg and her husband. A letter accompanying the donation on file describes the outfit as: "Rosemary [Peg] looked very nice indeed in a simple white satin dress that made her look very tall and slim. It had trimming round the neck, down the front and on the shoulders that looked like quilting, with a little gold in it, and she wore gold slippers and a lovely lace veil, lent by Auntie Nellie. She carried a large sheaf of bright red roses." Mrs Peg Young, a Kew resident was at one stage President of the Children's Book Council of Australia. She was also a member of the Kew Historical Society. The coat was donated by her daughter, Mrs Helen Tutt.Floor-length satin bridal coat with a buttoned full length opening at the front extending the length of the garment. The front of the coat is hand-quilted in an abstract design of arabesques. The buttons are covered with the same satin fabric as the coat. Accompanying the dress there is a photo of the couple on the steps of the unnamed church in London and a letter describing the event, including the coat.Transcript of accompanying letter: Red Cottage Mallory Road Hove 4 Sussex England July 21.39 Dear Faith I have been up to London today to Rosemary's (Peggy) wedding. Though you might like to hear about it. To my mind the one sad part was that your Uncle Bertie and your adopted sister could not be there. Daisy (Margaret) has been simply splendid in all she has done. Rosemary looks very nice indeed in a simple white satin dress that made her look very tall & slim. It had trimming round the neck down the front & on the shoulders that looked like quilting, with a little gold in it, & she wore gold slippers & a lovely lace veil lent by Auntie Nellie. She carried a large sheaf of bright red roses. Her two bridesmaids were Mary & Brenda. They wore the same bridesmaids dresses as they wore at their sister Peggy's wedding a few weeks ago. They were very pale blue satin, simply made, with long skirts & they had lovely little flat bouquets made of the heads of all sorts of flowers out in the gold holder which I am sending you & tied round the handle with gold ribbon. They had wreaths of the same flowers in their hair. Nevil gave Rosemary away."costumes, wedding dresses, wedding coats, peg young, helen tutt, fashion design, fashion -- united kingdom, fashion -- 1930s

The women of the pioneer families were very skilled at dressmaking , needlework and lace making. The early settlers had to be self reliant and made and repaired their own clothes, haberdashery and furnishings These tools were used to make crochet work doilies, antimacassars, and add decorative work to lingerie, collars, cuffs, baby clothes, bonnets and bibs.5 assorted steel crochet work hookscraftwork, crochetwork, needlework, early settlers, pioneers, moorabbin, bentleigh, cheltenham, steel manufacture

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