In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

Hobnailed boots are boots with hobnails (nails inserted into the soles of the boots), usually installed in a regular pattern, over the sole. They also usually have an iron horseshoe-shaped insert, called a heel iron, to strengthen the heel, and an iron toe-piece. The hobnails project below the sole and provide traction on soft or rocky ground and snow, but they tend to slide on smooth hard surfaces. They may also have steel toecaps. When Army boots were made 100% of leather, to get some grip on the soles hob-nails were hammered into them. These boots are an example of the foot wear worn by the eA dark brown leather pair of very heavy hob-nailed boots. They have nails inserted into the soles of the boots in a regular pattern, over the sole. The toes and the heels have been strengthened with metal. The boots are made to lace up at the front.boots-hobnailed footwear

RAAF Publication No 175 June 1941. Blue buckram hard cover book loosely bound & held together by a shoe lace. Light blue binding, black printing, 110 pages. Illustrated with photos & examples of RAAF message forms.books-military/education/air force, w/t operators, raaf

Christmas Greeting Card: Embossed flap style Blue and white card. Blue lace and Ivy borders inscribed: Á merry Christmas with a poem. Hand written in ink is To: Emily From: Her Mother with best love. Box 625ephemera, mementoes, christmas cards, christmas greeting card

Small portrait of a lady standing beside a table with a large cloth on it. Her right hand is resting on the table. She is wearing a long, high neck dress with a lace collar and darker pieces added to the bodice. The skirt has five layers.The Parisian Photographic Company. 45 Ludgate Hill London. E.C.photograph, portrait, female, portrait of a lady, photo

9086.1 Large oblong cotton doily with lace circumference, 51cm long. 9086.2 Small round cream doily, 15.5cm in diameter 9086.3 Small fawn round doily, 11.5cm in diameter 9086.4 Fawn tatted doily, 15cm in diameter

Photograph - black and white. Portrait of a young family, mum,dad and baby. Male with a high neck collar and thin tie and moustache. Female, pleated top part, hair tied up on top of head. Baby all in white lace.Richards & Co., Ballarat.person, family, portrait of family, portrait - family.

Made and used by internees in Camp 31 Blue padded heart with initials "HB" on one side. 1 red heart. Both attached to small roll of blue felt by a narrow red leather lace. Small safety pin on the back of felt roll. Hand stitchedbrooch, felt, leather, camp 3, tatura, ww2 camp 3, costume, accessory, jewellery

Made for children of Camp 3 by German Officers.Dark brown, light brown and red leather, brown star. Red diagonal strip across front fixed to wallet with buttonhole stitch. Brown tab fastener, edge laced with brown leather. 1 pocket inside. Cream lining.wallet, leather, griffin h, camp 3, ww2 camp 3, accessory, helga girschik

GATHERING OF MEN AND WOMEN BEING PHOTOGRAPHED IN CLUNES TOWN HALL.BLACK AND WHITE PHOTOGRAPH MOUNTED ON GREEN MAT BOARD OF GROUP OF PEOPLE IN FRONT OF STAGE AT CLUNES TOWN HALL, LADIES AND GENTLEMEN DRESSED IN THEIR BEST CLOTHES. AUSTRALIAN COAT OF ARMS DISPLAYED. STAGE SWATHED IN OLD LACE AND MATERIAL CURTAINS.On Front: Hornby Clunesphotography, photographs, events and celebrations, town hall, advance australia

The full costume used traditionally by ladies in the 16th to 19th century AD. Now used in Greek dances, parades and theatrical performances as a traditional costume.Historical significance due to the variety of traditional functions it was used during the 1990'sLady's dancing costume Jacket, gold and silver embroidery around edges. It has orange lining of silk material, lace and linen frill sleeve. Whole costume is called "Vlahopoula". Velvet outer. Part "C" of a four piece costume.lady's costume, jacket, greek, βλαχοπούλα, γιλέκο, στολή

Cream viyella baby gown, smocked at front and at waist. Edged with cream cotton lace at neck and wrists. Decorative feather stitch on bodice, handmade button holes pearl buttons, 'jap' silk bodice lining, french seams throughoutcostume, infants'

White cotton tea cosy in half circle. Edged in pin tucked lawn with lace border. Double sided with butterflies embroidered in blue on one side with centre piece of crochet. Other side flowers embroidered in blue and crochet centrepiece.manchester, table linen, handcrafts, needlework

Victorian era child's nightgown collected in Europe by Nan Wagner in the 1970's.Victorian era child's nightgown collected in Europe.Victorian era child's nightgown is made of white cotton with a lace yolk and pin tucks at the hem. There is feather stitching at the lower edge of the yolk. The back placket has handmade buttonholes and pearl shell buttons completed with a rouleau drawstring at the neckline. childs clothing, victorian era, handmade, cotton

House built early 1900's by Don Mitchelson, brother of Leo Mitchelson, local builders.Colour photograph of timber dwelling at 11 Orme Street. Has hipped roof of corrugated iron, bull nose veranda across front, trimmed with wrought iron lace. Bait for sale notices at front fence. Lakes Entrance Victoriahouses, heritage study

Date made 14 May 1941Black and white photograph of St Mary's Church of England, Buchan, showing a small timber building painted white with gable roof. Steel frame bell tower beside church, wire lace front fence and gate. Buchan Victoriareligion, buildings

This petticoat was one of several items donated from the estate of Susan Henry OAM nee Vedmore (1944 - 2021). It is in very good condition and appears to be from the Edwardian era - early 20th century. A petticoat is a lady's undergarment - worn under a skirt or dress. They provided warmth, modesty and shape to the dress. In the middle of the 19th century, petticoats were worn over hoops, bustles or in layers. Petticoats varied according to the style of the outside skirt or dress. Plain petticoats tended to be worn with everyday wear whilst better dresses (party dresses or silk gowns) were worn with petticoats that often had more trim and embellishments. Edwardian petticoats had less volume than Victorian era petticoats and they had a "dust ruffle" or lining under a lace flounce. The "dust ruffle" protected the lace flounce and gave the petticoat more flare at the bottom, greater freedom when walking as well as saving the flounce (which was often made of finer material) from everyday wear and tear. Tucks are another feature of Edwardian petticoats - when the lace at the bottom became worn, it could be cut off and the tucks released. This extended the life of the petticoat. This petticoat features an intricate trim of broderie anglaise. Although broderie anglaise was a lace that could be made by hand, it was very time consuming to make. St Gallen was a city in Switzerland that had become known for producing quality textiles. At the beginning of the 19th century, the first embroidery machines were developed in St Gallen. Factories used embroidery machines but people also had them in their homes. They were able to produce broderie anglaise for export. By the early 20th century, machine made lace, fabric, ribbons etc. were being sold in drapers shops all over England and Wales to women who were making clothes and furnishings for their families. It is highly likely that the lady who made this petticoat brought the lengths of broderie anglaise already made to embellish and personalise her petticoat. 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.This item is an example of the needlework skills of women in the late 19th century - creating pintucks and adding 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.A white lawn petticoat with a 22.5 cm opening that fastens with 2 small buttons and a drawstring tie. It is decorated with two wide pintucks followed by two gathered frills (or flounces) - one decorated with three rows of narrow pintucks and a single row of broderie anglaise and the bottom frilled hem finished with 3 rows of broderie anglaise in a flower design. The two bottom frills are lined with plain white cotton fabric.flagstaff hill maritime museum and village, great ocean road, petticoat, lady's petticoat, undergarment, lady's undergarment, lingerie, edwardian petticoat, broderie anglaise, lace, machine made lace, hand sewn, machine sewn, draper's shop, susan henry oam, vedmore foundation

A capelet is a small cape, usually worn around a person's shoulders and often chosen to wear with an evening outfit. The design may include a hood, collar or even ruffles. Fabrics range from fur, leather, velvet and wool to shear silk and net. Trimmings include buttons, lace, ribbon, and tassels. A capelet was a fashionable garment from the late 19th to the early 20th centuries.Capelet with collar. White fur lined with white fabric. flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, capelet, cape, evening wear, fur garment, fashion, edwardian, victorian, white fur