Heavy white cotton lace dress. High round neckline with cotton drawstring ties. 6cm lace collar with scalloped edged. 7cm cap lace sleeves with fine scalloped edges. Casing at the waist with cotton ties to back. Back opening from neck line to 9cm below waist. Cotton tie at neckline at back. Two x 1cm white buttons spaced at 6cm and 12cm below neck. Hemmed edges of lace form the edges of the back opening. Two machine stitched button holes on RHS with 4.5cm layer of lace covering the button holes. LHS of opening is plain. Lace skirt made of single piece of lace fabric gathered at the waist. Seam at centre back. Skirt 31 cm. Scalloped edges dipping to V shapes. 5mm cotton ties at waist and neck go through metal ties. Machine stitched.costume, children's, infant boy's dress

Mount Beauty is a tourist destination and this 'hanky' may have been a souvenir.Since the completion of the Kiewa Hydro Electric Scheme Mount Beauty has become a tourist destination. The 'hanky' depicts the snow on the mountains and nature as an advertisement for visiting the town and its surrounds.White cotton handkerchief with lace edges and a blue print in one corner. The blue print is a picture of mountains with snow and with wattle trees in the foreground and with the words Mount Beauty Victoria.mount beauty tourism, handkerchief

Baby's long cotton nightdress.Bodice has diagonal overlay of lace and diagonal pintucks. Gathered skirt attached. White cotton tie, (lace at ends) to tie at rear. Back opening. Tie at rear neckline, one covered button on bodice - 4 rows of tucks at hemline. Old Box 346.costume, children's, christening long gown

Camisole. Cream coloured cotton with crocheted lace insert yoke and straps. Cream silk ribbon threaded through square neckline. Cotton tape threaded through casing at waistline.costume, female, underwear

Cream Georgette and voile revere collar trimmed with cream chemical lace. Cotton tape ties with centre from hook and button loop. Back is voile and front and collar are georgette.costume, female

19th Century Reticella lace - probably Italian.White cotton Reticella needle lace edging. V-shaped pickets are on one end and along one edge. Centre design has leaf-shaped tallies and circle shapes.Nillace, italy, reticella, handmade

Beige coloured 3cm plastic platform sandals. Plastic lace uppers. Cotton ties around ankle. Synthetic lining.Synthetic Made in China.costume, female footwear

Machine made "Chemical" lace motif. Cotton thread embroidered onto a base fabric which is later dissolved away.

Machine made "Chemical" lace edging. Cotton thread embroidered onto a base fabric which is later dissolved away.

This handmade women’s combination undergarment features hand-worked lace panels and trim, and fine pintucks. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The design of this combination undergarment, or ‘combination’, includes a chemise attached to a pair of drawers or bloomers. The combination is divided, or bifurcated, from the waist to the crutch 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. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women’s white cotton and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has a front button closure and is trimmed with hand-worked lace panels on the bodice and lace edging around armholes, the neck, and the bottom of the legs. The left and right sides are divided from the waist to the crutch.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, combination undergarment, all-in-one underwear, combination, ‘combinations’, one-piece underwear, one-piece undergarment, chemise and bloomers, combination chemise and bloomers, divided, bifurcated, split, chemise and drawers, women’s underwear, ladies’ underwear, undergarment, women’s clothing, women’s fashion, lingerie, under-structure, 1900s undergarments, 19th-century undergarment, 20th century, handmade clothing, handmade lace, hand-worked lace, paton family, trefnant, yangery, lady's combinations, ladies combinations

Belonged to Margaret Ord. She grew up at 31 Drummond Street, Blackburn, in 1946Porcelain head, hands, & half leg. Doll, shoes & socks painted, also painted face.Cotton stuffed body to knees. Long nylon hair. Dressed in black floral cotton dress, lace trimmed with long sleeves. Matching bonnet & cream calico apron. Probably a copy of a much earlier doll.?theatre (use performing arts), toys, dolls

White cotton drawers with crocheted lace insets and border. Pink ribbon threaded through lace. Lace known as torchon lace.costume, female

Clothing. Camisole. Short camisole, square neck, crochet lace top with yoke, cap sleeves front and back of crocheted lace. Gathered cotton section attached to crocheted yoke. Tie at back. Casing at hem with 1 cm cotton tape tie. Crocheted lace yoke made up of eight pieces stitched together. .costume, female, underwear

This cream cotton camisole reflects a style of women's undergarments common to the turn of the century. It was possibly made by the owner and repair work is suggested by the mismatched buttons.This item is significant historically and socially as an example of women's undergarments at the turn of the century.Cream cotton camisole, broderie anglaise lace around neck, fine pin tucks on either side of front and four mismatched buttons.great ocean road, flagstaff hill maritime museum & village, flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, camisole, pin tucks, turn of the century, ladies camisole

Machine made lace "Chemical" oval lace motif. Cotton thread embroidered onto a base fabric which is later dissolved away.

Trousseau of Mrs. A. Mitchell (1877)White cotton drawers with handmade lace and insertion. Long legs with lace at the hem and side placquet openings with a tie at the waist and buttons on waist.drawers (underpants), underwear

Part of Graham Collection, donated by the Family of Misses Mary and Edith Maude Graham, of 4 Blair Street, Portland.White cotton camisole with lace edging at neck, arms and front. Lace inserts over breast area. 4 covered buttons on front opening. 1 modern button at top. 1 uncovered button.Front: Red EMB label inside front. Initials F.M.G.clothing, underwear, womens history

The dress was probably worn at a christening in one of the Kiewa Valley churches (denomination unknown). The importance of the event to family and friends is shown by the quality of the garment. These style Christening dresses were often worn buy several children of the one family , both boys and girls. Other items such as hand made bonnet may have been part of this out fit. "KVHS 0123" The quality of the garment and the fashion style it represents is both historical, not only the time of its manufacture but also of the fashion in that era. It has christian religious implications and values of the time frame of regional life in the early1900s. Girl's white dress (christening event), fine cotton with lace border "broderie anglaise" with a row of lace flowers mid skirt "battenberg".This lace is also inserted in centre front panel and sleeves. Scolloped cotton is also on sleeves, neck and front. Pin tucked skirt. Opening back with drawstring fastening at neck and waist. Short sleeves and machine stitched children clothing, lace-battenberg and broderie anglaise, female clothing, dress, cotton, christening, dressmaking

Camisole. Ivory coloured fine cotton with lace inserts. Short sleeves edged with lace. Round neck. Front opening with three buttons. Small peplum. Cotton tape tie around waist. Two looped panels of lace inserted into each side of front. One looped panel of lace in each sleeve, Fabric probably was once a tufted voile.costume, female, underwear

Laundered 30/10/1999White cotton christening gown with short sleeves. White cotton broderie anglaise lace in rows on bodice and inset near hem of dress. Four rows of pin tucking above and below inset of lace in skirt.costume, infants'

A remnant of pin-tucked cotton and crochet lace fabric, cut from another article, cylindrical in shape with machine stitching joining the edges. There are two bands of crochet lace fabric, the lower one with scalloped edging.favaloro, pin-tucks

Two half circle shaped knitted with mercerised cotton (very fine) with lace peaked edge. Long straight piece joining the two ends together.costume, female

This item is undated, but style suggests 1850s to early 1900s. History of item to be checked.White cotton sleeveless bodice with lace trim around neckline and armholes. Two inverted 'V' shapes of lace in front. Slight frill at lower edge.underwear, costume

Textiles. Large pieces of linen, 119 cm x 96 cm edged with a border, 8.5 cm deep of cotton lace, matching the lace of the bedspread. This lace has a corded effect, outlining 'finger shapes' of floral pattern, alternating with an open chain stitch, looped effect. Like the bedspread, the pillowcase is embroidered with the initials in satin stitch and some cut work embroidery. A smaller rectangle of linen fabric is stitched to the back of the fabric, to hold a pillow in place. Measuring 81 cm. x 48 cm. This envelope is tied with three ties of cotton tape. It could be presumed that these pillow slips would be a decorative feature of the bed linen. As on the bedspread, lavishly embroidered initials may be the initials of Caterina (Ina) Lamaro, who married Giovanni (Jack) Favaloro, or Caterina (Kitty) Lopes, who married Salvatore (Salve) Favaloro.textiles, domestic, two embroidered and lace pillow cases

This wedding gown was worn by Mary Ann Lawrence at 8.00am on 5 January 1842 at St John's Church, Launceston, when she married Francis Henty. The couple were to catch the tide on their way to Portland two hours later. Francis Henty was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Mary Ann Lawrence's grey silk wedding gown has a v-line waist and a partly smocked bodice. It is lined with muslin throughout. It has hand-tatted cotton lace and handmade piping around the neck and bodice and pleated short sleeves. There was originally trimming on the skirt which was removed at a later date. Orange blossom made of chamois and tiny coiled springs originally decorated the neckline. The outfit was complemented by a bonnet to which a Limerick lace veil was attached. Measurements (mm): Girth - Neck 914, Chest 812.8, Waist 660.4, Cuff 330.2, Hem circumference 3200.4. Vertical - Front neck to hem 1270, Front waist to hem 1016, Back neck to hem 1320.8, Back waist to hem 1041.4, Sleeve length 114.3. Horizontal - Neck to sleeve head 50.8, Chest back 406.4, Underarm to underarm 406.4.mary ann lawrence, francis henty, wedding dresses, fashion -- 1840s, women's clothing

This appears to be a "special" petticoat, one that could have been made as part of of a trousseau in preparation for marriage.This item is an example of the skills shown by the women of Orbost in the late 19th to early 20th centuries.A full-length fine cotton petticoat with lace around the neck and bodice and about 50cm of lace at the bottom of the garment. A pale blue ribbon is threaded through the lace. This garment appears to be be hand-made rather than mass-produced.petticoat hand-craft dressmaking womens-clothing

Veil worn by Margary (Madge) Isabelle Brydon. Was later worn by many (about 15) local ladies who lived in the area of Rushworth. Madge's daughters, Molly and Isobel both wore the veil at their weddings in 1938 and 1945. Donor is granddaughter of bride. Veil made by bride and described in the Waranga Basin newspaper at the time. Margary (Madge) Brydon married Edward (Ward) Sprunt at the bride's family home in Carag Carag, Victoria on 10th April 1912. Veil also worn by Mary (Molly) Leith at her wedding to William (Bill) Paynter on 18 January 1932 at Stanhope Presbyterian ChurchCream 1912 cotton net Princess veil. Lace is handmade tape and cotton embroidery. See Also NA3494 -wedding dress, NA3496 - shawl and photograph NA3498costume, female ceremonial