This knitted and crocheted three piece dress was made by Jean Gorsuch in 1960. The wool was purchased from the Treasure House, a wool, toys and childrens clothes shop in Station Street, Mitcham. This was a very fashionable at that time as knitted and crocheted garments were making a comeback. This was also one of the first lurex thread wool.Knitted and crochet three piece costume of a jumper, jacket and skirt. Colour Old Gold.costume, female

Small figure of ballerina with pink top, tulle skirt and red shoes. Arms raised.ornaments, ceramics

Colour photograph. Band in hall. Big arches. Numbered. Woman in check skirt. Keyboard.entertainment, music, musicians

One of two underskirts accompanying a christening ensemble. First worn by William Thomas (Tom) Poulter in 1858, eldest surviving child of Mary and James Poulter. Used by generations of Poulter & Chapmans. The robe is reliably dated to 1858 but the two underskirts, shawl & bonnet may have been added to the ensemble at a later date.Early christening underskirt related to early Kilmore families.White cotton christening underskirt with pintuck & broderie anglaise detail to skirt. Excellent condition.poulter, chapman, christening

Worn from late 1800's to early 1920'sWhite lawn petticoat with long lace skirt. Hand crocheted around the neck and armspetticoats, underwear

Clothing. Women's white full length skirt of cotton fabric with scattered square spots. A-shaped skirt of three horizontal sections with three rows of decorative stitching below each horizontal seam. Shirred elastic waistband (4.5 cm).costume, female, women's white full length skirt

Belonged to Rosa McCall (nee Vlass)Skirt in batik-printed cotton. Unbleached ground and two shades of brown (tan and rust) form floral and "butterfly" design. Skirt is bias cut in segment of large circle, with no seams or gathering. It crosses in front and fastens with two long ties.Printed inside waist: "Genuine wax batik 100% cotton". Tag sewn to waistband: "Genuine batik made in Indonesia 100% cotton".costume, george evans collection

Tea cosy in the form of a crinoline lady china doll to waist, crochet skirt in colours of green, mauve, pink,yellow, and cream. Green ribbon at back of dress and yellow pom-pom on front of dress. A slit in the skirt for spout and handle.domestic items, table setting, handcrafts, crocheting or crochet work

'Stitches' wine coloured polyester ladies suit with mock Astrakhan collar and cuffs.5 black buttons down front closing. 2 mock pockets.Straight pencil skirt with kick pleat on back seam. Polyester silk lined skirt.'Stitches'costume, female

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Tan/Rust-coloured silk bodice and skirt. The silk used in the garment is self-patterned with a leaf design. The bodice has extensive gold and silver coloured glass beading. The silk used in the sleeves of the bodice and the skirt is badly degraded/‘shattered’.australian fashion - 1860s, women's clothing - 1860s, dresses - 1860s, shattered silk

This suit was tailor-made for Latvian dancer, choreographer and dance teacher Vija Vetra, who lived at the Old Hall, 93-95 Bay Street, Brighton and ran a dance academy at 97 Bay Street during the late 1950s and early 1960s. Born in Riga, Latvia in 1923, at the age of sixteen Vija ran away from home in order to study classical, character and modern dance at the Vienna Academy of Music and Performing Arts. She spent several years performing on European stages. When Latvia was annexed by the Soviet Union in 1944, more than 100,000 Latvians fled, seeking refuge in neighbouring countries. Vija's sister, mother and aunt were among them, managing to join her in Vienna. The following year, all four had to flee again when the Soviets moved into Austria. Escaping to Bavaria, they spent three years in displaced person camps before emigrating to Sydney as refugees in 1948. Vija found success as a dancer in Sydney. She toured Australia and New Zealand with the Bodenwieser Ballet, formed a Latvian folk dancing group and established a dancing school. By the mid-1950s she had gained recognition as a recitalist in her own right. She developed a passion for Indian classical dance. In the late 1950s she moved to Victoria. She opened a dance school in Bay Street, Brighton, while continuing to perform on stage in productions such as the musical 'Kismet' and the ballet 'Corroboree'. In 1959 she starred in the four-part live ABC television program 'Music and Dance'. She left Australia in 1964 for a tour of the United States and Canada, ultimately settling in New York City. Interviewed in the 'ABC Weekly' in 1957, Vetra described her taste in clothing as minimalist, saying she preferred to own as few clothes as possible to save the trouble of deciding what to wear: "And no bows or extravagances, but always a simple line."Two-piece women's suit made of maroon corded silk; comprising fitted jacket (.1) and straight skirt (.2). Jacket fastens with one large black faceted glass button. Jacket lined with pink satin; skirt unlined. vija vetra, migration, brighton, refugee, dancer, 1940s

Main side is red backing with rampart lion embroided with Victorian Scottish Regiment and at the base Nemo Me Impune Lacessit. Obverse side is of MacKenzie silk tartan embroided with Ian MacKenzie memorial. Nemo Me Impune Lacessitpipes and drums

1870s women's fashion placed an emphasis on the back of the skirt, with long trains and fabric draped up into bustles with an abundance of flounces and ruching. The waist was lower in the 1870s than the 1860s, with an elongated and tight bodice and a flat fronted skirt. Beige coloured silk top with narrow mauve stripes. The top has a piped mandarin collar. The top has satin trimming. women's clothing, fashion - melbourne - 1870s, bodices

Max Mader was a German internee in the Tatura group of internment camps during WW2. Black and white photograph of a man sitting between two girls with trees in the background. He is dressed in a dark suit. Girl on left dressed in a light coloured skirt and jacket. The girl on right is in a dark skirt and light jacket. Photograph is on a foam backing.max mader, german internee, tatura group internment camps

This Netball uniform from circa 1986 was worn by a girl named Rebecca when she attended the Tottenham North Primary School. Tottenham North Primary School was opened on 29 May 1953 and was built on a South Road, Braybrook site purchased in 1929. After a fire in February 1961 the pupils were sent to the Powell and Curtin Street schools in Yarraville, and to the Maidstone and Sunshine East schools. The new building was officially opened on 22 August 1962 by A. McDonell, Director of Education, and it had sixteen classrooms, an art/craft room, and an assembly hall. Sporting achievements by the pupils included the 1963 football premiership and the 1968 cricket premiership. Over the years it has been called Tottenham Primary, Tottenham Crossing Primary, and Maidstone Primary. The different names resulted because of mergers with other local primary schools as the number of primary aged children in the Braybrook and Tottenham area changed. The school on South Road is now named Dinjerra Primary School. Dinjerra supposedly means 'out west' in the dialect of the original indigenous people of the area. Dinjerra Primary School is now the only neighbourhood government primary school in Braybrook Tottenham. The above information was sourced and compiled from: 1. 'Vision and Realisation - A Centenary History of State Education in Victoria - Volume 3', Education Department of Victoria 1973. 2. The Dinjerra Principal's website article at: http://www.dinjerra.vic.edu.au/91/Message-from-the-Principal.The netball uniform serves as a historic reminder that a school named Tottenham North Primary School once existed. The uniform also provides us with information of the colours used on these types of sports uniforms, and of the design of the School Logo.Two items of Netball Uniform. (a) Skirt - Maroon coloured wrap around sports skirt. (b) T-shirt - Yellow, Size 14 'Ryder' brand children's T-shirt, with maroon coloured triangular shaped School Logo printed on the front.TNPS. TOTTENHAM NORTH P.S. 4703 - (Printed inside triangle)sports uniform, netball skirt, netball t-shirt, tottenham north primary school, south road braybrook, tottenham primary school, maidstone primary school, tottenham crossing school, dinjerra primary school, tottenham north state school, state school 4703

Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Long silk taffeta skirt made of patchwork silk pieces/panels with a matching silk scarf. The patchwork panels are in shades of pinks, purples and blues. The skirt is secured with clear plastic press-studs. A narrow internal border of lace is attached to the basque.grace james, women's clothing, australian fashion 1969-1988, dressmakers - surrey hills (vic), fashion design, fashion -- 1980s

Long skirt, with train in gold silk faille fabric. Fully lined. Stiffened ''cheesecloth'' type of fabric. Apart from the cream 3.5 cm wide petersham band at the waistline, the skirt is completely hand stitched. This band is possibly a later addition, as the waistline is badly damaged, but does show remnants of silk fabric as used in the lower skirt. Skirt front is plain, with one knife pleat on either side. Back of skirt is tightly pleated, with both knife, and one double box pleats. Skirt back extends into a train. A 28 cm deep frill around the hemline of contrasting, but same tone of fabric - part lighter, with a woven stripe (14 cm deep) a 1.2 cm darker with woven stripe, a 10.5 cm section with a geometric woven pattern, and a 2.5 cm striped section. This band of different tones, is lined with darker gold silk. A 31 cm long overlapped placket at left side seam.costume, female, victorian skirt with gold silk faille

Uniform re F.O Catherine W Sewell WAAF. Refer Cat No 252.2.1) Jacket, Heavy Cotton, Navy, Black Buttons .2) Skirt, Heavy Cotton, NavyJACKET - CHEVRON LOWER SLEEVE(L) RANK BAND BOTTOM OF EACH SLEEVEuniforms, womens, raaf, ww2

Suit owned by donor - Valda Arrowsmith and was worn to many City of Nunawading official functions.1980 Burgandy wool women's pleated skirt and three buttoned jacket. Jacket fully lined.Fletcher Jones Australia Finest Clothingcostume, female

Cream satin petticoat. Shoe string straps with skirt cut on the bias. Press studs at back.costume, female underwear

White cotton short sleeved tennis dress with collar and pleated skirt. Materials: Cotton, Metaltennis

Black and white photograph of 16 ladies, posed in knee length skirts and woolen club blazers.Back Row left to right Kath Kelly – Mrs Edmond – Mrs Evan Jones – Sis Wall – Edna Edmonds – Mrs Gibbons – Mrs Jenkins – Janet Kermond. Front Row margaret mcdonald – rita kermond – marie powell – eunice jessen – doss edmonds – jean duggan – isabella macnamara – mars edmond., kath kelly – mrs edmond – mrs evan jones – sis wall – edna edmonds – mrs gibbons – mrs jenkins – janet kermond., ladies rowing, ladies rowing warrnambool, ladies rowing club, hopkins river, warrnambool rowing club, warrnambool ladies rowing club, city of warrnambool rowing club, warrnambool rowing club

Part of a selection of garments knitted by ‘Tina Knitwear’. Tina Knitwear was a successful made to order knitwear business in Brighton from the mid-1960s to around 2010, run by Assunta and Franco Liburti. This garment was owned and worn frequently by Assunta herself, as part of an ensemble. Daughter Melissa Persi writes: Our parents Assunta (Mum) and Franco (Dad) Liburti ran a successful made to order knitwear business in Brighton from the mid-1960s to around 2010. Assunta was affectionately known to her family as Assuntina, therefore the business was named "Tina Knitwear" after her. Assunta and Franco were born in the beautiful seaside town of Terracina in Italy in 1933 and 1930 respectively. As was so common in Italy in the 1950s, Assunta who was in her late teens and early twenties learnt the intricate skills of machine knitting, dressmaking and pattern making. Franco on the other hand, learnt the building trade with his 2 brothers and specialised in bricklaying and tiling. As was so common after the war, Assunta and Franco yearned for a better life so they decided that they would get engaged and then migrate to Australia to be married and raise their family in Australia, a land of much opportunity which they no longer felt their beloved Italy held for them. Assunta migrated to Australia first in 1957 and later Franco joined her in 1958 where they were married. For the first few years, Franco (also known as Frank) worked as bricklayer /tiler on buildings such as the Robert Menzies building at Monash University in Clayton and various buildings in the Melbourne CBD. Assunta on the other hand put her machine knitting skills to use working in factories doing piece machine knitting for various knitwear companies. The hours were long, the conditions were difficult, and travel was onerous without a car. After their 2 older children were born, it was decided that dad would leave the building trade and they would start their own made to order knitwear business. That way they could work from home and raise their family together. Mum taught dad everything he needed to know so he could operate the knitwear machinery. They purchased COPPO knitting machines from Italy and a Linking machine from Germany. Initially they had a knitwear shopfront in Bay Street Brighton where a store assistant would take the orders and client’s measurements and Assunta would then make the garments from a small workshop in their home. Unfortunately, the assistants were not skilled dressmakers and often measurements and orders were incorrectly taken. Assunta being the perfectionist and highly skilled machinist that she was, decided that she needed to oversee the entire process from meeting the client, to taking their order, right thru to the fittings and completion of the garment. It therefore made sense that they should close the shop front and run their business from their own home in Brighton and hence “Tina Knitwear” was born. Together, for more than 40 years they ran their very respected and successful business and were well known in the Bayside area. They specialised in made to order knitwear for both men and women using mainly pure wool (from Patons, Wangaratta Mills, Japan and Italy) but also lurex and estacel. Over those years, many of their clients became their close friends. It wasn't unusual for clients to come to order garments and then end up in the kitchen chatting over a cup of Italian espresso coffee and homemade biscuits. Some of their clients were especially memorable and became lifelong friends. Mrs Connell was a dear friend of mum’s, each year she would buy tickets for the “Gown of the Year” fashion show. She would insist on taking Assunta and her 2 daughters so that we could see the latest fashions. Then there was their dear friend Ms Griffiths. She had been a Matron nurse at the Queen Victoria Hospital when she met my parents in the 1970s. She returned to live in New Zealand in the 1980s but came back to Melbourne every year to stay for 2 weeks with the sole purpose of visiting my parents (she adored them) and order garments. For those 2 solid weeks, mum and dad would only knit for Ms Griffiths and she would go back to New Zealand with at least 5 or 6 new outfits. I actually think she enjoyed mum’s homemade pasta almost as much as her new clothes! Over the years, my parents learnt to speak English very well given that majority of their clients were not Italian speaking. Their oldest child John born in 1960 learnt to speak English with the help of those clients who were such a big part of our childhood. Mum and dad always went above and beyond to ensure their clients were satisfied. Mum was an absolute perfectionist and it showed in her attention to detail and the quality of their beautiful work. You only need to look at the garments that have stood the test of time or speak to their clients to know that this is true. Their clients would always comment on how well their clothes would last and much of their clients came via word of mouth and recommendations. Occasionally there would be disagreements because mum had found an error in dad's knitting (either a wrong stitch or a sizing mistake mainly) and would ask him to redo a piece, he would argue back saying that it was fine, but we always knew who would win the argument and that the piece would get remade! Similarly, we recall discussions where mum would ask dad to find a particular colour of wool in the garage where the stock was kept. He would try to convince her that they were out of stock of that colour and that the client should choose a different colour. She would insist they had it and then after hours of searching, he would return into the house sheepishly holding the wool! Our childhood is full of beautiful memories of mum and dad always being present, clients coming and going, mum humming her favourite songs as she worked often late into the night and sometimes, we even fell asleep to the hum of the machinery. They put their heart and soul into "Tina Knitwear" and took pride in providing only the best quality garments for their clients. In Italian there is a saying “lei ha le mani d’oro” which literally translated means “she has hands of gold”. Franco enjoyed his work but for Assunta, it was more than just work and there is no better way to describe her skills, passion and dedication to her machine knitting… she truly did have “hands of gold”. We will forever be grateful that our parents’ life journey gave us the opportunity to live in a home filled with creativity, dedication and passion, amazing work ethic and mutual respect, lifelong friendships and a lifetime of love. Forrest green skirt shaped with darts and has an elastic waistband. Has a brown silky lining. knitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community