Classical Ayrshire embroidery worked on fine lawn, with decorative "V" shaped bodice, winged and embroidered skirt and finely embroidered, scalloped lawn edge. Sleeves are 4 tiered, embroidered and pleated.embroidery, ayrshire work, christening robe, late 19th century, scotland

Fine linen Ayrshire Baby's Bonnet, classical style with floral design brim border in padded satin stitch and needle lace filling. The design also includes a great number of small embroidered spots. The back has a decorated circle with a needle lace filled star in the centre surrounded by a buttonhole scallop border.embroidery, bonnets, ayrshire work, late 18th century, scotland

Classic Ayrshire bonnet which has a lace frill and rosette which were added at a later date when more decorative bonnets were in style.embroidery, ayrshire work, bonnets, mid 19th century, scotland

Classical Ayrshire embroidery. Very fine design covering the whole bonnet. Decorative circle at the crown and needlepoint fillings, all different in some of the flowers.embroidery, ayrshire work, scotland, bonnets, early 19th century

Worn by 4 generations of donor's familyLinen fabric with the background entirely covered in fine design worked in satin stitch and tiny eyelets. Traditional Ayrshire circle at the back with a needlepoint filling. Also edge with detached buttonhole lace edging.embroidery, bonnets, late 19th century, scotland, ayrshire work

Lawn, made in the classical style with a small circle of embroidery on the back of bonnet. The main area has a band with tucks and fine floral embroidery.embroidery, ayrshire work, bonnets, mid 19th century, scotland

Fine white lawn with classical Ayrshire embroidery with small circle at back and delicate sprigged ground with two bands along the edge with draw straings. The double machine-lace frill was probably added later.embroidery, ayrshire work, bonnets, late 19th century, scotland

Made of lawn with a border of flowers in satin stitch and buttonhole stitch. Fine embroidery in classical style.embroidery, handkerchief, mid 19th century, scotland, ayrshire work

Made of fine lawn with excellent workmanship and design for the narrow dainty border of leaves. Satin stitch, needlepoint fillings, eyelet holes and an abundance of fine seeding are included.embroidery, ayrshire work, handkerchief, mid 19th century, scotland

Handkerchief belonged to one of the Strathmore family.Fine white linen in the classical Ayrshire style. Needlepoint lace fillings in a border of satin stitched leaves and flowers. Hem has 2 cm band of drawn thread work, edged with fine lace.embroidery, ayrshire work, scotland, mid 19th century

Dated by donor as 1800.Muslin with fine powderings on the background, scalloped edge and some tiny sprigs of berries, embroidered in padded satin stitch and eyelet holes.embroidery, collars, early 19th century, scotland, ayrshire work

Fine muslin, white embroidery. Floral sprigs with needlepoint fillings, and a wide border of rows of leaves. Edge is scalloped buttonhole.embroidery, ayrshire work, scotland, late 19th century

Traditionally worked using white thread onto a fine white muslin, Ayrshire embroidery is recognisable by stylised floral motifs with areas of filled in cutwork. Developed from Dresden embroidery (a form of pulled work) and tambour embroidery, it uses a range of stitches, including satin stitch, chain stitch, eyelets and buttonhole edging as well as a range of lace filling stitches. The technique became popular in the early nineteenth century, when the previous fashion of elaborate gowns with hooped skirts was replaced by looser, simpler white cotton muslin garments. Although the elegant simplicity was favoured, women also desired some decoration. However, looms of the time could not create complex designs, so women turned to hand stitching.Using cotton muslin woven in Ayrshire, local women and girls would complete the intricate whitework to help supplement their family income. Mainly produced at home, Ayrshire whitework garments would be initially completed by one person. However, as the technique became more popular and the industry developed, to ensure high quality work, a piece would be passed around so that each embroiderer could focus on completing the stitches they specialised in.It is believed that the designs and motifs used in Ayrshire whitework were inspired by lace filling stitches found within an inset in a French Christening robe that was bought to Scotland by Lady Mary Montgomery, who then lent it to Mrs Jamieson of Ayr. She copied the stitches used within the robe and taught them to her outworkers, and she also produced plain muslin that was stamped with a water-soluble blue ink design that made embroidering the designs neater and more efficient. Ayrshire work became popular quite quickly, and it was incorporated into collars, cuffs and caps as well as children’s clothes and bonnets. Pieces were exported across Europe and the British Empire. As the decades progressed, technology advanced, resulting in looms that could incorporate decoration into the weave of the cloth, reducing the need for hand embroidered Ayrshire whitework.A triple frill of Buckingham lace, followed by two bands of fine embroidery - eyelets and satin stitch, and tucking, with small circle at crown.embroidery, whitework, bonnets, mid 19th century, scotland, garments

Donated by Mrs. J MouldsSheer linen with front band embroidered in a floral design of flowers. Satin stitch, needlepoint fillings and tiny eyelets. Scatterings of flowers on body drawn into a circle also embroidered.embroidery, 19th century, france, white work, bonnets

Fine white cotton with sprays of flowers in the corners. Continuous band of open work, and an edge of scalloped buttonhole with satin stitch dots.embroidery, ayrshire, scotland, mid 19th century