Miss Bostock, Foundation member of the EGV, travelled to England and met with The Hon. Rachel Kay-Shuttleworth of Gawthorpe Hall. Rachel "cut" off many pieces from her extensive lace collection which were gifted to the EGV. A Brief History (Information from the work of the late Jean Dudding) About 1812 a French émigré, M. Drago and his two daughters settled in Coggeshall, Essex. Here they hired a room and began to teach the women and small children a method of decorating this net by using a tambour hook. Thus began the making of Coggeshall Lace (sometimes called tambour lace). Tambouring produces a line of chain stitches and originated in the Far East, where the workers used a round frame resembling a tambourine or drum. This they could grip between the knees, thereby releasing both hands for tambouring. Coggeshall workers used a rectangular frame and this type is still used today. Throughout the 19th century this tamboured net lace was made in the tambour rooms and cottages of Coggeshall, and also in the homes of surrounding villages. Lace manufacturers and lace dealers co-ordinated these workers by obtaining orders from London and elsewhere. Sometimes more sophisticated designs were introduced and these would be tamboured by the more proficient workers. Besides the designs, all the necessary net and threads would also be distributed to the lace workers. Liberty & Co., amongst others, were supplied with Coggeshall Lace. The fluctuations in prosperity of the tambour lacemakers were governed by many factors. Fashion requiring flounces and frills gave great encouragement but the invention of chain stitch sewing machines and of machine made laces imitating the hand made article, together with a deterioration in the quality of design meant hard times for the laceworkers. Just after 1900 there was a great improvement in the quality of Coggeshall Lace. This was due largely to the activities of two ladies, the Misses Spurge, who were the chief employers in the district. Their brother William was an art teacher who improved the general standard of design and also introduced some old Italian designs. The First World War resulted in a decline in the making of Coggeshall Lace. The workers found it more profitable to do tambour beading. In the 1930's a determined effort was made to revive the making of Coggeshall Lace, and three handkerchiefs were given to Princess Marina on her marriage (See below). Coggeshall Lace was made into dresses for the Queen, Princess Margaret and Princess Alexandra. This work was undertaken by three very proficient workers in Great Tey. Queen Mary also chose two lace dresses and a teacloth in Coggeshall Lace. It was hoped that this Royal Patronage would encourage a revival of the craft. However the financial return was too meagre and after the Second World War both net and threads disappeared. Today Coggeshall lace is made by some members of the Lacemakers Guild and is taught as part of the City and Guilds course. https://coggeshallmuseum.org.uk/lace1.htm White muslin, with sprays of roses in white satin stitch, surrounded by delicate tambour embroidery known as Coggeshall embroidery. Coggeshall being a town in Essex.embroidery, garments, whitework, england, tambour work, early 18th century

Flouncing - costume trim.Embroidered net. Flounce of machine made net with floral design worked in chain stitch. Could possibly be handmade but is more likely to be machine made.

Flouncing - costume trimmingCarrickmacross flounce - muslin applique on machine made net. Handmade including some embroidered net fillings and some guipure sections. The inclusion of embroidered flowers is rather unusual.

This flounce is the work of 5 sisters.Piece of white cotton fabric with a 25 cm band of Broderie Anglais, and a triple scalloped edge of buttonholing.embroidery, broderie anglais, flounce, late 19th century, australia

This cotton 1/2 slip with large lace flounce was made by a woman of the early settler families in Moorabbin Shire c1900 and shows the needlework and lace work skills . The Cotton 1/2 petticoat is an example of the dressmaking, and lace work skills of the women of the early settler families in Moorabbin Shire c1900Lady's white cotton 1/2 Petticoat cotton lace flounce, elastic waist and 2 bone buttons at side seam clothing, petticoats, underwear, crochet, brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork , bentleigh, lacework, moorabbin shire, dairy farms, fruit orchards

Laura and Bernard Ashley began printing fabric in their London kitchen in 1953. Commencing with head scarves and place-mats they gradually developed table-ware and bed sheets. In 1960 they entered the Fashion world with blouses and smocks . The ‘swinging sixties’ saw them in great demand for the feminine florals and flounces of the ‘maxi’ fashions and they opened in smart South Kensington, London. In 1970 they opened franchises in Australia, Canada, Japan, San Francisco that sold their range of fabrics, dresses and accessories. In 1980 home furnishings were added to the range. Laura died in an accident 1985, Bernard retired in1993 and the company is now Public Listed on Stock Exchange.‘Laura Ashley’ clothing, fabric and accessories were very popular in Melbourne in 1970’s.A lady’s white cotton half petticoat with crocheted flounce, Laura Ashley Pty Ltdclothing, brighton, moorabbin, dressmaking, market gardeners, early settlers, craftwork, textiles, laura ashley

A Lady's white, long, cotton half petticoat with a gathered flounce and lace insert at hem. The petticoat has a placket on the side seam and is fastened with bone buttons, The pioneer families had to be self sufficient making their own tools, clothing, while developing their market gardens, fruit orchards and dairy farms in Moorabbin Shire The pioneer women in Moorabbin Shire had to make and repair the clothes for themselves and their families and were accomplished in dressmaking, needlework , craftwork and knitting A Lady's white, long, cotton half petticoat with a wide flounce lace edging and bone buttons at side seam clothing, brighton, moorabbin, pioneers, dressmaking, market gardeners, early settlers, craftwork , bentleigh, lacework, moorabbin shire blackburn nance, dairy farms, fruit orchards

Very fine old Flemish lace. Use - Fashion trimming or ecclesiasticalBobbin lace Flouncing

A light weight lace used for costume trimmingBobbin lace flouncing

Use: Domestic. FashionBobbin lace flounce

Heavy, intricate, good quality lace. Use - either fashionable costume or ecclesiastical.Needle lace flounce - sample

Short white cotton petticoat with broderie anglaise flouncepetticoats, underwear

White cotton underskirt - flounce of lace insertion and pin tucking.underskirts, underwear

Worn by Mrs. F. WilmsWhite cotton underskirt with flounce of broderie anglaise and tucks. Has pink ribbon threaded through.petticoats, underwear, underskirts

Made by Nora Driscoll O'Donnell on voyage out from England to Point McDonnell, South Australia about 1843White cotton half petticoat with drawstring waist. Deep 'over' flounce of broderie anglaise lace.costume, female underwear

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

The donor's father saved the life of a Belgium soldier during WWI. (Father - Ferdinand Collins, 5th Battalion AIF). In thanks the soldier gave Mr Collins this circle of lace.The circle of lace which could be used with the flounce on a garment or the edge of a cloth. It is made up of tiers of tape lace and crochet.garment, capes, lace, bobbin lace, crochet, belgium lace

This petticoat came from the estate of Ena Heazlewood and was donated to the Warrnambool and District Historical Society by Ena’s daughter. It appears to have been home-made. Mary Josephine (Ena) Todd was born in Warrnambool in 1920 and worked as a hairdresser at Josephine’s Salon in Warrnambool. In 1942 she married a Warrnambool man, Jack Heazlewood, a stoker on the H.M.A.S. Sydney at the time. They later lived in Sydney. A petticoat such as this one would have been stiffened with starch and worn under a ball dress (or a stage costume) in the mid 20th century. This petticoat is of interest as an example of a skirt worn underneath a ballroom dress or a stage costume in the mid 20th century. It also has some provenance as it come from the estate of Ena Heazlewood, a former Warrnambool resident.This item is a white cotton petticoat with a flap opening at the front waist enclosed by two white buttons. The petticoat is gathered at the waist to make a wide flared skirt and has alternating panels of plain white cotton and broderie anglaise material. There is a flounce at the end stitched with cotton-covered rope at the top and the bottom of the flounce. The bottom of the petticoat has a cotton lace trim. vintage clothing, todd & heazlewood families, warrnambool, history of warrnambool

Black and white photograph, copy of original, of Thomas and Flora Brumfield. Flora sitting, wearing flounced crinoline dress, with Thomas standing at right of photograph."Thomas and Flora Brumfield".thomas brumfield, flora brumfield

Handmade by Julia Eaton ( nee Thomas), daughter of George and Granny Thomas, respected Aboriginal couple of Newmerella.This item is an example of a handcrafted item and reflects the needlework skills of women in the first half of the 20th century.Square shaped calico cushion cover. It is hand-embroidered with ribbon embroidered leaves and flowers. The edging is flounced. Flowers are pink with yellow stamens and green stems. handcraft needlework thomas-julia

This piece of lace has at some time been cut up and re-grounded. It would originally have been used as a fashion item such as a flounce.Bobbin lace. Irregular shaped piece

This handmade pinafore was worn by the donor, Ellen Brown, at her christening in 1905. It was made by Ellen's grandmother, Mrs Beeching, for the first daughter born in the Fagg family. The pinafore was a treasured family heirloom, and was not worn again. It is a rare example of a modest, homemade christening costume. Most costumes were gowns, but this humble pinafore still shows loving attention to detail.The connection between milestone moments and the wearing of a particular garment carries great significance. The christening gown represents the rites of passage: great importance is placed on the clothing, as well as the ceremony.This is a white cotton infant's christening pinafore, round neck with a flounce, sleeveless with a sash attached at the front and tied at the back. There are lace inserts and lace at the hemline. Tucks are machined as embellishments and a tie at the back of the neck.lace, celebrations, handmade, white, brown, ceremony, textile, cotton, bacchus marsh, brown family, 1905, mrs beeching, fagg family, pinafore, infants clothes, rituals, fagg, costumes, family heirloom, christening, ellen brown

Part of S E Surman collection (album) page 14 right. Identification not confirmed, subject is possibly Lydia Bennett.Sepia photograph of a lady with hair drawn off face, wearing long sleeved waisted long gown with flounced skirt, frills at wrists decoration at throat, standing with hands together at flowers on stand. surman collection, lydia bryant

The dress was made by Mrs Alloway of Coburg. The dress was made from two dresses which appeared in 'The Bride' magazine; the top from one photo and the skirt from another. Joan Lorraine McGahey wore this dress when she married Francis William Kerry on 28/03/1959.1959 Full length white lace and net over white taffeta slip. Long sleeves are lace to wrist and has light covered buttons. Front has square neckline with lace appliqued to bodice which falls to dropped waistline. Front panel is lace onto net flounce measuring 30 cm. Back has three net flounces falling from waist to form a train which is attached with lace bow. Back of neck has 8 buttons and loops.costume, female ceremonial

Purchased in Swan Hill on behalf of the Society by Barbara Keene in February 2001All over lace dress. Sweetheart neckline lined in silk. Three petticoats, one silk, second one tuille with 17cm double flounce in front and third skirt stiffened cotton. The back 52cm train.costume, female ceremonial

Has been in the donor's family for at least 70 years and came from her mother-in-law, whose family came from New Caledonia and Trieste. However, it was very possibly purchased in an antique shop.Cream silk gauze dress with short sleeves and hem flounce. White machine lace edges and insertions. All hand stitched including pintucks. Tape lace decoration on front bodice and back opening with two buttonsembroidery, lace, pintucks, tape lace

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