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.Black crepe bodice with front opening featuring numerous buttons, covered with the same fabric as the bodic. It has short sleeves and a square scalloped neck line.australian fashion - 1940s, costumes - bodices, fashion design, fashion -- 1940s

1880s women's dress featured tightly fitting bodices with very narrow sleeves and high necklines, often trimmed at the wrists with white frills or lace.Beige coloured silk top with narrow mauve stripes. The top has a piped mandarin collar. The top has satin trimming. The bodice is badly stained.women's clothing, australian fashion, costumes, bodices

Suit belonged to Mrs Lethbridge wife of Anglican Bush brother and Parish Priest Rev W Lethbridge.Maroon coloured woolen woman's bathing costume. Narrow shoulder straps, bodice high at front, scooped back. Skirt decorated with black buttons over shorts with gusset between legs.

Clothing. Floor length silk costume. Purple silk bodice front and back with 16 cm slit at centre back from neckline. Round neckline edged with pink satin binding. Unshaped bodice dips to dropped waistline. Bright green silk skirt gathered slightly onto bodice. Triangular pieces of green silk gathered onto arm holes to form sleeves. The sleeve is open along the top edge and point of triangle ends underneath the wrist. No fastenings. No shaping.costume, female, floor length green silk costume

Clothing. Floor length silk costume. Purple silk bodice front and back with 16 cm slit at centre back from neckline. Round neckline edged with pink satin binding. External tucks (3cm) extend over shoulders to half way down bodice on front and back. Bodice extends to a dropped waistline. Bright green silk skirt gathered slightly onto bodice. Triangular pieces of green silk fabric gathered onto arm holes to form sleeves. The sleeve is of the triangle open along the top edge and the point of the triangle ends underneath the wrist. No fastenings.costume, female, floor length silk costume

This wedding dress was made for an unknown customer by a late 19th and early 20th century Richmond dressmaker known by her married name as Mrs Pamely. The dressmaker’s name is identified on Petersham ribbon on the bodice. (1877 was the first known use of a dressmaker’s name on a dress in Australia). The dress entered the Collection by donation. The donor, Netta Fuller, and her husband Alec, were long-term residents of Kew. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The core of the parade consisted of a collection of 19th Costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. Not satisfied with purchasing authentic costumes of the period, she also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century items of clothing to the Kew Historical Society. Some garments were parts of costumes such as bodices, while others were complete outfits. Many of the latter exhibit signs of old damage, however very few of the costumes have been modified to enable them to be worn in exhibitions. Known provenance is limited to donor information, although some of these donations may have originally formed part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance. This is the only 19th century costume in the Collection where the maker's name and address is known. To date, no other costumes by this dressmaker have been identified. The maker's business activity (1888-1905) allow one to, with an assessment of style, be relatively certain about its late Victorian construction. This adds to the item's significance even though its condition has been compromised by later removals and additions of decorative fabric on the bodice.Cream satin wedding dress comprised of a fitted bodice and a full skirt with a long wide train. Both the skirt and the bodice feature extensive use of ruched silk. Originally the bodice was covered with silk net embroidered with small white flowers. While sections of the net remain on the rear of the bodice (and on the sleeves), that on the front has been removed, probably due to damage. The name of the dressmaker is stamped on Petersham ribbon on the bodice."Madame Pamely, Costumiere, 41 Stanley St. Richmond"wedding dresses, australian fashion - 19th century, women's clothing, dressmakers - richmond (vic), netta fuller, fashion manufacturers - mrs pamely

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Long black silk sleeveless bodice with a wide band of lace on the edging and at sleeves. Silk bow at rear. It has been provisionally dated to the 1880s-90s.women's clothing, bodices, fashion -- melbourne -- 1880s, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Late Victorian highly remodelled black silk bodice with pleated silk to neck. The bodice has distinctive sleeves in two sections, the lower part constructed of black lace. The bodice has an original arm pad with makers name in it.fashion -- melbourne -- 1880s, bodices, women's clothing, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black-coloured fitted jacket made of silk and lace with added satin ribbons.women's clothing, fashion - melbournesne - 1880s, bodices, jackets, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black silk velvet, long-sleeved, waisted padded winter bodice with black lace and beading at cuffs and at basque. women's clothing, bodices, fashion - melbourne - 1880s, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black silk and lace bodice.victorian fashion, netta fuller, bodices

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Long-waisted black fitted silk and lace bodice with black wooden buttons. The lace at the edge of the bodice may have been added at a later period.day dresses, women's clothing, mourning wear, fashion -- 1880s, netta fuller

Netta Fuller and her husband Alec were long-term residents of Kew. As a boy, Alec had attended East Kew Primary School and was later highly involved in the Kew Presbyterian Church during the 1950s and 60s. Netta's passion was for historic clothing and its exhibition. In 1985, Netta Fuller and Elizabeth Pace launched a parade of garments sponsored by Kew Historical Society at Holy Trinity Church, Kew. The parade was called 'Downunder Dressmakers' and included a collection of over fifty items of clothing dating from 1800 to 1984. The collection included dresses, hats, scarfs, capes, sporting costumes etc. The core of the parade consisted of a collection of 19th century costumes worn by the ancestors of a Miss Gertrude Murray, a resident of Blackburn. In sourcing items for her collections, Netta Fuller collected costumes stored in old trunks and wardrobes, or even purchased from opportunity shops. (During the period in which she collected and exhibited costumes, the latter could often be a reliable source for the purchase of historic and aesthetically significant costumes.) Not satisfied with purchasing authentic costumes of the period, Netta also used these as models for artistic recreations. Following her retirement from both collecting and exhibiting, Netta Fuller donated a number of 19th Century garments to the Kew Historical Society's costume collection. A number of garments were parts of costumes such as bodices, while others were complete outfits. Some of the latter exhibit signs of old damage, however very few of the costumes had been modified to enable them to be worn in exhibitions. Provenance, apart from that the costumes were donated by Netta Fuller after 1985 is limited to donor information, although some of her donations may have originally been part of the collection owned by the Murray family. While the costumes are old and therefore historic, provenance is less important than the representativeness and/or rarity of the costumes. Similarly, the costumes need to be evaluated as a group and separately, considering their aesthetic and artistic significance as well a their age.Black-coloured silk bodice with leg-of-mutton sleeves. Date: ca. 1890s.australian fashion -- 1890s, bodices, dresses, netta fuller

This beautiful costume was the 'going-away' dress worn by Mrs John Russell at her wedding in c.1884. It has been passed down through the Russell family and was donated by her grand-daughter Mrs David Nixon. John Russell was an early Orbost blacksmith in Orbost, and director of the Orbost Butter Factory for 50 years. He came to Orbost in c. 1890 at the invitation of another early settler, James Nixon, became a blacksmith, and later a farmer and landholder. Many of his descendants still live in the Orbost area. This full length female costume is made of moroon satin with gold velvet inserts. It has a small train at the back, scalloped folds with lace edging down the front of the skirt, and two rows of 14 buttons each down the bodice.going-away-dress 1890s-dress

Made and presumably worn by Mrs McKeown (nee Ford)A full length white cotton nightgown without sleeves. It has a crocheted border in white cotton around the neckline and also making a small trim on the front upper bodice/neckline. Arm holes also have the same crochet trim. The bottom of the garment is hemmed and without any trimming.costume-female underwear

This garment has been hand made and presumably worn by Mrs McKeown (nee Ford)A long white night gown made of fine cotton. It has a small crochet trim around the "V" neck line and also a lace panel inserted around the bodice. The bottom of the skirt has a trim of broderie anglaise. costume-female underwear

This evening dress was presumably worn by Mrs Marjorie McKeown (nee Ford) in the Orbost district in the 1940s-1950s. A full-length black evening dress. The arms and top of the bodice are made from mauve/puce coloured lace which has small flowers trimmed with beads. At the bottom of the dress is a broad trinm of puce coloured lace which has been bordered at the top with sequins. The dress has a zip at the side of the bodice. The main fabric is possibly rayon.Van Rothcostume-famale evening-dress

This dress and petticoat come from the estate of James Cameron who was one of the first Snowy River councillors for the Tambo Shire. He selected land at Lochiel in 1892. From 1902-1920 he was the Assembly member for East Gippsland.A white voile dress with a white cotton petticoat underneath. It is not attached. The dress has a lace frill at the hem. It has lace inserts - two at the bodice and along the three-quarter length sleeves. There are several lace inserts on the skirt. It has been machine embroidered.dress costume cameron-james

White cotton child's lace dress. Unlined. Dropped waistline. Bodice made up of vertical strips of two different laces. U shaped neckline with flat gathered lace collar (7cms) with one cm fine lace trim around neckline. Cap sleeves (7cms). Skirt (16cms) of gathered lace in one piece. Back opening full length of bodice (22cms) with three buttons two X .6cm and one X .9cm.costume, children's, white cotton child's lace dress

Ladies black boned bodice of brocade fabric with floral pattern. Crossover front opening with internal centre fastened with thirteen metal hooks and eyes.Crossover section fastened on LHS with seven metal hooks and eyes covered by overlapping panel. Front of bodice is decorated with dense patterns of small black beads and black sequins. There are three vertical panels of beading. The centre panel is bordered with gathered ruffles of black ribbon (one cm wide). The overlapping edges of the side panels of the bodice are edged with gathered ruffles of black ribbon. The front panels of the bodice are lined with black cotton fabric. The back of the bodice is plain. The bodice has a straight edge at waist level with a cotton tape hem. The lower section of the bodice is boned with ten fabric cased bones distributed across the front and back, attached vertically from the waistband. A fabric belt (three cms wide) is attached at centre back four cm above the waist, inside the bodice. The left hand end of the belt has a metal buckle ( 3cmX2cm). The bodice has a 7cm stand-up collar fastened above the left shoulder with three metal hooks and eyes. The collar is densely decorated with small black beads and black sequins. At each shoulder is an epaulette decorated with beads and sequins and edged with one cm gathered ribbon ruffles. The long sleeves are shaped at the elbows with four cm beaded cuffs fastened with two metal hooks and eyes. Above the cuff is a four cm fabric flounce, a row of gathered ribbon ruffle (one cm) and a three cm row of beading and sequins. Sleeves are unlined.costume, female, ladies black beaded boned bodice.

Ladies waist length black satin boned bodice. Chelsea style collar forming V shaped neckline dipping to eight cm above the waist. Centre insert of horizontal pintucked fabric extends at centre front from throat to just above wrist. Fastened at centre front with thirteen metal hooks and eyes and crossover fastened on LHS with four hooks and eyes. Bodice is lined with black cotton fabric. Collar extends over shoulders to form imitation collar at back extending to centre back waistline. Centre V shaped insert of pintucked fabric hand stitched in place. Nine fabric encased bones inserted into waistband. Two bones on either side of front of bodice, and one bone on each side seam and three bones across the back of the bodice. Stand-up collar with horizontal pleating (5cm wide). Fastened over left shoulder with three metal hooks and eyes. Long sleeves widening at elbow and gathered onto 25 cm lower sleeve narrowing to wrist. Lower sleeve has three X three groups of horizontal pintucks. Slit at wrist - eight cm fastened with two metal hooks and eyes.costume, female, ladies black satin boned bodice

Ladies black satin boned bodice. Centre opening, fastened with eighteen metal hooks and eyes. Waistband 2.5cm wide with eleven vertical fabric encased bones attached. There are two bones on either side of the front opening, bones on each side seam and five bones across the back. There is a decorative two cm wide ribbon attached to the RHS of the waistband that extends across the front of the bodice to the LHS with a seventeen cm black ribbon bow attached. This is fastened to the RHS waistband with a metal hook and eye. There are two decorative pin tucks across the waistband at the back of the bodice. The bodice and sleeves are lined with brown cotton fabric. The 6.5cm stand-up collar is lined with dark green cotton fabric. The shoulders seams and eight of the bone casing are reinforced with black cotton fabric with green and pink checked edging. The long sleeves are gathered at the shoulders and shaped at the elbows. The wrist is finished with a decorative band of pleated fabric (2.5cm wide).costume, female, ladies black satin boned bodice

Light camel coloured silk (in very poor condition). Long sleeves overlaid with fine black lace in a floral design. Stand-up collar, five cm deep is overlaid with the fine black lace, and finished with a corded braid on the upper edge. Sleeves are tightly gathered at the shoulder tapering narrow at the wrist, giving a ''leg-o-mutton'' effect. 12cm wide fine black lace, attached at the neck edge, and shoulders, forms a ''puff'' decorative over the shoulder, and continues in a ''over-panel'' to the waistline. Ten x 1cm diameter plastic buttons, with a floral impression in them (2 missing) and 12 hand stitched button holes form the front opening. From the lower opening, six ''pintucks'' 12 cm deep, open into pleats at the lower edge, giving fullness to the bodice. Four metal hooks are evident on the lower tucked front and seven hand stitched eyelets are indicated, but are now severely damaged. Bodice is boned with ten X 17cm long bones, and is fully lined with cotton.A tiny 8cmX7.5cm, oval-at-one-end, pocket is stitched into the front opening, at the bustline. Back hemline dips to a V shape at centre backcostume, female, victorian bodice - cinamon coloured silk

Green and gold shot silk dress. Hemline is edged with a binding of black velvet - one cm wide. Bodice lined with cream linen, sleeves lined with cream cotton, skirt lined with cream linen(?) or cotton(?). Long sleeves are shaped in a ""semi-circular'' shape at the elbow, and taper in at the wrist. Sleeves are trimmed with green fringing, and a flat green satin bow. Wrist is trimmed a 2cm wide band of cream cotton lace. Top of sleeve at shoulder is also trimmed with green and fringing encircling the sleeve top.High round neck is faced with a 1cm band, and a row of the cotton lace. Two bands of fringing give a rectangular "style'' effect on the front bodice, which is fastened at centre front with ten metal hooks, and nine hand stitched ''holes'' to fasten, and one hand stitched loop at the neckline. Fringing continues over the shoulder, into a 5-sided shape across the shoulder blades. Skirt has two pleats on RHS front and two on left hand side of back and a 7cm centre panel of tight pleating. Skirt extends into a train at back. An inside pocket is accessed from under a pleat in the RHS skirt.costume, female, victorian full length dress with train

Fitted bodice with 1.5 cm deep stand-up collar. Long curved sleeve, tapering at the wrist, has a fine piping around the armhole. Wrist is trimmed with a piped, plain silver peaked false cuff, and two 3 cm deep pleated and piped ''frills''. Three covered buttons trim the diagonally cut decorative cuff. One metal hook, and hand stitched loop on the stand-up collar. 23 covered buttons ( one missing,others in various states of disrepair) extend from the neckline to the lower skirt. Front skirt is trimmed with a 7 cm deep band of plain silver silk, bordered by the striped fabric piping, and a 3 cm deep pleated frill on either side. Below this is a 25cm deep band of the striped fabric, at the lower edge of which are sewn four X 5 cm deep bands of pleated frills. At the centre back neckline are two X 20cm ''tails'' curved at each end and lined in plain silver silk. These are to be wrapped around the neckline, and fastened with a metal hook and eye, to form a 4cm deep rounded silver collar. Skirt back extends into a 34cm deep train. Brown cotton tape binds the hemline. Front of skirt is ruched from the centre buttoned section, in three sections either side, to the centre back panel, which is pleated, and extends into the train. Back waistline is trimmed with a 14cm wide bow, striped fabric, lined with plain silver fabric.A 7cm wide, and 34 cm long loop is stitched into the centre back seam, presumably used to hold, and lift the train above the ground. (The ends of the bow are trimmed with 10 cm deep black and silver fringing.) One metal ''bone'' in left front dart(now causing damage). One tiny 5.5cmX5.5cm shield shaped pocket on left front. Dress fully lined with cotton fabric.costume, female, victorian silver striped long silk dress

Cape with three panels - one either side of front opening, and one rounded panel from side fronts, and across back. Two triangular panels - 10 cm X 4 cm at front lower edge of back circular panel. Front panels are longer than sides of back panels. All front and lower edges are finished with a 5 cm long, silver coloured, silk fringe. A 1.5 cm wide band of striped silk binds the neckline but is in very poor condition. Back panel of cape is gathered by hand, extending from front panel seams.costume, female, gold silk victorian bodice

Bodice with high round neckline finished with a 2 cm fine striped silk stand-up collar-(this is now severely damaged). One metal hook fastener at the neckline, but no loop remains, although thwere is some evidence of a hand stitched remnant of a loop. Eight rounded buttons (one missing) are bound with silk thread. Sleeves have a fine rouleau piping at shoulder. They are round in shape at the elbow, and finished with a flounce, which is trimmed with 2.5 cm band of contrasting, finely striped silk and a 5 cm wide silver silk braid, as in 11400.975 and 11400.976. A gathered frill and a band of striped ribbon trim the upper edge of the flounce. The striped ribbon, and silver braid trim the front panels, either side of the button opening, and a band of the striped ribbon and silver braid trim the lower edge of bodice.Bodice and sleeves are lined with cream polished cotton, while the lower front panels, which give a peplum type of effect, are lined with cream silk. Centre back panel has a fabric bow, trimmed with the darker striped fabric, and the silver braid bow is 13 cm wide, plus the 5 cm silver braid. Pleated tails of the bow are part of back bodice. An inside 2cm wide cotton tape, with metal hook, and hand stitched loop, fastens around the waistline. Garment is machine and hand stitched. Buttonholes are hand -stitched.costume, female, gold silk victorian bodice

Clothing. Child's cream coloured silk nightdress. Wide scooped neckline with casing and lace trim. Skirt tightly gathered into casing at waist. Centre back opening (27cm) fastened with cotton tape ties at neckline and waist, (V shaped lace insert on bodice front). Skirt has inverted V shape embroidered insert at centre front from waist to hem. Item finished with decorative stitching. Raglan set short sleeves trimmed with pleated fabric.costume, children's, child's cream coloured silk nightdress

Clothing.Woman's black silk blouse. Bodice is made up of two layers. Inner layer of black cotton has full length front opening with placket with five buttons and button holes from 5cm below round neckline to 5cm above the waist. There is a breast pocket on the LHS (14cm X 11cm). The outer layer of black silk is attached to the inner layer at the shoulders (pleated) and around the arm holes, and hand stitched at the lower back to form a casing for cotton tape ties. The front forms a full width crossover with one metal hook on top LHS. The outer layer extends 7 cm below the inner layer at the waist with a 7cm peplum across the back. Set in long sleeves are tapered at the wrist with a 5 cm frill at the hem. Sleeves fully lined. Hand and machine stitched. Fold over collar (10cm) with squared corners.Decorative black , gold and pearl button on each wrist on hem.costume, female, woman's black silk blouse.

Clothing. Woman's black silk brocade bodice. High round neckline with full length front opening fastened with 13 metal hooks and eyes. Bodice fully lined with black cotton fabric and shaped in at waistline. Seven casings for boning - two on each side of front, one on each side seam and one at centre back (18cm X 1.3 cm). Casings reinforced with bright yellow cotton stitching. Cotton tape casing at hemline at waist. Long straight set in sleeves extending to a rounded shape over the back of the hand.Cross over front outer layer fastened with three hooks and eyes at the top and one at the waist. Panels of black lace run from shoulders to waist on either side of a centre insert panel (12 cm X 15cm) with five horizontal strips of velvet ribbon. Below the insert are three 7-9cm wide black lace ruffles with khaki green embroidery (Jabot effect). The back has a deep V shaped insert of vertical pin tucks and black lace, from across the shoulders to centre back. Pin tucks also on either side of front neckline.costume, female, woman's black silk brocade bodice