Damaged lace from brim removed at some stage. Repairs to back. A 19th-century traditional lady's head covering from Brittany, France, is known as a coiffe rather than a standard bonnet, famous for its striking regional variations, intricate lace, and soaring heights. Key Features of the Breton Coiffe : Brittany had over 300 distinct styles of coiffes. A woman’s village, marital status, and age could often be identified just by the shape and size of her headwear. Evolution through the 19th Century: Early in the century, coiffes were smaller, softer caps fitting close to the head with small side flaps. By the late 19th century, many regional styles—most famously the Bigouden coiffe from southwestern Finistère—grew dramatically taller, sometimes reaching up to 30 or 40 centimeters high. Materials: They were crafted from fine white linen, starched cotton, organdie, or delicate lace. Construction & Decoration: Many featured complex pleating, stiffening, and detailed whitework embroidery rather than heavy coloured ribbons. They were pinned or tied securely to the hair, which was usually parted and tucked away completely beneath the cap.A traditional bonnet from Brittany. White organdy. The crown is worked in a floral design mainly in satin stitch and needle point fillings, the brim has a similar design.embroidery, whitework, france, bonnets, late 19th century

Made by Lorna Law (Guild member) to commenorate the Guild's 50th anniversary.Whitework sampler made to celebrate the Guild's 50th anniversary, featuring drawn thread designs from pieces in the Guild's collection. Mounted on a pale green ground and framed.The Embroiderers Guild Victoria 1960-2010. Worked by Lorna M. Law 2010embroidery, whitework, drawn thread, holbein

Fine white linen mat edged with hem stitching. Central design embroidered using satin and stem stitch. Drawn thread embroidery is at the four corners.mat, embroidery - whitework

Made by a member of the Cochrane family.Decorative edge consists of a central leaf design in padded satin stitch. On each side is a tiny row of eyelet holes connected to rows of buttonholed scallops.embroidery, whitework, garments, 1900-20, scotland

Made by a relative of the Cochrane familyDecorative bands with insertion of lace edged with buttonhole loops. Superimposed on the lace are bunches of embroidered grapes.embroidery, whitework, garments, 1900-20, scotland

Purchased by Guild 17/7/1960Fine linen with broad hem stitched border the only decoration. Initials worked in white embroidery stitches.Initials embroidered LMC. Marking ink - L.M. Cochraneembroidery, whitework, late 19th century

White muslin with a white spray of flowers in satin stitch with lace fillings. This piece may be machine embroidery.embroidery, whitework

An 18th-century fichu was a lightweight, typically white triangular or square neckerchief made of muslin, linen, or cotton, worn by women to cover the chest and neck. Popular from the early-to-late 18th century, these versatile garments were often folded, draped, or pinned over low-cut bodices, acting both as a modest covering and a fashionable accessory.  Muslin with embroidered frill - fichu has design of wheat scrolling above the frill and in the corner. Flowers in drawn thread.embroidery, whitework, drawn thread, fischu, early 19th century, france

White work on lawn. A large spray of flowers in padded satin stitch and a little seeding. Classical design.embroidery, whitework, flemish sample, 18th century

Shaped collar with a continuous border - floral motifs.embroidery, whitework, garments, 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

Tambour work on white muslin with a bold flower design.embroidery, whitework, tambour, fragment

Indian muslin with all over sprigs design. Decorative floral border in padded satin stitch, eyelets and drawn thread stitches.embroidery, whitework, fragment, india

Design of leaves and flowers in padded satin stitch and drawn thread. A continuous border of leaves hsaped to a point at centre and back.embroidery, whitework, drawn thread, mid 19th century, england

Fine lawn with design of leaves around inserts of patterned net. Padded satin stitch and eyelet holes. Deep scalloped frill.embroidery, whitework, scotland, early 19th century

Purchased by Baroness Felicitas Weidersperger of Tazovitz, Czechoslovakia at the World Exhibition in Vienna about 1900.Fine cream linen with woven stripes as an outer border. A white work design of leaves and circles twined through the woven stripes. The scalloped edge is buttonholed.embroidery, whitework, scotland, handkerchief, c. 1900

Fine cotton, embroidered circle at back of head. 13 tucks with drawstrings to shape the fit. Double frill of net edged with narrow lace.embroidery, whitework, bonnets, late 19th century

This collar was previously owned by the donor's (Mr N.L.S. Croft) mother, Ethel Williams of Manchester, England.Fine white musline with two large sprays of flowers. Decorative scalloped edging. Seeding in leaves is done by hand.embroidery, whitework, collars, late 19th century, england

Made for the trousseau of Mary Elizabeth Williams, who married in 1874.White cotton, entirely handmade, with sleeves and neck edging of broderie anglais. Front bodice has 3 strips of broderie anglais alternating with tucking.embroidery, whitework, garments, england, late 19th century

Machine made lace and broderie mounted on net. Wide broderie frill.embroidery, whitework, bonnets, late 19th century, england

Photograph which accompanies this garment shows the apron being worn by Christina Thomson Ball - nee Somerville.Fine white lawn with decorative lace and gathered centre panel. Lace round armholes. Decorated with fine feather stitching.embroidery, whitework, 1900-20, aprons

Fine white linen in envelope shape with a decoration of three dainty flower circles in a garland of floral sprays. Fine padded satin stitch. Hem stitched edge.embroidery, whitework, sachet, 1900-20, flowers

White cotton fabric dress with bands of machine broderie anglais and insertions. The skirt has tucks between three bands, joined with feather stitch and bodice with shaped panel and wings. Classical garment of late 19 century for 8-10 year old girl.embroidery, whitework, garments, childs, 1900-20, england

Deep band of machine made broderie anglais in a feather pattern, with some tucks, Yoke has bands of machine embroidered insertion sewn with Feather stitch.embroidery, whitework, garments, 1900-20, england, broderie anglais

Fine cream lawn, edged with bobbin lace to copy the original needlepoint Armenian edge stitching. This prettily shaped collar has floral sprays, and 3 drawn ground panels with voided designs of birds and a rural scene.embroidery, whitework, southern europe

Lawn, with a long shaped front panel of machine embroidered insertion, edging and lace and tucking, all joined with feather stitching. Wings go over the sleeves to form a collar at the back.embroidery, whitework, christening gown, late 19th century, ireland

2 bands of insertion on fine muslin in a scrolled design of flowers and leaves. Embroideery is reversible, and has drawn fabric in flower centres on larger piece.embroidery, whitework

Said by donor ( (in 1976) to have been warn by 4 generations of her family.Fine white linen with fine sprigs all over. Decorative circle on back, a decorative band around the face in Ayrshire style. Three pin tucks around the face. Nylon ties have been added much later. Machine or handmade?embroidery, whitework, bonnets, late 19th century, ayrshire, scotland

This underskirt was very likely made from a cut-down christening gown bodice removed and waistband added.White cotton with panels of insertions in a design of acorns and oak leaves, joined by feather stitching. Skirt also has much pin tucking. Wings at the sides.embroidery, whitework, garments, late 19th century

Fine white linen with an 8 cm band of white embroidery of spots and floral sprays. Edge of finely scalloped buttonhole.embroidery, whitework, 1880-1900