The bodice is of a style from the Victorian Era and so provides a good example of women's clothing from that time. Although it appears to have been made at a later time the lace possibly came from an earlier time period. It is of historic interest as it was amongst the belongings of the donor's Great Aunts who were both dressmakers at the original Terang & District Co-Op which was established in 1908.The item is of significance socially as an example of women's clothing in the Victorian era.A short, waist-length bodice most likely made as a performance costume. It is representative of a Victorian bodice style though the lacing used indicates that it would not have been worn in those times due to its revealing design. Flexible metal stays provide shape to the bodice at the front and back. Sleeves are elbow length and lined with cream fabric. The bodice has a lace collar and the sleeves are trimmed with the same lace. Small gold coloured beads are stitched to the flower centres of the lace pattern. The burgundy coloured satin has an embossed floral pattern. The lace is of interest as it is from an older time period and being beaded would be especially sought after. Machine and hand stitched.flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum & village, shipwreck coast, great ocean road, satin bodice, beaded lace, victorian era, metal stays, terang & district co-op

Crates of punnets produced by Berry Baskets in Richmond in the 1940's, 1950's and 1960's.Wooden berry crate with 5 trays and raspberry punnets. Crate has metal stays and a hinged lid with metal hinges.Raspberry punnets stencilled:- 'E. Johnston'crates

This item was used by women to enhance their figure (body) and hold their stockings in place. Although still sometimes used they were mainly used prior to the making of panyhose approximately 1960.Flesh coloured leaf embriodered cotton material corset with rigid metal stays and clips, two elasticised strips on sides and four suspenders. Six elastic straps with buckles.clothing and dress, george evans collection

These Lady's white voile shirt fronts were made for a small woman or child to wear under a suit jacket . The front has fine vertical pintucks and ribbon waist ties The back seam is fastened with press studs. The high collar has horizontal pintucks and 4 metal wire stays. The early settler women were skilled dressmakers and craft workers. These Lady's voile shirt fronts are examples of the high dressmaking skill of the women of the early settler families in Moorabbin Shire c1900 2 identical small lady's white voile shirt fronts, with high collar and ribbon waist ties. The front has fine vertical pintucks and the high collar has horizontal pintucks with 4 metal wire stays. Press studs fasten the back seam . clothing, dressmaking, haberdashery, crochet, brighton, moorabbin, mckinnon, ormond, pioneers, market gardeners, early settlers, craftwork , bentleigh, lacework, moorabbin shire, hunt ailsa, dairy farms, fruit orchards

This dress was handed down through the family of Harry Cameron, Orbost. It was likely worn by a member of the family.Associated with the Cameron family, Orbost.A full length black satin dress with long sleeves. It has two rows of 6 buttons across the bodice and lace applique on the shoulders. The neck and sleeves are trimmed with a fine white lace. There are metal stays inside the front of the dress.women's-clothing

THE JACKET This jacket has been tailored to flatter the wearer’s figure. It also has elements that keep it in good shape and condition, preserve it from soiling and give it a longer life: - the hooks and eyes that join the jacket to the skirt allow the outfit to be made in two pieces but fit close to the body without exposing undergarments - the seams for the metal stays have been cut and stitched to allow maximum movement of the wearer and still keep a trim figure - the discreet breast pocket allows the wearer to keep a handkerchief, coins or other small items close at hand - the lining includes removable padded shields to absorb underarm perspiration - the lining has two cotton loops attached for hanging up to air and freshen it - new cuffs have been attached over the original sleeves that have buttonholes but no buttons. The buttons may have been used to replace missing buttons on the front of the jacket or perhaps to repair worn cuffs The amber coloured satin jacket is fully lined, has turned-back cuffs, a band collar, and looped, coffee-coloured braid trim. A row of closely spaced, round bronze buttons with a floral motif form a decorative closure most of the way down the front of the jacket, below which are metal hooks and eyes that finish at the waist. Underneath the cuffs there is a closely fitted cuff with a row of three button holes but no buttons. The jacket lining has vertical metal stays spaced around the midriff, sides and back. There is an absorbent, removable pad hand-stitched to the underarm section of each sleeve opening. A small satin pocket is stitched discreetly onto the lining above the chest on the right-hand side. There are also two cotton loops sewn onto the lining. Several small metal rings are sewn at intervals around the inside of the waist A satin bow from the same fabric is attached at the centre back of the jacket at waist level. antique satin jacket, colonial evening jacket, ladies evening jacket, 19th century ladies satin jacket, evening outfit

This blouse shows excellent workmanship and is very decorative. It is not every-day-wear, but would have been worn for special occasions.This blouse is an example of the needlework skills of women in the late 19th and early 20th centuries.A woman's black blouse or top made of shot silk and with panels of black lace. It has long sleeves which are trimmed with lace at the wrist. Down the front of the garment is a pleated panel with the fine pleats travelling cross-ways. Inside are metal stays which preserve the shape and are now rusty. women's-clothing silk-lace

Nickel silver first became popular as a base metal for silver-plated cutlery and other silverware, notably the electroplated wares called EPNS (electro-plated nickel silver). Nickel silver is named for its silvery appearance, but ironically it actually contains no elemental silver. Items inscribed with WEARS WHITE meant that the metal stays white even as it wears.Five items of silver plated cutlery. 2133.1 is a small knife, 2133.2 is a fork and 2133.3 is a spoon. These three pieces are children's cutlery. 2133.4 is salt spoon and 2133.5 is a butter knife. All but 2133.1 have metal handles. The knife handle could be celluloid plastic.nickel silver WEARS WHITEcutlery nickel-silver table-ware

This item was used by women to enhance their figure (body) and hold their stockings in place. Although still sometimes used they were mainly used prior to the making of pantyhose approximately 1960.White elasticised and satin material corset with stays, metal hook and eye and four suspenders."Jenyns/Patent..."clothing and dress, george evans collection

The corset belonged to Marjorie McKeown (nee Ford) and was worn by her. A medium size pale pink lady's corset with whale bone stays and metal clasps and suspenders at the bottom. The corset is laced through eyelets. Lady Ruth (manufacturer)womens-corsetry fashion-underwear

This example of a sailing ship’s ‘dead-eye’ is from the wreck of the LOCH ARD, which sank near Port Campbell in 1878. The vessel was an iron hulled clipper ship constructed for the Loch Line in 1873. It was part of a fleet of similar merchant ships owned by that company, which specialised in bringing passengers and goods from London via the Great Circle route to Melbourne, and returning to Britain via Cape Horn with the colony’s wool clip. Deadeyes were a common feature of sailing ship technology in the nineteenth century. They were a simple, cheap, and hard-wearing device that, in conjunction with another deadeye, provided an effective means of levering, or tightening, attached ropes and stays. Lower deadeyes were fixed to the sides of the ship by an encircling metal collar (inset in a flattish groove chiselled around the outer circumference of the disc), which was bolted to iron bars attached to the hull (called chain-plates). Upper deadeyes were looped by a strong hemp or wire rope (inset in a rounded groove carved around the outer circumference of the disc), which was joined to the bottom ends of the rigging which reached up to secure the masts into position (called shrouds or stays). Connecting a Lower deadeye to its corresponding Upper deadeye was a rope (called a lanyard) which looped up and down through the three “eyes” of each disc, to form a pulley system. The hitching of the two deadeyes with a looped lanyard provided the means of tightening, or loosening, the tension on the mast rigging ― essentially by pulling against the chain-plates bolted to the outside of the hull. It was a procedure that could be performed by sailors at sea and in emergencies. For example, after a gale the stays may have stretched and the masts worked loose, requiring retightening. Or, in the extreme circumstance of shipwreck, the lanyards might need to be released on the weather side, so that the masts fall away from the stricken vessel. HISTORY OF THE LOCH ARD The LOCH ARD belonged to the famous Loch Line which sailed many ships from England to Australia. Built in Glasgow by Barclay, Curdle and Co. in 1873, the LOCH ARD was a three-masted square rigged iron sailing ship. The ship measured 262ft 7" (79.87m) in length, 38ft (11.58m) in width, 23ft (7m) in depth and had a gross tonnage of 1693 tons. The LOCH ARD's main mast measured a massive 150ft (45.7m) in height. LOCH ARD made three trips to Australia and one trip to Calcutta before its final voyage. LOCH ARD left England on March 2, 1878, under the command of Captain Gibbs, a newly married, 29 year old. She was bound for Melbourne with a crew of 37, plus 17 passengers and a load of cargo. The general cargo reflected the affluence of Melbourne at the time. On board were straw hats, umbrella, perfumes, clay pipes, pianos, clocks, confectionary, linen and candles, as well as a heavier load of railway irons, cement, lead and copper. There were items included that intended for display in the Melbourne International Exhibition in 1880. The voyage to Port Phillip was long but uneventful. At 3am on June 1, 1878, Captain Gibbs was expecting to see land and the passengers were becoming excited as they prepared to view their new homeland in the early morning. But LOCH ARD was running into a fog which greatly reduced visibility. Captain Gibbs was becoming anxious as there was no sign of land or the Cape Otway lighthouse. At 4am the fog lifted. A man aloft announced that he could see breakers. The sheer cliffs of Victoria's west coast came into view, and Captain Gibbs realised that the ship was much closer to them than expected. He ordered as much sail to be set as time would permit and then attempted to steer the vessel out to sea. On coming head on into the wind, the ship lost momentum, the sails fell limp and LOCH ARD's bow swung back. Gibbs then ordered the anchors to be released in an attempt to hold its position. The anchors sank some 50 fathoms - but did not hold. By this time LOCH ARD was among the breakers and the tall cliffs of Mutton Bird Island rose behind the ship. Just half a mile from the coast, the ship's bow was suddenly pulled around by the anchor. The captain tried to tack out to sea, but the ship struck a reef at the base of Mutton Bird Island, near Port Campbell. Waves broke over the ship and the top deck was loosened from the hull. The masts and rigging came crashing down knocking passengers and crew overboard. When a lifeboat was finally launched, it crashed into the side of LOCH ARD and capsized. Tom Pearce, who had launched the boat, managed to cling to its overturned hull and shelter beneath it. He drifted out to sea and then on the flood tide came into what is now known as LOCH ARD Gorge. He swam to shore, bruised and dazed, and found a cave in which to shelter. Some of the crew stayed below deck to shelter from the falling rigging but drowned when the ship slipped off the reef into deeper water. Eva Carmichael had raced onto deck to find out what was happening only to be confronted by towering cliffs looming above the stricken ship. In all the chaos, Captain Gibbs grabbed Eva and said, "If you are saved Eva, let my dear wife know that I died like a sailor". That was the last Eva Carmichael saw of the captain. She was swept off the ship by a huge wave. Eva saw Tom Pearce on a small rocky beach and yelled to attract his attention. He dived in and swam to the exhausted woman and dragged her to shore. He took her to the cave and broke open case of brandy which had washed up on the beach. He opened a bottle to revive the unconscious woman. A few hours later Tom scaled a cliff in search of help. He followed hoof prints and came by chance upon two men from nearby Glenample Station three and a half miles away. In a state of exhaustion, he told the men of the tragedy. Tom returned to the gorge while the two men rode back to the station to get help. By the time they reached LOCH ARD Gorge, it was cold and dark. The two shipwreck survivors were taken to Glenample Station to recover. Eva stayed at the station for six weeks before returning to Ireland, this time by steamship. In Melbourne, Tom Pearce received a hero's welcome. He was presented with the first gold medal of the Royal Humane Society of Victoria and a £1000 cheque from the Victorian Government. Concerts were performed to honour the young man's bravery and to raise money for those who lost family in the LOCH ARD disaster. Of the 54 crew members and passengers on board, only two survived: the apprentice, Tom Pearce and the young woman passenger, Eva Carmichael, who lost all of her family in the tragedy. Ten days after the LOCH ARD tragedy, salvage rights to the wreck were sold at auction for £2,120. Cargo valued at £3,000 was salvaged and placed on the beach, but most washed back into the sea when another storm developed. The wreck of LOCH ARD still lies at the base of Mutton Bird Island. Much of the cargo has now been salvaged and some was washed up into what is now known as LOCH ARD Gorge. Cargo and artefacts have also been illegally salvaged over many years before protective legislation was introduced. One of the most unlikely pieces of cargo to have survived the shipwreck was a Minton porcelain peacock - one of only nine in the world. The peacock was destined for the Melbourne International Exhibition in 1880. It had been well packed, which gave it adequate protection during the violent storm. Today, the Minton peacock can be seen at the Flagstaff Hill Maritime Museum in Warrnambool. From Australia's most dramatic shipwreck it has now become Australia's most valuable shipwreck artefact and is one of very few 'objects' on the Victorian State Heritage Register. The shipwreck of the LOCH ARD is of State significance. Victorian Heritage Register S417. Flagstaff Hill’s collection of artefacts from LOCH ARD is significant for being one of the largest collections of artefacts from this shipwreck in Victoria. It is significant for its association with the shipwreck, which is on the Victorian Heritage Register (VHR S417). The collection is significant because of the relationship between the objects, as together they have a high potential to interpret the story of the LOCH ARD. The LOCH ARD collection is archaeologically significant as the remains of a large international passenger and cargo ship. The LOCH ARD collection is historically significant for representing aspects of Victoria’s shipping history and its potential to interpret sub-theme 1.5 of Victoria’s Framework of Historical Themes (living with natural processes). The collection is also historically significant for its association with the LOCH ARD, which was one of the worst and best known shipwrecks in Victoria’s history. A reasonably well-preserved ship’s deadeye with rust-stained wire loop-rope still attached. It retains portions of its original hemp cord and hessian wrapping. The flat sides of this thick wooden disc have three holes drilled through in a triangular configuration. The artefact is from the shipwreck of the LOCH ARD (1878). The survival of the loop-rope (wire cable) indicates it was an Upper Deadeye, connected to the shrouds (mast rigging).flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, loch line, loch ard, captain gibbs, eva carmichael, tom pearce, glenample station, mutton bird island, loch ard gorge, deadeye, rigging

This item was worn by Marjorie McKeown (nee Ford)Until well into the 20th century, the corset was an essential element of fashionable dress. Corsets were worn by women (and much earlier by men) to enhance their figures and to hold their stockings in place. Although still sometimes used they were mainly used prior to the making of pantyhose approximately 1960.A corset of pink/apricot coloured cotton with small flowers embroidered onto the fabric, with whale bone stays, and with suspenders and metal clasps attached to the bottom. It has tape lacing and metal eyelets as can be seen in the photograph. It is marked as size 32, Jenyns Patent Corsetry.Size 32, Jenyns Patent Corsetrywomens-corsetry body-shaping womens-appareil

This item was worn by Marjorie McKeown (nee Ford)Until well into the 20th century, the corset was an essential element of fashionable dress. Corsets were worn by women (and much earlier by men) to enhance their figures and to hold their stockings in place. Although still sometimes used they were mainly used prior to the making of pantyhose approximately 1960.A corset made of apricot / pink cotton fabric embroidered with flowers in the same colour. It has whalebone stays, and laces through metal eyelets. This corset is similar to 822 in the collection. It is size 33 and manufactured by Jenyns.Size 33, Jenyns Patent Corsetry (manufacturer) womens-corsetry womens-undergarments female-underwear

This item was worn by Sarah Archer, born 9.11.1881, and her daughter Irene Jean Maiden, born 1.7.1923, She lived in Orbost all her life having been born at the oOld Orbost Hospital in Nicholson Street. Irene died aged 86. Until well into the 20th century, the corset was an essential element of fashionable dress. Corsets were worn by women (and much earlier by men) to enhance their figures and to hold their stockings in place. Although still sometimes used they were mainly used prior to the making of pantyhose approximately 1960. A corset made of heavy apricot / pink cotton fabric . It has back tape acing through metal eyelets, and slide hooks. It has suspender straps with clips attached to the bottom of the corset. The stays, possibly whalebone, are sewn vertically into the fabric.on label - in red ink - "Liberty Reg'd "6/2815 D" small below waist size 32" exactcostume-women corsetry clothing

This example of a sailing ship’s ‘dead-eye’ is from the wreck of the LOCH ARD, which sank near Port Campbell in 1878. The vessel was an iron hulled clipper ship constructed for the Loch Line in 1873. It was part of a fleet of similar merchant ships owned by that company, which specialised in bringing passengers and goods from London via the Great Circle route to Melbourne, and returning to Britain via Cape Horn with the colony’s wool clip. Deadeyes were a common feature of sailing ship technology in the nineteenth century. They were a simple, cheap, and hard-wearing device that, in conjunction with another deadeye, provided an effective means of levering, or tightening, attached ropes and stays. Lower deadeyes were fixed to the sides of the ship by an encircling metal collar (inset in a flattish groove chiselled around the outer circumference of the disc), which was bolted to iron bars attached to the hull (called chain-plates). Upper deadeyes were looped by a strong hemp or wire rope (inset in a rounded groove carved around the outer circumference of the disc), which was joined to the bottom ends of the rigging which reached up to secure the masts into position (called shrouds or stays). Connecting a Lower deadeye to its corresponding Upper deadeye was a rope (called a lanyard) which looped up and down through the three “eyes” of each disc, to form a pulley system. The hitching of the two deadeyes with a looped lanyard provided the means of tightening, or loosening, the tension on the mast rigging ― essentially by pulling against the chain-plates bolted to the outside of the hull. It was a procedure that could be performed by sailors at sea and in emergencies. For example, after a gale the stays may have stretched and the masts worked loose, requiring retightening. Or, in the extreme circumstance of shipwreck, the lanyards might need to be released on the weather side, so that the masts fall away from the stricken vessel. The shipwreck of the LOCH ARD is of State significance. Victorian Heritage Register S417.A well-preserved ship’s deadeye with wire loop rope still attached. The original tar coating for water-proofing still remains, colouring the entire artefact black. It is wrapped in hessian cloth and hemp cord and is currently in storage under secure and stable conditions. This deadeye was recovered from the wreck of the LOCH ARD. The artefact is a typical deadeye, comprising a thick round wooden disc, pierced by 3 similarly sized and shaped holes from one flat side through to the other, in a triangle formation. The survival of the wire cable loop-rope suggests it was an Upper Deadeye, connected to the shrouds (mast rigging). Previous number PWO 2388.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, deadeye, loch ard, rigging

This calico, waist-cich with suspenders is an example of the dressmaking skills of the women of the families of the pioneer settlers and market gardeners of the Moorabbin Shire c 1900The Maggs family were early settlers in Moorabbin Shire. The pioneer settlers and market gardeners of Moorabbin Shire had to be self reliant and made their own clothing and utensils. This is one of many items that exhibit the skill and craftsmanship of the women in these families. This is a lady's calico, waist - cinch with broderie anglais decoration at the top. It has enclosed "stays" in four places to shape and minimise the wearer's waist. There are laces to allow the garment to be pulled to maximum tightness at the back, and a front opening of strong metal hooks and eyes. There are two suspenders hanging at the front of the cinch with metal fastenings to attach to, and hold up, the wearer's stockings. clothing, brighton, moorabbin, pioneers, dressmaking, dendy henry, market gardeners, maggs geoff, craftwork, maggs nancy, flagg sarah, early settlers

This hem marker stand is a measuring tool for gauging the height of a hem, such as on a dress or curtain. The adjustable arm slides along the ruler and its snug fit ensures that it stays at the right height. The end of the arm has a metal pin inserted into it to hold a piece of chalk, which would be used to mark the fabric. The hem marker would be used by professional dressmakers, seamstresses, and tailors as well as by crafts people at home. The hem marker was made in Birmingham.The hem marking stand is an example of tools used during the 1900s in the garments and furnishings trades as well as for domestic purposes. Since that time the tool has evolved into a more efficient design that makes home sewing easier.Ham marking stand with a wooden ruler, stand and a sliding adjustable arm on a brass sleeve. The arm has a metal pin on the end. Measurements are marked on both sides, inches on one side and centimetres on the other. Inscriptions are stamped into the wood. Made in Birmingham."- - - - / - - - - - / -BIRMINGHAM" On end of arm "2*4'flagstaff hill, warrnambool, maritime village, maritime museum, shipwreck coast, great ocean road, hem marker, dressmaker, dressmaking, alterations, tailor, dressmaker's tool, sewing marker, sewing gauge, seamstress, domestic use, dress fitting, curtain hemming, birmingham, freestanding, chalk hem marker, stand, home craft

This item was used by women to enhance their figure (body) and hold their stockings in place. Although still sometimes used they were mainly used prior to the making of pantyhose approximately 1960.Pink floral embriodered cotton material corset with stays, elastised inserts, metal hook and eye closure, two lace-up sections with elastic straps and metal buckles, four suspendersTag "Gross/Support"clothing and dress, george evans collection

Dalmas was a British company, established in 1933 which produced pharmaceutical supplies in London and Leicester. Small grey metal box designed to hold waterproof first-aid dressings. The design on the front includes a hand with a raised finger, indicating where the 'plasters' might be used. Waterproof / Stays clean / Does not fray / Dalmas plaster first-aid dressings / Made at Dalmas Ltd - Leicester & London - England / Estd 1833 / Cat. No. 905fpharmaceutical supplies, bandages, dalmas ltd

This nut roll tin was used in a period before 1959(when plastic containers started being used). It was a period when "home" cooking(desserts and cakes) was the only method of having cakes and other pastry dishes in rural areas as there were no local shops. The utensils available for this home cooking had to be strong and reliable and low maintenance. This was a period of self sufficiency especially in semi remote rural areas. Sadly, the Willow Company no longer has a nut loaf tin among their many cooking tins. A cylindrical nut loaf tin with removable lids at each end. The metal body of the tin has tiny patterned indented squares with only two of the three clips to ensure the tin stays closed. The lids at each end add to this tightening. On the lids there is rusty difficult to read stamping for the Willow brand. The cooked cake can be easily removed when the two lids are taken off. This is a rare tin.Around the edges of each lid is stamped 'NUT LOAF TIN'. In the middle of each lid is a circular shape with 'Made in Australia' around the edge. Inside this is a diamond shape with 'WILLOW'. There is a tiny square shaped pattern indented all over the body of the tin.baking tins, kitchenware, baking, cooking