Dressing tables (also known as Vanity Tables in the U.S.A.) have been around since the beginning of the seventeenth century, however it wasn't until the early to mid 20th century that they began to be found in the homes of the middle class and they were often a matching part of a bedroom suite. Dressing tables often featured a variety of objects such as combs, brushes, hand mirrors, perfume bottles, cosmetics, nail buffers, ring holders, jewellery and trinket boxes and trays. The origins of this tray are unknown however its design is reminiscent of trays (and Dressing Table Sets) produced by two English firms in the mid 20th century - "Delina" and "Regent of London". A paper (written by the Warwickshire Industrial Archeology Society) notes that the products items produced by "Regent of London" in the 1940's "satisfied a demand for previously unattainable items, offered to the general public aching for change after wartime privations, post war austerity and years of having to 'make do and mend'." This tray is composed of several decorative elements and materials. The metal border is gilt brass with two filigree bow handles, the main part of the tray is two pieces of circular glass and the encased doily is a mix of embroidered net and petit point. It was suggested in the paper written by the Warwickshire Industrial Archeological Society that the different pieces would have probably been produced elsewhere and brought to the factory to be assembled into the finished product. This vanity or dressing table tray is significant as it is a rare example of an accessory available to and used by women in the mid 20th century. It is also significant as an example of an everyday household item which would have been a valued possession and was made in a style that reflected the importance placed on it to be decorative as well as functional.Round footed dressing table tray with a gilt brass border, filigree bow handles and an embroidered net and petit point doily encased in glass. The gilt border is decorated with a stylized leaf design on the side and a floral design on the top. The petit point embroidery in the center is of five flowers in pink, mauve and yellow surrounded by buds and leaves.vanity tray, dressing table tray, glass tray, gilt brass, petit point, embroidery, net embroidery, doily, filigree, brass tray, flagstaff hill maritime village, shipwreck coast, flagstaff hill, warrnambool, flagstaff hill museum and village, domestic object, dressing table

Machine embroidery on netmanchester, trimmings

Small piece of hand embroidery possibly for collar. Net collar section with pink floral embroidery.embroidery

Tray Cloth, cream, handmade, with net-lace centre with leaf pattern, which is then bordered by a 2" crocheted lace edge and has a silver gray embroidery.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, tray cloth, crocheted lace edge

Whitish card with cut out window and an embossed border around the window. The window has fine net material which has ribbon embroidery on it. There are pale blue flowers, a green bow and two pink buds at the top joined by a piece of blue cord in a circle. Card & insert held together by a pink cord. Card is from May Somerset.person, greeting cards, malone collection, malone collection, greeting cards, may somerset

Clothing. Beautiful deep cream silk bodice, fully lined with cream tulle/net. Elbow length sleeves have a semi-circle of embroidered silk, and an embroidered tulle ''flounce'', edged with cream cord - 17 cms long. The bodice has seven pin-tucks, angled from the shoulder to the waistline on each side of the front and back. Between the pin-tucks at centre front panel is an extensive cream silk, floral embroidery. A rounded neckline at front and back, is in-filled with embroidered tulle - small 1 cm diameter flowers, in a 3 cm diameter circle, defined by 12 small (3mm) embroidered circles. The tulle infill extends to a 7 cm high stand-up collar-supported by seven plastic ''bones''. The collar also features the same, circular, floral embroidery, and is also edged at the throat with cream cording. The bodice while in good condition, has been cut at the hemline, and a 10.5 cm strip of fabric has been added but unfinished. 18 metal hooks, and hand-stitched loops fasten the back of the bodice. Sleeves are an extension of the bodice.costume, female, cream silk and tulle bodice

Textiles. Oval in shape, with a scalloped edge trimmed with a fine picot edged braid. The floral ''needle weaving'' embroidery comprises two petalled flowers, with raised bulliow stitch embroidered centres. Leaves and buds on either side of the flowers are also fine examples of needle weaving. Eight tiny buds complete the centrepiece.textiles, domestic, needle weaving embroidered doyley

Long sleeved bodice of ''resilda'' fabric. Long sleeves gather into a 9cm deep cuff. Cuff has a 4cm wide band, which is embroidered with a silk braid and floral embroidery in dark olive and a deep cream. A 5cmdeep band of floral cotton lace, in deep cream, trimmed at the edge with the braiding, completes the cuff. The same lace forms a 6cm deep stand-up collar, which is edged in a narrow velvet band of brown velvet. The back and front yoke is edged on the sides, with the same embroidered net as the sleeves. Braiding in a loop design underlines the bib shape, and also decorates the shoulders and upper sleeves. Sleeves are joined at the elbows, and decorated with braid. Bodice is pleated at the lower centre front to from a V shaped fitted waist. Back has a double plackett opening-the inner having ten hook and eye fasteners, the outer having three hooks and three hand made loops (as well as nine hooks and hand made loops on the back lace yoke). This two piece outfit-bodice and skirt, was made by Laura's Mother iv 1908, and mostly by hand. She wore it to Mass in 1913. It was made of material called ''resilda''.costume, female, brown striped bodice with lace trim

Cream silk satin bodice, with a high round neckline, finished with a seven cm deep, cream lace, boned, mandarin stand up collar - five bones-(one missing) to support the collar. Nine 16cm bones support the shaping of the tapered firmly fitted waist. A ten cm deep yoke at front and back shoulders. Below the yoke is a panel of eleven cm long pintucks right across the front, and on either side of the back. Centre front gathers into a cotton tape band at the waistline. Below the neckline of the centre front, is a panel ten cm deep of cotton lace, then a 13cm deep fine silk, gathered frill, edged with a reinforced silk ruffle. The centre back opening has a double placket, each fastening with alternate hook and eye,hook on either side of opening. Two large hooks facilitate a joining with a skirt.The three quarter length satin sleeves, are a bell shape, and gather into a cream net, eight cm deep band, which fastens with two metal hooks and hand made loops. Over the net is a double frill, 13 cm deep, and edged with a reinforced silk ruffle, as in the centre front panel. This bishop-type sleeve has five X 12cm long pintucks at the shoulderline. A ten cm long row of a feather stitch type of hand embroidery on either side of front bodice-one each side of the gathered centre front panel. Bodice is fully lined with polished cotton.costume, female, cream silk-satin long sleeved bodice

The letters of the completed banner were made by different churches within in the presbytery of Gippsland and spell a sentence, presumably, "BUILD YOUR CHURCH LORD!" Orbost was one of the churches that had the finished banner on display. 24 small banners with tabs at the top of each for hanging on a rod. 19 have large blue letters appliqued on them. Twenty two of the banners are roughly square and two are smaller and oblong. Three have no letters and are used as spacers in the four word sentence that the letters make. The banners are decorated with rural and coastal images. BN068.1 "B" with an embroidered boat with the number 1 on the sail. BN068.2 "U" fabric paint words: "LOCH POOWONG east poowong nyora strezlecki kernang athlone" BN068.3 "I" "Korumburra" BN068.4 "L" with a pelican, fishing boat with a net, shells and sand BN068.5 "D" with the UCA emblem and "BUNYIP Garfield Longwarry" BN068.6 "Y" BN068.7 "O" with fabric paint flag, ram, road and trees and a cow BN068.8 "U" BN068.9 "R" with green and yellow wattle in fabric paint BN068.10 "C" with ric-rac round the letter and three churches appliqued in the top left corner BN068.11 "H" edged with pale blue metallic fabric paint BN068.12 "U" with sunrise over the sea with gold chain sunbeams and sequins BN068.13 "R" with fine blue embroidery at each corner and only two tabs BN068.14 "C" with appliqued boat, sky and sun BN068.15 "H" with a black swan with a red beak BN068.16 "L" with appliqued and fabric painted scene of a beach, hills and city smoke on the horizon BN068.17 "O" with painted corn cobs in each corner BN068.18 "R" with cows, hills, sheep and a sack BN068.19 "D" with machine embroidered church "St Matthews Yinnar", hands "Friendship", building "UCA Yinnar", chuch "Holy Innocents YINNAR STH" "(Californian RED WOOD)", tree "BIG TREE grows at Christ Church Boolarra" BN068.20 "!" with fabric brown cow in grass BN068.21 spacer with appliqued house, bushes and barn BN068.22 spacer with appliqued sun with ribbon rays and black white and brown figures BN068.23 & BN068.24 spacer with a small UCA red dove in the centre "B U I L D Y O U R C H U R C H L O R D !"uniting church adult fellowship

15 page, stapled magazine, 'No 377, Vol 32-Weldo's Practical Needlework: Weldon's Broderie Anglaise'. Extensively illustrated with photographs and drawings. There is a 10 inch ruler marked down the front spine and advertisement for 'Arderns Star Sylko' on the back cover. Contents include; instructions for ladder work; applique file; net; richelieu and block and shadow workSmall pencil graffiti/diagram in right margin of front cover.handcrafts, embroidery, needlework

Fine muslin appliqued onto machine made net is decorated by hand with needlerun embroidery stitchesCarrickmacross lace collar.

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Rectangular silk organza chemisette, with inset embroidered net at the front and at the neck. The free-form, multicoloured silk embroidery includes abstract flowers, fruit and leaves, and may be of Chinese origin. The chemisette has five decorative mother-of-pearl buttons at the front and silk organza ties at the waist.lace, women's clothing, australian fashion, undergarments, chemisettes

The Fashion & Design collection of Kew Historical Society includes examples of textiles dating from the 18th, 19th and 20th centuries. Some of the textiles, were used as items of clothing, others as items of household decoration, or simply as travel souvenirs. These textiles were created both domestically and internationally. Predictably with the growth of an ethnically and culturally more diverse community in Kew after the Second World War, textiles, clothing and objects in the collection inevitably reflected this diversity. Length of heavily embroidered tulle with a border detail on three edges and one cut side. The pattern is of flowers and leaves. Machine chain stitch onto net. The floral centres are hand madelace, embroidery, tulle

This evening dress belonged to Clara Johnstone Miller (nee Bell, 1866-1910). Clara was the only daughter of Mr James Bell, a councillor of the Shire of Leigh (today a part of Golden Plains Shire) and owner of Woolbrook Homestead in Teesdale, near Geelong. In 1888, Clara married prominent businessman, racehorse owner, racing identity and pastoralist Septimus Miller (1854-1925). Septimus was the sixth of seven children born to Henry 'Money' Miller and Eliza Miller (nee Mattinson). 'Money' Miller was a well known financier and politician and reputedly one of Australia's wealthiest people in his time. In 1889, Clara and Septimus moved into the house 'Cantala' in Dandenong Road, Caulfield. They had one child, Gwendoline Stewart Miller, who died in 1902 at the age of thirteen of diabetes - a largely untreatable condition at the time (insulin would not be discovered until 1921). Clara died in 1910, aged only 44. Septimus subsequently married Helen (nee Henderson), with whom he had a son, Ronald (1915-1990). The Millers were buried in the Brighton General Cemetery in a large Gothic-style vault. Upon Clara's death, Septimus sent much of her clothing and Gwendoline's to her mother Mary Bell. Some of these items were passed down to two of Clara's nieces, Miss Mary Bell and Mrs Lois Lillies, who donated them to BHS around 1973.A yellow and lime green silk and net evening dress from c.1909. The bodice is constructed of a golden silk satin with an over bodice of a very soft gold net with soft gold and lime green embroidery decorated with flower and bow motif's. The neckline is bateau like in shape with the edge following the flowers of the lace design. The bodice is sleeveless with a loose detached cap that hangs down over the top of the arm with a lace covering. The under fabric of the bodice is shaped and lightly boned but the over lace is looser, nipping in at the waist where it joins the skirt. At the back, the bodice neckline scoops lower than the front with the lace overlay creating a v shape at the centre back. The bodice is secured with hooks and eyes and waist tapes. The skirt is flat fronted and floor length consisting of the same golden yellow silk with soft gold and lime green embroidered net over skirt. The lace net over skirt features larger motifs and greater embellishment towards the bottom of the skirt. The lace over lay also has an edge that follows the design of the lace rather than a straight edge. At the back the underskirt is flat and shaped but the over skirt is lightly gathered and loose hanging. The skirt finishes in a full skirt and a rounded, small train.woolbrook, septimus miller, cantala, henry 'money' miller, gwendoline miller, clara miller, 1900s fashion, caulfield, brighton general cemetery

In the early 19th century, infant baptismal gowns were modelled on dresses worn by adult women. Gowns were typically made of fine white linen or cotton, and often trimmed with tucks, lace, whitework embroidery, and other handwork. The Kew Historical Society's collection includes over fifteen christening gowns dating from the 19th and 20th centuries.A white cotton and lace christening gown. The primary decorative elements of the gown are at the front which includes multiple layers of lace on net that extend from the neck to the hemline, which are then bordered with ruffles of the same lace. The bodice has a high neck, bordered with lace, and two short sleeves.christening gowns, ceremonial clothing, children's wear, baptismal clothing, victorian historical themes — 8.6 marking the phases of life

Veil worn by Margary (Madge) Isabelle Brydon. Was later worn by many (about 15) local ladies who lived in the area of Rushworth. Madge's daughters, Molly and Isobel both wore the veil at their weddings in 1938 and 1945. Donor is granddaughter of bride. Veil made by bride and described in the Waranga Basin newspaper at the time. Margary (Madge) Brydon married Edward (Ward) Sprunt at the bride's family home in Carag Carag, Victoria on 10th April 1912. Veil also worn by Mary (Molly) Leith at her wedding to William (Bill) Paynter on 18 January 1932 at Stanhope Presbyterian ChurchCream 1912 cotton net Princess veil. Lace is handmade tape and cotton embroidery. See Also NA3494 -wedding dress, NA3496 - shawl and photograph NA3498costume, female ceremonial