Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. The decoration on this garment was embroidered by hand by a skilled worker at the Kathryn Knitwear factory. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Red cardigan embroidered with decorative tuck stitches and floral motifs on front panel, crochet around collar in blue, white and green. Closes at centre front with 5 plastic buttons[Label at back neck with blue lettering woven into label] KATHRYN REGD ALL WOOL / 20 /CREATED BY ROBERT BLAKEchildren's knitwear, knitwear, children's clothing, clothing, cardigan, manufacturing, fashion textile production, machine knitting, embroidery, hand embroidery, floral embroidery, floral motif, tuck stitch

This white, cotton child’s pinafore is an example of the dressmaking skills and craftsmanship of the women of the pioneer settlers families in Moorabbin Shire c1900Early settlers and market gardeners established their families in Moorabbin Shire and this item shows the dressmaking skills and craftsmanship of the women of these familiesA white, cotton ,small child's pinafore with pin-tucking, feather stitch, lace and embroiderybrighton, moorabbin, pioneers, market gardeners, early settlers, craftwork, clothing dressmaking

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

This is a dress for a young girl aged about twelve. It seems to date from the late 19th century and would have been worn at a wedding or a family celebration. This dress is a fine example of vintage clothing and is a valued display item.The dress is made of fine muslin. It has a round neck with lace edging, the gathered skirt has pin tucks with a spoke stitched wide hem. There is lace insertion at the waist and on each shoulder. On the three quarter sleeves there is lace edging at the cuffs. The bodice has machine made embroidery, spoke stitching and tucks. The back has press studs and hooks and eyes .vintage clothing, warrnambool and district historical society collection

Possibly belonged to Elizabeth Jane Hartnell (1855-1922) whose descendants donated the Turner Collection. Slip found with clothing 'Grandmother Hartnell's shawl". Turner Collection.Clothing belonging to early Kilmore families.Yellow silk shawl, self-fringed on all four sides, floral embroidered borders, some staining present, approx. 1.2m sq. Two stitched "tucks" horizontal 15cm from edge of opposite sides approx. midway. Appears to cover stain /ink. A few small holes otherwise ood condition. hartnell, turner collection

local manufacture either a seemstress or a mother. Time Circa 1920s to 1940s. Distance from towns with haberdasheries would force local manufacture of garments by highly skilled women.Historical period Circa 1920s to 1940s was before easy access to branded manufactured clothes. Majority of basic clothing was hand made either family or skilled friends and neighbours This is Garment is cross referenced to KVHS 0249 and KVHS 0248 and details the growth of a young childGarment has sleeveless top attached to pantaloons at waist and open crotch and going down inner leg seam to 8cm from bottom. Bottom section of each leg adorned with crocheted lace and two pin tucks around bottom of the legs. Top back of garment has three "Mother of Pearl" buttons and narrow 8 mm wide shoulder cross reference to KVHS 0249 and KVHS 0240 straps. Machine stitched cream in colourvest, underwear, child's clothing

The dress was probably worn at a christening in one of the Kiewa Valley churches (denomination unknown). The importance of the event to family and friends is shown by the quality of the garment. These style Christening dresses were often worn buy several children of the one family , both boys and girls. Other items such as hand made bonnet may have been part of this out fit. "KVHS 0123" The quality of the garment and the fashion style it represents is both historical, not only the time of its manufacture but also of the fashion in that era. It has christian religious implications and values of the time frame of regional life in the early1900s. Girl's white dress (christening event), fine cotton with lace border "broderie anglaise" with a row of lace flowers mid skirt "battenberg".This lace is also inserted in centre front panel and sleeves. Scolloped cotton is also on sleeves, neck and front. Pin tucked skirt. Opening back with drawstring fastening at neck and waist. Short sleeves and machine stitched children clothing, lace-battenberg and broderie anglaise, female clothing, dress, cotton, christening, dressmaking

Lack of label suggest that this garment was produced in the Kiewa Valley Circa 1900 to 1940s. It would appear to be from a local seemstressThe time period indicates that the distances to the main centres of fashion was far too long for families to go to purchase such items from a retailer. Settlements in the Kiewa Valley would have more than one local seemstress. The relative rarity of the garment and the "Ric Rack" is unique.Garment has sleeveless top attached to pantaloons at waist and open crotch and going down inner leg seam to 8cm from bottom. Bottom section of each leg adorned with crotcheted lace and two pin tucks around bottom of legs. Top back of garmenthas three "Mother of Pearl" buttons and narrow 8mm wide shouldenilcross reference to KVHS 0249 and KVHS 0240 straps. Machine stitched cream in colour vest, undergarment, underwear, lingerie

Christening gowns are traditional outfits made just for baby’s baptism. They are almost always white and can be very ornate, highly decorated garments. Usually, the christening gown is quite long – much longer than the baby being christened, particularly when it is worn by a young or very small baby. Many families keep a “family” christening gown that has been passed down through various family members and is used for the baptism ceremony. This christening robe was probably used by the Cameron family.The christening gown was a late 18th century innovation usually made of white lawn, muslin or net, longer than the baby and fancier than a day gown. The design was a more moderate version of contemporary adult fashion. Most 19th century christening gowns featured lace. All, until the end of the century, had low necklines and short sleeves. This gown reflects the style of christening robes in the early 20th century. A high waisted, short-sleeved long white broderie anglaise christening robe made of fine cotton. It is hand made edged with machine stitched cut work lace. The bodice is pin tucked.christening-robe clothing-childhood

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

Beautiful soft cream silk dress, with a random silk embroidered three petal flower over the fabric. Round neckline with overlaid square yoke of embroidered lace on a net background. Two 7cm wide bands of the lace are gathered over the shoulder armhole edge. These frills, and the scalloped edges of the front and back lace yoke are trimmed with 4 cm long decorative silk tassels.(one missing). Long sleeves, tapered in at the wrist are trimmed at the wrist with a 4.5cm wide band of lace, part of which is threadedwith two rows ofsoft pink silk ribbon insertion. Soft pink silk, folded into three 2.5cm tucks-overall width 6cm trim the high waistline, with a 7cm diameter rosette at the left front, and a bow(?), and tails, trimming the back waistline. This is severely damaged. Four metal hook and loops fasten the back lace collar, and nine metal hooks and eyes fasten the bodice. Bodice and sleeves are fully lined. Bodice is boned with thirteen 12-4 cm long ''bones''. Skirt is in two tiers; Top is 38cm deep, and made from the plain embroidered silk. A 5cm deep band of lace, with scalloped edges then joins the 36 cm deep ;lower panel of beautifully embroidery and pulled threadwork. Hem is faced, and finished or hemmed with french knots. Dress , which is hand stitched is fully lined with cotton. The lower 36 cm deep tier of the underskirt is trimmed with three .5cm tucks, and two 8cm bands of cutwork lace in a floral and geometric pattern. An oval shaped pocket is sewn into the front of the ''petticoat'' lining. This pocket contained some plant material, included in attached bag.costume, children's, cream embroidered silk and lace dress

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

Clothing. Woman's black ribbed silk bodice, fully ;lined with black cotton fabric. High round neckline with stand up lined lace collar (4cm), fastened left of centre at front with two metal hooks and eyes. Front lining fastened with twelve metal hooks and eyes from throat to waistband. Waistband (5.5cm) of horizontal pleated fabric. Small pocket (8cm X 6cm) attached to inside lining on LHS. Waistband has 7 cm cross over tab section at centre front fastened with three metal hooks and eyes. Centre front opening is edged with black lace and tucked spotted voile, fastened with three metal hooks and eyes.A wide shawl collar across the shoulders extends and gathers into the waistband at front and back. This forms a V shaped opening at the front exposing the lace and voile beneath.The inner and outer edges of the collars have decorative knots. The centre of the collars have 18cm pin tucks from the shoulder seam at the front and 11 cm pin tucks at the back.At centre back. a panel of black lace runs from the collar to the hem of the waistband. Two gathered fabric tails are attached at centre back to hang below the hem of the waistband. Decorative lace as stitched across the shawl collar at the shoulders seams, ending with a decorative knot and cotton tassell (7cm). Set in Leg 'o'Mutton sleeves are gathered around the arm holes and gathered into a band of fabric with decorative lace and knots. The narrow lower section has a turned over hem edged with decorative knots and black lace. Each sleeve has a 5cm slit at the wrist. The bodice has fifteen bone casings spaced across the garment, from the waistband. These are stitched in place with yellow cotton. Some internal seams finished with yellow cotton. Hand stitched. Word ''GLEN" is written on one bone casing. Temporary darts have been stitched on both side seams with red cotton to reduce the size.costume, female, woman's black ribbed silk bodice.

Clothing.Woman's cream coloured long sleeved silk bodice. High round neckline with 4 cm stand up collar. Semi-circular yoke front and back (13cm radius). Collar and yoke have embroidered net over silk fabric. Kimono cut long sleeves have cuffs of embroidered net over silk from shoulder to wrist along top of sleeve (33cm X 4 cm). Sleeves and front of bodice have all over vertical pin tucks. The front of the bodice has cotton tape ties stitched across from centre front to side seams at waist level gathering the fabric to form a peplum effect at the front. The tails of the cotton tapes tie across the back from the side seams. Full length front opening fastened with nine press-studs between collar and waist and a metal hook and eye at the waist. The back of the bodice has vertical pin tucks across the shoulders and below the yoke extending 9 cm below the yoke.costume, female, woman's cream coloured silk bodice

Clothing. Men's cream coloured cotton formal dress shirt. Stiffened bib front (27 cm X 38 cm) with pleats and pin tucks. Centre front placket (35 cm) with 7 cm button holed tab at lower end. Front opening fastened with three buttons and button holes (two buttons missing). Double button holes on 2 cm stand up collar. Body of shirt gathered into yoke at centre back. Long straight sleeves with 7 cm stiffened cuff with button holes for cuff links.Tag inside back neck. Coat of Arms, ''Fdad' Aluisio Napoli'' Red hand stitched laundry mark.costume, male, men's cream coloured dress shirt

Clothing. Cream coloured sleeveless silk baby's dress.Straight line dress gathered skirt sections on sides. Separate fabric pieces form shoulders.V shaped neckline back and front. Centre of front neckline has six pin tucks over sown with blue and pink embroidered cross stitch. Back opening to waist fastened by two press studs. Border of blue and pink flowers around lower edge of dress.costume, children's, baby's dress

Embroidered silk, with a swirl type embroidered pattern. Wide, and deep square neckline. Back opening with nine metal hook and eye fasteners. Seven 16cm long bones encased in ribbon - three in the front, and two either side of the back opening. The wide square neckline is edged with 4.5cm wide fine lace - (two narrower pieces stitched together). Five .5cm wide tucks border the front and back neckline. The sheer embroidered tulle sleeves have a silk panel under arm. Shoulders and sleeve cuff are trimmed with a feature of artificial roses and leaves - roses 2.5cm diameter. A 17cm frill extends from the back opening, passing under the armhole, across the tucked border at the neckline to the back opening of the left side. This frill is also trimmed with the artificial roses at 10cm intervals. The bands of lace that trim the neckline also border this frill. Stiffened circular shaped shields are stitched under the armhole, and on the adjoining under arm of the sleeve. Pink chenille type tufts interspersed on embroidered silk overlay. PART 0F WEDDING OUTFIT 11400.781; 782On the lining panels of the left sleeve is marked FLIRT, Made in U.S.A. 1 2 2.costume, female, cream silk wedding bodice

Fine white cotton, with a drawstring in a 1.5xcm deep casing around the waistline. Completely opened at centre front, through crotch, and up the centre back to within 14cm of the waistline. One dart on either side of front, and two darts on either side of back. Machine stitched. A 2.5cm wide cotton lace is inset into a zig zag pattern around each leg. In each V shape a 1.5cm lace insert in a fan,under the V shapes are inserted needle woven bows, shape is inserted. Seven extremely fine pin tucks border the edge of the legs, which have a three cm wide lace edging. Split drawers were worn in the era when women wore corsets. The split front and back allowed women to go to the toilet, as the corsets could not be removed to allow for an act of nature.Accompanying note - No date. The bloomers belonged to Miss Antoinette Catling of Bendigo and were part of her trousseaux. They would be 80+ years old. The linen bed jacket (11400.930) would be about the same age.costume, female, fine white cotton split drawers

Clothing. Yellow cotton ladies gloves. Three pin tucks on back of each glove.Inside wrist gathered onto strip of elastic (3.5cm X .6cm). Gloves unused. Still stitched together at side seam. 3cm split inside wrist. Old box 573.Stamped inside LH glove, 6 1/2 Cotton. Made in England.costume accessories, female, ladies yellow cotton gloves

Clothing. Cream coloured ladies leather gloves. Three pin tucks on back of each glove. 6cm split at inside wrist. Gathered inside wrist on elastic strip. Unused. Still stitched together on side seam. Old box 573.Stamped in gloves 02691 (twicein LH glove). RH glove ''Made in England''. Leather gloves 7''. Two stickers , 5/- 11/9 6-3 412''costume accessories, female, cream coloured ladies gloves

High round neckline, edged with 1.5cm wide lace. Centre front panel is pintucked with a centre front opening, fastened with ten metal hook and eye fasteners. Five metal press-studs also fasten the overlap of pintucks, but these are possibly a later addition. A 3.5cm wide panel of fine watermark silk defines the waistline, in three 1.5cm pleats. Centre back seam has one .5cm flat pleat or tuck on either side. A 5.5cm panel of fabric is overlaid with a net based, beaded braid, of small black jet beads in a floral design-This braid extends around the neckline, and down each side of the front to below the bustline. This beading is also sewn of the eight cm wide sleeve cuffs. A cream crochet collar-most likely a later addition, is now stitched over the beading around the neckline. Garment is lined with black polished cotton.costume, female, victorian black silk beaded bodice.

Long sleeved pink silk bodice lined with pink and mauve cotton fabric. Front of bodice made of pieces with a centre seam. Centre panel insert of cream coloured embroidered net narrowing from 28 cms across high neckline to 18 cms at waist. Five black velvet bows are attached vertically at centre front from below the throat, 6 cms apart. Velvet bows hand stitched to centre front. Front panel has rounded shape dipping below the waist. On either side of front insert are two wide vertical tucks Stand up collar of embroidered net (6 cms) has two pieces of wire inserted at LHS of back opening and in front of LH shoulder. Matching wire pieces on RHS are missing. Wire pieces are hand stitched in place. The bodice has a back opening fastened with six buttons and button holes plus a hook and eye at the top below the collar. One button is missing. Buttons are white with wheel spoke pattern. Strip of hemmed silk fabric is tied to the top buttonhole. Cotton lining consists of four pieces across the back and two pieces across the front with centre seam and two darts on either side. Full gathered set in sleeves from the shoulder are gathered into a tightly fitted 20 cm lower sleeve just below the elbow. The upper sleeve has a fitted lining of mauve cotton fabric shaped to the elbow and then forming the fitted sleeve along the lower arm. The fitted lower sleeves are covered with cream coloured embroidered net and have a 10 cm opening on outer edge fastened with three buttons and button holes. Hand and machine stitched.costume, female daywear, silk bodice

Full length cream synthetic fabric wedding dress with long sleeves and a train. Front and back have a yoke of lace. Three quarter length sleeves are made of the same lace with roulette trim at hem. Inner and outer edges of sleeves ruched for 3 cm. High round neck at back. V neckline at front. Front of bodice has two side darts and two under bust darts. Bodice at waist line has three decorative scallops at front and back. Synthetic fabric of bodice has woven fabric backing. Side opening on left hand side is fastened with nine press studs. Full length skirt of lighter weight opaque synthetic fabric has centre seams at front and back. Fabric is cut on the bias to form a 360? full circle skirt with a train at centre back. An additional section of fabric is attached at either side to complete the circle. At centre back of the skirt is an inverted pleat to create fullness for the train. Hemline is edged with lace with four rows of tucks above the hem, 1 cm apart. Separate petticoat of heavier woven synthetic fabric attached at waist. Petticoat cut on the bias to create 360? full circle skirt with inverted pleat at centre back to create fullness. Narrow turned over hem. Petticoat skirt dips to a V shape at centre front and back seams. Machine stitched.costume, female ceremonial, wedding dress

Clothing. Women's brown wrist length leather gloves. Decorative stitching around seams on fingers. Three pin tucks on back of gloves. U-shaped cut out at centre front at wrist (3 cms X 1 cm).costume accessories, female, women's brown wrist length leather glove

Clothing. Wrist length, dark cream, machine stitched leather gloves. Machine stitching-two rows, gives the effect of pin-tucks, are sewn in a diagonal direction from the outer wrist, across the back of the hand. The shorter outer stitching, 4 cm long has two 6mm long leather stitches, at right angle to the machine stitching. The second diagonal stitching runs around the top of the glove, and 9.5 cms across the back of the hand. It is offset with three 6 mm stitches at right angles. There is a 3 cm long, bound slit at the outer side top of the gloves.costume accessories, female, dark cream wrist length leather gloves

Clothing. Fine white cotton lawn nightgown. Round neck, with back opening. 12 cm deep yoke, and tiny cap sleeves of embroidered cotton. A V shaped panel of embroidered cotton at the centre front of the yoke. A drawstring in a casing fastens at the back neckline. A tiny .75 cm button, fastens the back yoke. Nightgown is machine stitched, with some hand stitched decorative stitching. The long skirt has two bands of narrow tucks-one tuck of 1.04 cm and six bands of .04 cm. This is edged with a band of hand stitched embroidery. This band of tucking is repeated, and edged with a 6 cm wide band of eyelet embroidery. This panel is repeated with the lower edge of embroidered cotton finished with a scalloped shaped edge. A scalloped braid edges the neckline. Skirt is two-tiered-top tier very finely gathered to yoke is 15 cm deep. Lower tier is 71 cm deep.costume, children's, toddlers nightgown.

Textiles. A delightful Depression or Wartime, homemade item. Cut in a wedge shape, with a bottle green nylon fabric, waistband, extending to become the tires at the wearers back. The green nylon also forms a one-inch (2.4 cm) border along the sides and extending to a 1.5 cm border on the reverse. This binds the hessian to prevent fraying. Two wedge shaped pockets are also bound on three sides and tucked into the side edge bindings at each side of the apron. 5.5 cm from the top of each pocket is a 1.5 cm band of drawn threadwork, interlaced to form a pattern with green wool. This drawn thread pattern is repeated 3.5 cm above the lower edge. The lower edge is stabilised with a row of blanket stitch in green wool, and a 3 cm fringe of the hessian fabric. Two small 1 cm pleats shape the apron at the waistband.textiles, domestic, sugar-bag waist apron

Clothing. A concealed full length back opening reveals five tiny covered buttons, 7 mm in diameter and five hand-stitched button holes. This opening is bordered by two groups of five very fine pin tucks with a 3 cm spacing between the two groups. The blouse is made from very fine Swiss lawn cotton fabric, and is very soft to the feel. The front has a broad panel thirty cm wide of exquisite pintucks, crochet, lace and embroidery. The embroidery is white on white, and features flowers and leaves in a curved pattern. A crochet panel below the high neckline is 4 cm x 10 cms and is peaked at the lower edge. This is bordered by 1.5 cm wide cotton lace, and horizontal pintucks. Two panels, one on either side of three pintucks, 1.5 cm panel of lace, and then the central panel of embroidery, pintucks, lace, and crochet. Five pintucks, 1.5 cm panel of lace and five more pintucks run the length of the short sleeves. Sleeves are puffed, and gathered at the shoulder, and at the 1.5 cm deep cuff, which is also pintucked. A 1.5 cm deep 'stand-up' collar, spoke-stitched to the garment, as are the sleeves and shoulder seams. Front hemline is curved. Back hemline is straight.costume, female, a full length back opening blouse

Clothing. Fine white linen fabric. A .8 cm 'tuck' edged at top and bottom with a spoke-stitched border, marks the waistline. Below the waistline is a peplum, split at the centre front with 8 cm deep peaks. These peaks are repeated at the centre back. The peplum tapers to 7 cm deep at side seams. The camisole is trimmed at the top edge with a 4 cm deep band of cotton lace. The top edge of the linen fabric has a double row (off set) of cotton embroidered 'spots' 2 mm in diameter, and three rows of drawn thread work - one cm in width, 3.5 cm wide lace form the shoulder straps. The back opening fastens with six tiny 7cm pearl buttons, and hand-stitched button holes. The lower button fastens with a loop at the waistline 1880-90's. A 'fan' of pintucks, arched from 4 cm long at the ends, to 6 cm long at the centre, fans the midriff at the centre front, above the waistline - 28 tucks in total.costume, female, camisole.