The embroidery has been re-mounted and it is mid 19th century style of underskirt.White cotton underskirt with hand worked eyelet embroidery and medallions of Point Lace.Deep lace hem. Drawstring waist with placquet opening. Blue ribbon at waist and threaded through eyelets.underskirts, underwear

Christening ensemble first worn in 1858 by William Thomas (Tom) Poulter, eldest living child of James & Mary Poulter. Ensemble comprises a short underskirt, long underskirt, robe, 'shawl' & silk bonnet. The robe is reliably dated to 1858, however, the underskirts, shawl & bonnet may have been added to the ensemble at a later date. Used by many generations of family & extended family.White cotton underskirt to christening robe. Pin tuck detail to skirt. Tear at left shoulder.poulter, chapman, christening

White cotton underskirt - flounce of lace insertion and pin tucking.underskirts, underwear

Worn by Miss Nora Berry of Key at age 17.Blue and grey underskirt in striped pattern. Narrow yellow stripe. underskirts, underwear

One of two underskirts accompanying a christening ensemble. First worn by William Thomas (Tom) Poulter in 1858, eldest surviving child of Mary and James Poulter. Used by generations of Poulter & Chapmans. The robe is reliably dated to 1858 but the two underskirts, shawl & bonnet may have been added to the ensemble at a later date.Early christening underskirt related to early Kilmore families.White cotton christening underskirt with pintuck & broderie anglaise detail to skirt. Excellent condition.poulter, chapman, christening

Worn by Mrs. F. WilmsWhite cotton underskirt with flounce of broderie anglaise and tucks. Has pink ribbon threaded through.petticoats, underwear, underskirts

Cream christening gown with silk underskirt. Fine lace and mesh dress with puff sleeves and white ribbon at bodice.costume, infants'

This hooped petticoat or underskirt was worn in the 1950's under full skirted evening wear. Mt Beauty had a vibrant social life during this period with many balls and dances throughout the year.This garment was worn by Margaret McKendrick (nee Vyner) who was born and lived in Tawonga, then Mt Beauty.White cotton tiered under skirt with double hoops at the bottom. The skirt is gathered at the waist and falls to the floor. The waist has a drawstring (ribbon) which is tied at the back.The name "M.McKendrick Mt Beauty" is written in blue ink or texta around the inside of the waistband.petticoat. underskirt. hoop. evening dress. ball gown. mt beauty. entertainment.

19th centrury doll , hands, feet and face made of wood, body of leather. Dressed in grey wool jacket, striped apron and underskirt, pink flowered overskirt and bonnet.toys, dolls

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. The dress was purchased, and worn by Kathleen Gervasoni, a long term resident of Kew, Kew Historical Society member and mayoress of the former City of Kew (1978-1979). It is part of a collection of clothing and accessories donated to the collection by her.Black velvet, black and majenta organza, taffeta underskirt, large black satin bow, drop waisted evening dress, made to order for the donor from a boutique in Ivanhoe. women's clothing, evening dresses, kathleen gervasoni, australian fashion - 1980s, evening wear

Possibly worn at wedding of Elizabeth Jane ('Lil') Hartnell to Stephen Robinson Turner, 1885. Bodice of wedding dress - TEX-0013Clothing from early Kilmore family, the Hartnells.Ivory silk underskirt. Padded ruffle hem flaring out at back. Tearing along sides, lateral tearing down back coinciding with staining. Mould present (inactive).wedding, hartnell, turner collection

Bridesmaid's dress worn at Margaret Rose Vyner and Ian McKendrick's wedding on 11th January 1958The McKendrick family came to Mt Beauty very early in the Kiewa Hydro Electric Scheme (KHES) days. Their son, Ian, worked in the Mt Beauty Post Office for 40+years. Vyner family also long time employees of the SECV on the KHES. They were residents of Mt Beauty. Margaret was a nurse at the Tawonga District Hospital at the Tawonga site . White sleeveless dress with a taffeta underskirt with 2 tulle gored over skirts. The bodice is tulle over taffeta with fitted bodice, scooped neckline decorated border of lace and diamantes with a side zip.Maker's Tag: Milady's Robesbridesmaid's dress, vyner family, mckendrick family

Established by local designer Ralph Samuel, Hartnell of Melbourne was one of the leading high-end Flinders Lane fashion houses of the 1950s and 1960s. This dress still has its original store tag attached, which tells us that it cost 39 pounds, 19 shillings and sixpence - a large amount of money to spend on a dress in 1952. Adjusted for inflation, this price tag equates to approximately $1,480 in today's money.Mauve tucked and folded cocktail dress with twin shoulder straps, ruched bodice and gathered skirt. Rose detail on each hip. Tulle underskirt. Swing tag still attached to back zip.Label, white with blue text: "Exclusively yours, / Hartnell / REGD / MELBOURNE" Swing tag: "THIS GARMENT is made from finest material and designed for the fashion conscious woman / NO. 3633/332 / SIZE SSW / PRICE 39"19"6 / Hartnell of Melbourne Pty. Ltd. / Almond Pink"hartnell of melbourne, 1950s, ralph samuel, melbourne designers, flinders lane

This dress is 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.Long black silk dress with long sleeves. It is hand-made - machine stitched. There is black beading around the neck and collar. The belt is also beaded. There are small black buttons on the belt and sleeves. It has a black underskirt.costum -female cameron

not knowncirca 2000 black chiffon evening full length waisted dress with short sleeves, round neck and front of a false waistcoat beaded with black flowers and tied at the back. Underskirt of fine black lawn. Back zipperDG Sport Classic Comfortcostume, female

Made for and worn by Jeanette Margaret Bennett at her wedding at Uniting Church, Riversdale Road, Wattle ParkWhite chiffon 1978 round neck line dress with high waist, long sleeves; with cuff and six covered buttons. Hem line and neck trimmed with satin. Dress lined with satin underskirt. See also 3597., Wedding Veilcostume, female ceremonial

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. Golda Whelan, a designer with Hartnell of Melbourne designed this wedding dress for her daughter Liane Whelan. Liane married John Merry at St John's Anglican Church in Toorak in 1969.The dress was manufactured in the 'house' of Hartnell of Melbourne, a leading Melbourne Fashion House in the 1950s and the 1960s.White slim line lace wedding dress, featuring eleven self-covered buttons down centre back Off centre rear opening done up by metal press studs. The dress has a silk satin lining and netting underskirt.hartnell of melbourne, golda whelan, wedding dresses, lace dresses

3 small plastic dolls with jointed arms, brown hair & painted faces, various costumes 1 short pink dress, 1 long with red velvet bodice & white skirt, 1 long with aqua bodice, white lace over orange underskirt.toys, dolls, plastic

Handmade black floral organza skirt, with gathered black organza flounce at the hem. Three quarter floral sleeves with black frilled edging. Large pink and green flowers on black background. Self covered buttons and loops on back bodice. Separate black taffeta underskirt

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". It looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. Paragon knitting, crochet and tatting books have been distributed throughout Australia since the 1930's, originally by "Paragon Art Needlework Pty Ltd" of Sydney, N.S.W. From 1946 these books were designed and printed in Australia from patterns provided by British and Australian thread companies. Consequently these patterns may also appear in similar British and American publications. Paragon Book No. 104 is an instruction book designed for the "beginner" whilst Paragon book No. 105 is designed for the more experienced tatter. The layout of these books was typical of the 1940s period when paper was in short supply. Most of the pattern books were approximately 18 cms wide by 24 cms high and some were smaller at about 13cm by 21 cms. The type used was small (about four lines of text per centimetre) which was difficult to read. This item is an excellent example of a needle work pattern book available to women in the 1940's in Australia.A soft covered, 16 page instruction book titled "Tatting Designs". It has black and white photographs and detailed patterns for tatted doilies, a tray mat, a chairback and arm rests, a cheval set, a luncheon set, collars and edgings for an underskirt, gloves and handkerchief. It is published by Paragon Art Needlecraft of Sydney.Front cover - "Paragon's No 105" "PRICE 1/3" "Tatting Designs" "Household Linens * Personal Wear" Plus a stylized drawing of a deerflagstaff hill maritime museum and village, great ocean road, warrnambool, shipwreck coast, tatting book, tatting patterns, craft, handiwork, handcraft, needlework, shuttle

Wedding dress donated by local resident, Mrs Dorothy Williams. Worn by her on her wedding day in 1958 and the dress worn again by her daughter 07/05/1983 as per photographs.1958 Cream embroidered Nylon wedding dress. Fitted long sleeves to a point at waist, fastened with thirteen self covered buttons. Boat neckline trimmed with frill. Long waisted to a point at centre back. Full gathered skirt to a long train. Bodice lined to waist over a cream satin underskirt. Wedding shoes NA4122costume, female

The dress was in the cupboard of Muriel Kerr, the donor's recently deceased mother. The donor remembers being shown it and trying it on in the late '70s or early '80s and being told that it belonged to her great-grandmother, Lilian Armstrong Ballantine (nee Power) [1887-1967]. Lilian Ballantine lived at 31 Harp Road (now the site of the Leo Baeck Centre) from the early 1920s to 1967. Lilian's married Archibald Dill Ballantine [1883-1947], in 1910. He was a member of the Monumental firm of A&G Ballantine, responsible for the Kew War Memorial (and possibly the Springthorpe Memorial). Lilian was highly involved with the Finlay McQueen Memorial Church [ie the East Kew Presbyterian Church]. Lilian's daughter, Mary (the donor's grandmother) married Alan McQueen, the son of Finlay McQueen, the first Minister of the East Kew Church. Mary Macqueen lived at 1 Oswin Street; she was a well-known artist. The dress is significant due to its associations with a family with strong connections, through a number of generations, to Kew East and its spiritual institutions. The garment's integrity and design also contribute to its aesthetic significance as a representative item of women's outerwear during the first decades of the twentieth century.Pale blue striped muslin single-piece dress with lace, tulle and embroidery at the neck and on the cuffs. The lace at the neck and cuffs is embroidered with coloured flowers, and edged with tulle. Bordering the v-neckline is a deeper blue guipure lace (possibly added later). There is a satin flower on the right side of the skirt which gathers the hem, exposing the deeper blue cotton underskirt. The dress has a narrow band of blue satin at the high waist. The cotton underskirt is attached by thread in places to the outer layer. Both the outer and under layers are attached with metal hooks and eyes. Edging the cuffs and hem of the dress is blue commercial fringing. The exterior of the dress has a slight brown tinge which is not apparent on the inside hem, suggesting that it has been discoloured through exposure. There are minor stains.women's clothing, edwardian dresses, lilian ballantine, australian fashion - 1910s, mary macqueen, finlay mcqueen memorial church, east kew presbyterian church, alan mcqueen, kew war memorial, archibald dill ballantine, leo baeck centre, 31 harp road -- kew (vic.), a&g ballantine, women's clothing -- 1900s, fashion - 1900s, fashion design

Underwear & 1 item of nightwear belonging to Mary Monica Fleck Turner (Smith). Turner Collection.Items of clothing belonging to an early Kilmore family making up part of the Turner Collection.Eight camisoles, one underskirt, one bottom half negligee, one nightgown case. Generally in very good condition. TEX-0055.1 Underskirt, cotton & lace with blue satin ribbon. TEX-0055.3 Embroidered nightgown case TEX-0055.4 Camisole, lace & cotton, circular design on front, cap sleeves, prev. repair L front, cap sleeves with rust stains L sleeve. TEX-0055.5 Camisole, lawn & lace, white ribbon threaded through neckline, small holes throughout. TEX-0055.6 Camisole, white broderie anglaise, narrow fabric shoulder straps, drawstring neckline. Small holes throughout. TEX-0055.7 Camisole, cotton & lace, twisted gold ribbon at neckline, small holesthroughout. TEX-0055.8 Camisole, broderie anglaise, wide lace shoulder straps, blue ribbon at neckline, drawstring waist. 2 buttons missing, tear to lace mid upper back. TEX-0055.9 Camisole, white cotton, embroidered, pink ribbon through neckline, pintucks & drawstring at waist, 3 buttons missing. TEX-0055.10 Camisole, muslin, softlace shoulder straps, blue ribbon at neckline, hook & eye at waist, buttons missing. TEX-0055.11 Camisole, cotton & lace, pink ribbon at neckline, some holes/tears, 2 missing buttons, previous repair under R arm.TEX-0055.11 - Label outside R bodice edge 'Melbourne/Robertson & Moffatt Pty Ltd/Bourke Street'.underwear, nightwear, turner collection, smith

This dress is believed to have been worn on the Goldfields of Victoria. The discovery of gold in Victoria ranged between 1851-1879. This dress is believed to have been worn on the Goldfields of Victoria. There are few remaining examples of clothing worn on the Victorian goldfields.A circa 1878 two piece dress consisting of bodice (.1) and skirt (.2). The eau de nil (green) corded silk dress features a high round neckline that secures with hook and eye fastenings and decorative buttons through the length of the princess line bodice to the band around the hem. A watch pocket sits just below the waistline on the left hip. The three-quarter sleeves are narrow with kilted pleat trim on the lower edge and decorative buttons. At the back of the dress is asymmetric in its cut. The dress splits along the right hand side and finishes shorter with pleating and has a decorative pocket. A bow sits at the top of the split. The underskirt fastens on the left hip and features kilted pleats along the base of the skirt and train. The train features additional fullness created by a section of gathering in the centre.victorian goldfields, asymetrical victorian dress, princess line, 1870s fashion