black and white photograph of man and woman wearing Victorian era clothing / old and stained / rear shows Logo - Wm Murray Photographer , 74 Broomielaw St Glasgowphotograph, person, male / female, black and white photograph of man and woman wearing victorian era clothing / old and stained / rear shows logo - wm murray photographer , 74 broomielaw st glasgow

black and white photograph - Man woman and dog black wearing Victorian era clothing / old and stained / bottom and rear shows Logo -Stevenson & McNicoll late Benson & Stevenson Photographers 108 Elizabeth Street Melbourne / 'Light & Truth -Copies of this portrait can be had at any time by sending the name and Post Office Money Order or stamps for the amount of order' / Mrs Goggin & husbandphotograph, person, male / female, man woman and dog black wearing victorian era clothing / / -stevenson & mcnicoll late benson & stevenson photographers 108 elizabeth street melbourne / / mrs goggin & husband

The Wodonga Historical Society Haeusler Collection provides invaluable insight into life in late nineteenth and early twentieth century north east Victoria. The collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. The photographer and subjects of this photograph are unidentified. It belongs to a collection of Haeusler family personal belongings, and is possibly a family photograph. This item is unique and has well documented provenance and a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.A sepia toned group portrait photograph of people wearing Victorian era clothing at the seaside. photograph, photography, family photograph, portrait, photographic portrait, seaside, ocean, beach, victorian, wodonga, haeusler collection

This nightgown is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. This nightgown is machine sewn by Eliza Towns and she has added a detailed design of pintucks and broderie anglaise lace to the front yoke and cuffs as a decorative element. The 1800's bought a shift in attitude towards modesty as the Victorian era progressed and by the mid to late 1800's it had become more acceptable ladies to wear simple, modest nightgowns. They tended to have a very loose fit and were usually made of linen, cotton or flannel, which had the advantage of providing warmth and also being easy to wash - a necessity for a garment worn next to the skin. Although the basic design of the nightgown was fairly simple, the wearer was free to add various types of trim e.g. lace, crochet, pintucks, embroidery etc.This item is an example of the needlework skills of women in the late 19th century - combining machine stitching with hand embroidery to personalise and embellish a practical item of clothing. It is also significant as an example of a practical solution to the difficulties that women of this era faced with regard to the washing of clothes and household linens.Lady's long, white, cotton nightgown with a V shaped bodice decorated with bands of nine pintucks alternating with strips of broderie anglaise lined with pink ribbon. The opening front placket and neckline are bordered with a simpler broderie anglaise lace. The long sleeves are gathered into cuffs with a matching V shape, pintuck and broderie anglaise design. The front placket fastens with three cream buttons although one is missing. The back of the nightgown has gathered fabric on a plain, narrow V shape yoke. A narrow gusset has been added to the both sides at the bottom of the nightgown.Noneflagstaff hill, flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, victorian era clothing, victorian era nightgown, nightgown, nightdress, eliza towns, nhill, wimmera, textiles, clothing, machine sewing, hand sewing, pintucks, broderie anglaise, sewing

Mrs Charlotte Anderson was born Charlotte Eliza Alsop in England in 1838 and arrived in Australia in 1848. She married lawyer James Anderson in 1864, and in the year of his death in 1878 she became the founding owner-Principal of Ruyton Girls' School, Kew. Mrs Anderson operated Ruyton initially in her own home of 63 Bulleen Road, Kew (now 63 High Street South). According to Ruyton histories, Mrs Anderson is said to have begun the school with her own two sons, four daughters and some of her Alsop nieces and nephews who resided in Kew. Around the time of the addition of Maud King, the first student outside the family, the school changed to a 'Ladies College', and the boys were sent elsewhere for their education. By late 1881 Mrs Anderson began using the name 'Ruyton' for the school, in honour of a connection to Ruyton-XI-Towns, Shropshire, England where her great-grandfather had been vicar and where she was baptised. In 1882 Mrs Anderson moved the School to Edgecomb in Studley Park Road from 1882-1888. The larger premises enabled her to begin accepting boarding students from 1882. She retired due to ill health and sold the school to her friend Miss Eliza Bromby. Mrs Anderson lived at 'Bongamero', in the King Valley, Victoria until her death in 1906. She is buried in Boroondara Cemetery. One of Ruyton's four Houses, Anderson, is named for Charlotte Anderson. Artwork AC/0099 is a framed reproduction photograph of an original portrait of Mrs Anderson, c.1900-1906. The location and date of the original photograph is unknown, but may be held among Ruyton papers at the State Library of Victoria (MS 12079). The reproduction was probably created to be part of the gallery of Principals and significant people for the Conference/Boardroom, Henty House.A framed, black & white reproduction of a photographic portrait. The portrait shows the head and shoulders of a middle aged woman wearing Victorian-era clothing including a dark ribbon tied around her collar. She wears a lace cap on her head, and the cap's tail is draped around her shoulders. The woman's body is partially turned away from the camera, while her face is turned toward the camera. Plaque on frame: "Mrs Charlotte Anderson/ 1878-1888"charlotte anderson, ruyton, ruyton girls' school, kew (vic), bulleen road, high street south, studley park road, edgecomb, woman, school, teacher, principal, anderson, reproduction, 1990s

The photograph depicts a group of adults dressed in everyday clothing viewing a theatrical performance of 10 adult actors dressed in Victorian era costumes. The actors are performing on a make-shift stage that features upright logs as a background. Next to the stage is a group of workers laying bricks. The audience is seated on a grassy ground in front of the stage.Black and white rectangular reproduced photograph printed on matte photographic paper.Reverse: 5655 (in black pen)/ Beechworth (in blue pen)/entertainment album, beechworth, burke museum, performance, play, theatrical performance, performers

The donor was given this doll about 50 years ago by her grandfather (in the late 1960s). He used to be a handyman at a high rise building in St Kilda, Melbourne. He had been doing some work for one of the old ladies and she gave him the doll to give to his granddaughter, who collected dolls. The doll has spent a few years at the Nagambie museum until it closed down and returned to the donor The origins or age of the doll are unknown. Originally it was thought to be a Fashion Doll dating from around the 1880s but the painted face together with the bisque legs and gold painted shoes are similar to those found on Boudoir Dolls (also known as Bed Dolls, Sofa Dolls, Flapper Dolls and French Dolls) of the early 20th century. Fashion dolls were sent from fashion houses to advertise the latest styles, fabrics, trims, hairstyles and accessories. Dressmakers would show these dolls to their customers. Ladies would then place their order and the dressmakers would make the dress to their size. The dressmakers would learn the construction techniques from examining the dolls. Boudoir Dolls dolls usually had no maker's marks and were primarily used as bedroom decorations for ladies rather than as children's toys. This doll appears to date at about the early part of the 20th century, but the petticoats are much older - possibly from a child's christening gown. At the time that the donor received the doll, it had a coloured lace over-gown that was badly torn so her mother removed it to replace with more lace but this never eventuated. The pink silk dress also appears to have been remodelled into a 19th century style with gathered sleeves and a gathered skirt. This fashion or boudoir doll is significant for being a rare example of a doll made in the late 19th or early 20th centuries. The doll is wearing clothing representing the fashion for young girls in that era. The doll is also significant as an item possibly used by fashion houses and dressmakers to advertise the latest fashions in clothing, trims, accessories and hairstyles. A doll such as this may have been found in a Victorian dressmaker's premises for use as a pattern and technique template and for a display to customers. It may also have been used as a decorative item in a lady's bedroom.Female boudoir doll with silk face and body, and porcelain lower arms and legs. She has plaited blonde silk hair. Her painted face has brown eyes and her shoes are painted gold. The doll is dressed in a long pink puffed-sleeve dress with a gathered waist and a ruffle at the hem. A pink ribbon around her waist is tied at the back. There are small silver balls hand-stitched around the neckline. She has a white, hand-embroidered lace petticoat and bloomers.warrnambool, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, doll, boudoir doll, female doll, dressmaker's doll, display doll, late 1800s doll, fashion doll, antique doll, 19th century doll, children's fashion, girl's fashion, late 1800s children's fashion, early 20th century doll, composite doll, french doll

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

This child's dress is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. A photograph of their youngest child, Alice, taken in circa 1903 depicts her wearing the dress. The dress would have been only worn on special occasions (such as a formal family photographic portrait) as most young girls in that era would have smocks or pinafores for everyday wear. The age of the dress is in question as it may have been made by Eliza for her eldest daughter, Dorcus, who was born in 1884. This dress has some machine sewing at the neck, waistband and pintucks but much of the dress is handsewn and richly embroidered with Broderie anglaise. Broderie anglaise (also known as eyelet lace) is a form of cutwork embroidery. The foundation fabric is cut to make decorative holes which are sewn with overcast or buttonhole stitches to create a lace like effect. Designs often involve floral motives that are enhanced with simple embroidery stitches such as stem stitch and satin stitch and scalloped edges finished with buttonhole stitches. It was commonly used to trim baby clothes, dresses, nightclothes, underclothes and household linens - particularly in the Victorian and Edwardian eras. This item is an example of the needlework skills of women in the late 19th century - combining machine stitching with hand embroidery to personalise and embellish a child's special dress.Child's white dress made of cotton and lawn, with a skirt of hand embroidered circular cutwork (broderie anglaise), a scalloped hem edged in buttonhole stitch and a gathered waist. The lined bodice has three panels of hand embroidered broderie anglaise (eyelet lace) inserted in a V shape with pintucks and bordered with a broderie anglaise lace frill. The short sleeves also have an inserted broderie anglaise lace strip, three pintucks and a broderie anglaise lace frill. The skirt is semi lined with fine lawn. The dress has a back opening with one button and two ties. The neckline is decorated with two rows of hand embroidered broderie anglaise lace.flagstaff hill, flagstaff hill maritime museum & village, warrnambool, shipwreck coast, great ocean road, nhill, wimmera, eliza towns, dorcus towns, child's dress, machine sewing, hand sewing, broderie anglaise, cutwork, embroidery, eyelet lace, clothing, handmade, charles towns, alice towns

This item of underclothing, called a "combination" is one of several linen and clothing items belonging to the deceased estate of Susan Henry OAM (nee Vedmore 1944 - 2021) that was donated to Flagstaff Hill Maritime Museum and Village. Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up in 2010 to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community. Combination undergarments combined the chemise and drawers into one garment. The combination is divided, or bifurcated, from the waist to the crotch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. Their primary use was to protect clothing from perspiration and because they were made with cotton or linen, were easy to wash. This particular item is made with lawn (a very lightweight fabric) and is sleeveless, making it suitable for hot weather. Although they were worn under the corset next to the skin (and therefore not meant to be seen), they were often decorated with lace or embroidery. This item is an example of the needlework skills of women in the late 19th century - using machine stitching and lace to personalise and embellish a practical item of clothing. It is also significant as an example of a practical solution to the difficulties that women of this era faced with regard to the washing of clothes and household linens.Lady’s white lawn and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has four buttons in the front and is trimmed with lace on the neckline, armholes, bodice (in a diagonal design) and legs. The left and right sides are divided from the waist to the crutch. The back of the garment is plain with a gathered section at the lower back.flagstaff hill maritime museum and village, great ocean road, combinations, lady's combinations, undergarment, lingerie, handsewn, underwear, clothing, victorian era undergarments, lady's garment, susan henry oam, vedmore foundation

The cape is of a style from the Victorian or the Edwardian Era and so provides a good example of women's clothing from that time. The light colour, silk material and lace suggest a cape used for special occasions with the possibility of initially being a wedding cape.The item is of significance historically and socially as an example of women's clothing in the Victorian and Edwardian eras.Ladies cape consisting of two circular tiers and a collar. The inner tier is knee length with a thin lace insert around the hem. The outer tier is elbow length with a wide lace edge and the thin lace insert inside this. The collar has lace edging and a lace insert of the same width. The lace used is of a repeat flower pattern most likely made of a combination of silk and cotton. The cape material appears to be a cream ribbed silk with the lining being of a polished cotton or silk variety. Both materials have a silken sheen in the right light. A silk ribbon ties the cape at the neck. The lining and lace have been sewn with fine hand stitching.flagstaff hill, warrnambool, maritime village, maritime museum, flagstaff hill maritime museum and village, shipwreck coast, great ocean road, ladies cape, double cape, silk cape, layered cape, cape with lace collar, decorative lace edging, victorian era, edwardian era

This handmade women’s combination undergarment features hand-worked lace panels and trim, and fine pintucks. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The design of this combination undergarment, or ‘combination’, includes a chemise attached to a pair of drawers or bloomers. The combination is divided, or bifurcated, from the waist to the crutch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women’s white cotton and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has a front button closure and is trimmed with hand-worked lace panels on the bodice and lace edging around armholes, the neck, and the bottom of the legs. The left and right sides are divided from the waist to the crutch.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, combination undergarment, all-in-one underwear, combination, ‘combinations’, one-piece underwear, one-piece undergarment, chemise and bloomers, combination chemise and bloomers, divided, bifurcated, split, chemise and drawers, women’s underwear, ladies’ underwear, undergarment, women’s clothing, women’s fashion, lingerie, under-structure, 1900s undergarments, 19th-century undergarment, 20th century, handmade clothing, handmade lace, hand-worked lace, paton family, trefnant, yangery, lady's combinations, ladies combinations

This handmade women’s nightgown features hand-worked Broderie Anglaise yoke and trim. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. This design of nightgown was worn by females in the 19th century and is still worn today.The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's long straight nightgown, white cotton, with long sleeves gathered at the cuff, stand-up lace collar, and a small catch closure on the bodice's centre opening. Hand-worked Broderie Anglaise yoke and sleeve tips.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, nightie, nightgown, women’s nightwear, sleepwear, night dress, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, broderie anglaise, hand-made broderie anglaise, paton family, trefnant, yangery, nightdress

This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's camisole, short sleeves and peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, collar, waist trim and yoke. There are five buttons and two ties down the front.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery

This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's camisole, short sleeves and peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, neck trim and waist trim. Drawstring, tie and button closure.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery

This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's camisole, short sleeves and peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, collar and waist trim. It has button closures down the front.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery

This handmade women’s pair of bloomers, or drawers, features hand-worked Broderie Anglaise and applique trim and a drawstring rear closure at the waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's bloomers or drawers, handmade from white cotton fabric, with hand-worked Broderie-Anglaise trim around the bottom of legs with applique motifs. Bloomers have a drawstring, back of waist closure.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, broderie anglaise, hand-made broderie anglaise, paton family, trefnant, yangery, bloomers, drawers, underpants

This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's camisole, short sleeves and drawstring peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, collar and waist trim. Front closure.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery

The inscription "T L" on these early 20th century ladies button-up boots lead to the maker likely to be Tony Lama, a famous USA boot manufacturer, son of Italian immigrants. The "Rome" is the style of boot. The "6" is likely to be the soot size. Tony Lama began work at age 11 years in the leather trade industry, serving an apprenticeship as a shoemaker. He joined the US Cavalry when he was 16, after lying about his age, working as a cobbler to make boots for the soldiers. His workmanship became popular, particularly for the 'Western' style of boot. TONY LAMA boots In 1911 Lama established a company in Texas, first repairing boots, then adapting his shop to manufacture boots in order to meet the many orders he was receiving. He married and he and his wife Esther brought up six children who also went on to work in the family business. The business continued to grow through WWII. Part of the business included custom boot making and Tony's eldest son Joseph presented President Truman with a pair of kangaroo skin boots. The prosperous business became a company and eventually, in 1990, was sold to Justin Industries.This pair of boots is an example of women's footwear dating around the early 20th century. Pair of ladies leather button-up boots. Two-tone style: black bottom strong leather bottom and white, soft kid leather top. Boots have a curved fly fastened by 11 white buttons with metal shanks. Boots are constructed with cork filling. Inscriptions of both boots. "6 101" "TL" " Rome" "Cork Filled"flagstaff hill, warrnambool, maritime-museum, shipwreck-coast, flagstaff hill maritime museum & village, ladies button up boots, footwear, victorian era, granny boots, tony lama, ladie's boots, ladies' fashion, women's clothing, rome, kid leather, two-tone boots, leather boots, button-up boots

This set of decorative buttons is a replica of buttons that would decorate formal wear in the Victorian era.This set of buttons is representative of buttons work on garments int he Victorian era.Set of six round, clear, diamond-like buttons with gold coloured base and shanks. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, buttons, set of buttons, diamond look buttons, clothing buttons, accessories, fashion

c1880 This tiny tape measure, in Imperial measurements, was part of a Victorian era lady's sewing basket. The case is of polished timber, and the little winder, to retract the tape, is made of brass with a small ivory handleEarly settlers and market gardeners of Moorabbin Shire had to be self reliant producing their own food and making their farm equipment and clothing. The women of these families were skilful in all craftwork.c1880 this tiny, retractable, tape measure, in Imperial measure, is made of polished timber with a brass winder and ivory handle. Imperial ‘inch’ measurements on tape dressmaking, tape measure, sewing, craftwork, pioneers, early settlers, market gardeners, moorabbin, brighton, bentleigh cheltenham

Jet became popular in the Victorian era for mourning jewellery, which became fashionable after the death of Queen Victoria's husband Prince Albert in 1861. Jet is a dense black fossilized wood, almost like coal, and very light in weight. It is easy to cut, so carved well. It became popular in the Victorian era for mourning jewellery, which became fashionable.This jet necklace is typical of the mourning jewellery worn by early settler women in Moorabbin Shire c1900A continuous circular, long, black necklace with small jet beads.Nonejewellery, mourning wear, jet stone, queen victoria fashion, early settlers, pioneers, black clothing, moorabbin mirror, bader fran, rietman august, rennick stefanie, resin jewellery,

Black and white photocopy of newspaper photograph. Mezzanine floor with balustrade around open area to lower floor. Small rooms along each side. Open metal curved beams under translucent roof. Two females facing camera, one female in doorway. Inscriptions: Printed under image 'two office girls take a break from work on the mezzanine floor of Allan's Arcade, a noteworthy Victorian era'. At top of plate 'page 52 - Supplement to the Bendigo Advertiser, Wednesday, September 24, 1986'.Bendigo Advertiser photographer?place, arcade, allan's arcade, bendigo, business, supplement, office, individual, female, person, workers, clothing, costume, clothes, fashion

Clothing. White fine linen fabric, trimmed at lower leg with a 2 cms wide cotton , brooierie insertion and a 12 cm wide frill of textured (?) fine linen or cotton lawn broiderie. The front waistband dips to a central 8 cm deep peak. Waistband at side seams, is 4.5 cm deep and back waistband is 10 cm deep at side seams, and the 11 cm deep at centre back. Two 1.4 cm covered buttons close the back waistband. The knickers have a gathered opening panel, called at the time a ''drop-seat'' or ''access hatch'' at the centre back. This panel has a 5 cm deep waistband, fastened at either side by a covered button, and a third button at the centre. These buttons are sewn to the back waistband, and the button holes are sewn, correspondingly on the gathered back. A drawstring tape is also threaded through the back waistband. A 6 cm wide gussett sewn from the crotch extends 23 cms long.Printed in fine black ink on back opening; D.S.R.F. No 11.costume, female underwear, victorian era knickers

Smoking caps, also known as lounging caps, were Victorian headwear worn by men while smoking to stop their hair from smelling of tobacco smoke. Owned by the father of the donor.Black cap with a lily of the valley design around the side and on the crown, and a green and yellow tassel attached. Victorian era.costume, male headware

Victorian era child's nightgown collected in Europe by Nan Wagner in the 1970's.Victorian era child's nightgown collected in Europe.Victorian era child's nightgown is made of white cotton with a lace yolk and pin tucks at the hem. There is feather stitching at the lower edge of the yolk. The back placket has handmade buttonholes and pearl shell buttons completed with a rouleau drawstring at the neckline. childs clothing, victorian era, handmade, cotton

Hat pins were used for decoration and for fastening a woman's hat securely to her hair. They became a popular and important clothing accessory in the late Victorian era and the beginning of the 20th century.Two packets of tempered steel hat pins containing 4 9 inch pins.The Queen sarbon brandladies' fashion, costume accessories, sarbon brand, hat pin, hatpin, natimuk

Elizabeth Morrison, was born in 1874 and died in 1963, aged 89 years. She was the schoolteacher at Warrigal until she married the donor's grandfather and moved to Melbourne to take up residence with him. Her husband Edward was a porter on the train from Melbourne to Adelaide. Together they had three children: two boys and a girl.  The donor's father was the youngest who was born in 1911.  The eldest son, Kenneth Morrison, was a Monsignor in the Catholic Church, and an Air Force Chaplain during the Second World War, while the daughter was a spinster who owned a few haberdashery and children’s clothing stores. The donor's father had a newsagency in Bridge Road, Richmond. He and his wife lived in Carson Street, Kew for about 50 years and had four children, two of whom were to become lawyers, another a surgeon and the final child social worker/family therapist.The donor's father lived until he was 100 years of age.Copy of a photograph of the owner of a 19th Century dress in the collectionPhotocopy of a photograph of Elizabeth Morrison (nee Fitzgerald) in c.1892. australian fashion - victorian era - 1890s, elizabeth morrison

From its beginnings in 1958, the Society has mounted exhibitions and/or displays, in early days in shop window and in community spaces located in the Kew City Hall (later Kew Library), and since 2010 at the Kew Court House. Exhibitions typically coincided with the annual Kew Community Festival in March, but after 2013 evolved into three new exhibitions yearly at the Kew Court House. Smaller displays continue to be mounted in the Kew Library. Photograph of three costumes exhibited at the Kew Library, all donated by Netta Fuller, and dated to the 1860s.netta fuller, australian fashion - 1860s, women's clothing - 1860s, dresses - 1860s, kew historical society - exhibitions, exhibitions - victorian era fashion

Western fashion in the 1890s saw women's capes become an item of fashionable choice as they fell gracefully over an expansive sleeve. Capes often had a high neck, and were frequently trimmed with jet passementerie and fur. This capelet has a fashionable dog-collar neckline which became fashionable from c.1895, lasting as a style to c.1905. The capelet was probably part of a mourning ensemble.The capelet originally belonged to Catherine Francis Ellen Gulliver (nee Wells) who was born in Ballarat in 1874. The item was passed by descent to her daughter Catherine Francis Helen Taylor (nee Gulliver) [born 1896], and then to her granddaughter, Doris Catherine Kriesfield (nee Taylor) [1922-2015]. Victorian-era capelet, designed to cover the shoulders, and ornamented with a double band of jet passementerie. The capelet has a high dog neck collar, which is lined with leather. The original lace, of which some remains, has been removed in the past, probably due to damage, leaving some traces of its original style. The front of the capelet has large hooks and eyes.fashion design, women's clothing, outerwear, capes, capelets, fashion -- 1890s -- 1900s, mourning wear