The donor of the petticoat is Ms Nancy Maggs. Nancy's grand-mother, Sarah Flagg, was the owner of the petticoat. Sarah Flagg and her family arrived in Melbourne in the 1840s.Sarah Flagg was the original owner of the petticoat. Sarah was the grand-mother of Nancy Maggs. Nancy Maggs had the petticoat in her possession before she donated it to the City of Moorabbin Historical Society.White half, floor-length petticoat with 3 tiers. A light blue ribbon woven around at knee length of the petticoat. Broderie anglais trimming round the first two tiers and through sections of the bottom half of the petticoat. There are 6 panels of the same embroided floral design which runs around the outside of the petticoat, between the Broderie anglais sections. There is a small side slit on the top right-hand side of the petticoat. Two small buttons are located down the side of the slit, but the third button is missing. The garment is in good condition, with mild discolouration in certain areas.petticoat, underwear, undergarment, waist slip, white, 1900s, sarah flagg, nancy maggs, broderie anglais, embroidery, blue ribbon, needle lace, lace, moorabbin, bentleigh, cheltenham, dressmaking, sewing, craftwork, brighton, market gardeners, pioneers, early settlers

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.Three quarter length dress of ecru needle-run lace with pearl buttons at front to waist and green under slip.women's clothing, australian fashion - 1930s, cocktail dresses, lace dresses

This standard design life jacket was made by sailmakers Harry West Pty Ltd at Balmain, Sydney, New South Wales from 1930s to 1950s. Harry West - Harry was a chandler, sailmaker and rigger. He made and sold all kinds of canvas and rope goods including sails, awnings and covers. In 1925 he was advertising life buoys but by 1933 he was advertising life jackets. He and his wife Margery had six children. His business was still operating in 1954, when an article on the craft of sailmaking appeared in the Sydney Morning Herald. His sailmaker's loft was located, traditionally, close to Sydney's harbour. Life Jackets - Life jackets were part of the equipment carried by the Life Saving Rescue Crew of South Western Victoria, including Warrnambool, from around 1858 until the 1950s. The purpose of a life jacket is to keep the wearer afloat until he or she is rescued from the water. Life jackets were first invented in 1854 by Captain Ward of the Royal National Lifeboat Institution in Britain. The early life jackets were filled with cork, which is very buoyant. However, many times he cork caused the jacket to rise up quickly with a force that caused unconsciousness, sometimes turning the person face down in the water , causing them to drown. After the tragic loss of the ship RMS Titanic in 1912 and the lost lives of those onboard, a woman named Orpheus Newman designed the Salvus life jacket (Salvus means safe), which was filled with kapok instead of cork. Kapok comes from seed pods of the Ceiba Pentandra tree and is waterproof as well as buoyant. These Salvus jackets were used by the Royal Navy until new synthetic materials became available around the time of World War II.This life jacket is significant for its connection with local history, maritime history and marine technology. Lifesaving has been an important part of the services performed from Warrnambool's very early days, supported by State and Local Government, and based on the methods and experience of Great Britain. Hundreds of shipwrecks along the coast are evidence of the rough weather and rugged coastline. Ordinary citizens, the Harbour employees, and the volunteer boat and rescue crew, saved lives in adverse circumstances. Some were recognised as heroes, others went unrecognised. In Lady Bay, Warrnambool, there were around 16 known shipwrecks between 1850 and 1905. Many lives were saved but tragically, eight lives were lost.Life jacket, canvas covered, with two kapok padded compartments joined by shoulder straps and waist ties. Designed to slip over the head and tie at the waist. Inscriptions on pouches, some stencilled, some hand written, and inspection text on shoulder strap. Made by Harry West Pty Ltd., Sailmakers, Balmain, Sydney.Stencilled on pockets: “- - - NDARD / LIFE JACKET” [STANDARD LIFE JACKET], “HARRY WEST PTY LTD / SAILMAKERS / BALMAIN, SYDNEY” Stamped on shoulder strap: "XM3271RC" Hand painted on pocket: “DAVIES”flagstaff hill maritime museum and village, flagstaff hill, maritime museum, maritime village, warrnambool, lady bay, warrnambool harbour, captain ward, royal national lifeboat instution, kapok, life jacket, orpheus newman, salvus jacket, life saving, rescue, rescue crew, l.s.r.c., life saving equipment, marine technology, lifeboat, shipwreck victim, vintage, harry west, balmain, sydney, davies, standard life jacket, survivor, shipwreck, sailmakers, harry west pty ltd

This belt belonged to a WW1 Australian Anzac who most probably, because of the buttons and badges, served on the Western Front. Records destroyed in 1969 bush fires at Lara means we are unable to determine who owned this in the RSL. The belts is called a 'stable belt' and the one you have acquired is an early example with a leather pocket. It became common in WW1 for both, leather belts (especially that from the 1903 bandolier equipment as worn by those in the Boer War), and stable belts to be used to hold badges collected from fellow soldiers and for that reason it was often known as a 'souvenir belt'. The evolution of the stable belt: It seems that stable belts began to become popular across the Army as a whole around the turn of the 20th century, although they probably originated with the cavalry a little earlier sometime in the 1880s/1890s. All units at that time had horses on their establishment and those soldiers told off to attend them reported for Stable Parade in Stable Dress which consisted of very high waisted and pocket less breeches, or trousers, held up by braces and collarless, woollen flannel shirts with sleeves rolled up. This was to facilitate the rigorous physical effort and flexibility of movement necessary for mucking out and grooming. Braces at that time had no elastic as rubber was expensive, they were made of cotton with no 'give' whatsoever and so soldiers commonly allowed the braces to flop down from the waist so that they could bend over freely. For trousers that fitted loosely (due to the high waist) this meant that they tended to slip down and at first soldiers cinched them in with leather belts. Later on the regimental saddlers began to make belts from the same, plain canvas or wool strapping used for the horses Surcingle and utilising the same double leather strap and buckle arrangement for security (if one strap broke the other would hold and prevent the saddle from coming unseated). One particular feature of these early stable belts was a sewn on (or in) pocket, secured by a stud or clip, within which loose change could be kept, or a pocket watch, as there were no pockets in the breeches. As you might imagine these became very popular as the pocket was useful and the extra breadth afforded by the canvas strapping made them very comfortable. Around about the turn of the 20th century it began to be popular for officers to wear neckties in regimental colours both for sport and less formal, country dress. This habit probably began with the Queens Household troops and Line Cavalry, but quickly spread throughout the Army and it appears as if this use of regimental colours spread to the canvas or wool strapping used to make stable belts. For this reason the stable belts invariably followed the same colour scheme (but not always the same pattern arrangement) of regimental neck ties. This belt is an example of what Australian troops collected when on the Western Front during WW1 and when on leave.Leather Belt with 31 Badges and Buttons from WW1 attachedSee Mediaww1, world war 1, australian army, badges, button, belt, stable belt

This belt belonged to a WW1 Australian Anzac who most probably, because of the buttons and badges, served on the Western Front. Records destroyed in 1969 bush fires at Lara means we are unable to determine who owned this in the RSL. The belts is called a 'stable belt' and the one you have acquired is an early example with a leather pocket. It became common in WW1 for both, leather belts (especially that from the 1903 bandolier equipment as worn by those in the Boer War), and stable belts to be used to hold badges collected from fellow soldiers and for that reason it was often known as a 'souvenir belt'. The evolution of the stable belt: It seems that stable belts began to become popular across the Army as a whole around the turn of the 20th century, although they probably originated with the cavalry a little earlier sometime in the 1880s/1890s. All units at that time had horses on their establishment and those soldiers told off to attend them reported for Stable Parade in Stable Dress which consisted of very high waisted and pocket less breeches, or trousers, held up by braces and collarless, woollen flannel shirts with sleeves rolled up. This was to facilitate the rigorous physical effort and flexibility of movement necessary for mucking out and grooming. Braces at that time had no elastic as rubber was expensive, they were made of cotton with no 'give' whatsoever and so soldiers commonly allowed the braces to flop down from the waist so that they could bend over freely. For trousers that fitted loosely (due to the high waist) this meant that they tended to slip down and at first soldiers cinched them in with leather belts. Later on the regimental saddlers began to make belts from the same, plain canvas or wool strapping used for the horses Surcingle and utilising the same double leather strap and buckle arrangement for security (if one strap broke the other would hold and prevent the saddle from coming unseated). One particular feature of these early stable belts was a sewn on (or in) pocket, secured by a stud or clip, within which loose change could be kept, or a pocket watch, as there were no pockets in the breeches. As you might imagine these became very popular as the pocket was useful and the extra breadth afforded by the canvas strapping made them very comfortable. Around about the turn of the 20th century it began to be popular for officers to wear neckties in regimental colours both for sport and less formal, country dress. This habit probably began with the Queens Household troops and Line Cavalry, but quickly spread throughout the Army and it appears as if this use of regimental colours spread to the canvas or wool strapping used to make stable belts. For this reason the stable belts invariably followed the same colour scheme (but not always the same pattern arrangement) of regimental neck ties.This belt is an example of what Australian troops collected when on the Western Front during WW1 and when on leave.Webbing Belt with Badges and Buttons WW1See Mediaarmy, australian army, western front, aif, s.w.ellis, service number 640, 2 m.g.c., buttons, badges, belt, stable belt

This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. The full-length black silk tailor-made petticoat is one of three pieces of a ladies’ Edwardian mourning outfit. The petticoat is made from black silk lined with lightweight cotton. The petticoat and lining are constructed from eight panels each, brought together at the waist and gently gathered into the band. The back seam opening is fastened with brass hooks and fabric eyes. The lining has been reinforced with a heavier-weight hem. The hemline is finished with black velvet ribbon than encloses both the petticoat and lining. flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, western district victoria, petticoat, undergarment, slip

William Crozier was born 1823 in County Armagh, Ireland. Mary Jane Vance was born 1829 in Desecrete, County Tyrone, Ireland. They were married in 1848. On New Year's Eve, 1849, together with their baby daughter Sarah, William and Mary embarked from Plymouth aboard the Eliza Caroline, as assisted immigrants, for Port Phillip, arriving 31 March 1850 from where they journeyed out to Eltham on a bullock wagon. The Croziers were Episcopalians and soon after arriving in Eltham the Wesleyans of Little Eltham were holding services in the Crozier's home, among other locations. It was not until January 1856 that the Wesleyan church first acquired land in Henry Street for a chapel, which later became the home of the Eltham Hall. The Crozier home, known as ‘Belmont’ was weatherboard with a rammed earth floor. It was situated on twenty-four acres along the track at its rise, about half-a-mile east of Maria Street (Main Road) bounded by Mt Pleasant Road on the south and Pitt Street northwards. William Crozier used the land for cultivation and grazing. The track the Eltham Wesleyans took, by foot or horse, was along the Mt Pleasant Road, and like most roads of the time, a dusty trail in summer and a hoof and cart rutted quagmire in winter. William and Mary Crozier had seven children: Sarah, (1848 Ireland), John McClelland (1851 Eltham), Eliza (1855 Eltham), William (1857 Eltham), Jane(1859 Yarraville), Charlotte Amelia (1861 Yarraville), and Thomas Vance (1864 Eltham). The Crozier farm prospered and in 1870, William applied for, and was granted a leasehold on an additional sixty-three-acre selection, half-a-mile east of his twenty-four-acre Mt Pleasant Road property. Upon this property he built a two-roomed dwelling of slats and bark and a storeroom of log and bark, ten feet square. In 1880 he applied for a Crown grant of the property. Tragedy struck the family in 1882 when the youngest, Thomas Vance at age 17 accompanied by John Anderson, went into "Hall's Dam" to bathe, neither of them being able to swim. On wading out together, Crozier suddenly slipped into a part about 10ft. deep, and sank, after rising only once. Anderson pluckily tried to save him, nearly losing his own life in the attempt, saving himself when sinking for the last time by seizing hold of a projecting root. The body was not recovered until two hours after, when Mr. Thomas Bell, a farmer in the locality, who was attracted to the spot, on hearing of the occurrence, although unable to swim, plunged in with a rope around his waist, and succeeded with some difficulty in bringing it to the surface. Their eldest son, John also died prematurely at age 42 when he was killed by a falling tree branch whilst engaged in ring-barking trees at Eltham. A still cold wind was blowing and John, and others who were working with him, sheltered themselves at lunch time by sitting on the side of a large tree. When thus seated, the wind detached a limb of the tree which sheltered them, and though they heard the cracking, they had not time to get clear before the limb fell. It struck John on the head, and felled him to the ground, He appeared to be suffering severe pain, and two of his companions conveyed him to the Melbourne Hospital, where during the night he was operated upon for a fracture of the skull. Despite the operation being successful, John ultimately succumbed to his injuries the following afternoon. In good times William was known for his wealth of reminiscences of the early days of the district however his health failed him for several years until his death in March 1909. He was a man of very industrious habits, of a retiring disposition and much esteemed by those who knew him best. Mary died in January 1915 after a long illness. They are buried together along with their sons John and Thomas in the Eltham Cemetery. In Loving Remembrance William Beloved husband of Mary Jane Crozier Who departed this life March 31st 1909, aged 85 years Also Mary Jane Beloved wife of the above Who departed this life January 3rd 1915, aged 86 years Also John McCelland Son of the above Who departed this life May 20th 1894, aged 42 years also Sacred Memory of Thomas Vance Dearly beloved son of William J. Crozier Who departed this life at Eltham, February 3rd 1882 Aged 17 yearseltham cemetery, gravestones, memorials, film - kodak gold gc 400-9, john mccelland crozier, mary jane crozier (nee vance), scan - 35mm negative, thomas vance crozier, william crozier, william j crozier

William Crozier was born 1823 in County Armagh, Ireland. Mary Jane Vance was born 1829 in Desecrete, County Tyrone, Ireland. They were married in 1848. On New Year's Eve, 1849, together with their baby daughter Sarah, William and Mary embarked from Plymouth aboard the Eliza Caroline, as assisted immigrants, for Port Phillip, arriving 31 March 1850 from where they journeyed out to Eltham on a bullock wagon. The Croziers were Episcopalians and soon after arriving in Eltham the Wesleyans of Little Eltham were holding services in the Crozier's home, among other locations. It was not until January 1856 that the Wesleyan church first acquired land in Henry Street for a chapel, which later became the home of the Eltham Hall. The Crozier home, known as ‘Belmont’ was weatherboard with a rammed earth floor. It was situated on twenty-four acres along the track at its rise, about half-a-mile east of Maria Street (Main Road) bounded by Mt Pleasant Road on the south and Pitt Street northwards. William Crozier used the land for cultivation and grazing. The track the Eltham Wesleyans took, by foot or horse, was along the Mt Pleasant Road, and like most roads of the time, a dusty trail in summer and a hoof and cart rutted quagmire in winter. William and Mary Crozier had seven children: Sarah, (1848 Ireland), John McClelland (1851 Eltham), Eliza (1855 Eltham), William (1857 Eltham), Jane(1859 Yarraville), Charlotte Amelia (1861 Yarraville), and Thomas Vance (1864 Eltham). The Crozier farm prospered and in 1870, William applied for, and was granted a leasehold on an additional sixty-three-acre selection, half-a-mile east of his twenty-four-acre Mt Pleasant Road property. Upon this property he built a two-roomed dwelling of slats and bark and a storeroom of log and bark, ten feet square. In 1880 he applied for a Crown grant of the property. Tragedy struck the family in 1882 when the youngest, Thomas Vance at age 17 accompanied by John Anderson, went into "Hall's Dam" to bathe, neither of them being able to swim. On wading out together, Crozier suddenly slipped into a part about 10ft. deep, and sank, after rising only once. Anderson pluckily tried to save him, nearly losing his own life in the attempt, saving himself when sinking for the last time by seizing hold of a projecting root. The body was not recovered until two hours after, when Mr. Thomas Bell, a farmer in the locality, who was attracted to the spot, on hearing of the occurrence, although unable to swim, plunged in with a rope around his waist, and succeeded with some difficulty in bringing it to the surface. Their eldest son, John also died prematurely at age 42 when he was killed by a falling tree branch whilst engaged in ring-barking trees at Eltham. A still cold wind was blowing and John, and others who were working with him, sheltered themselves at lunch time by sitting on the side of a large tree. When thus seated, the wind detached a limb of the tree which sheltered them, and though they heard the cracking, they had not time to get clear before the limb fell. It struck John on the head, and felled him to the ground, He appeared to be suffering severe pain, and two of his companions conveyed him to the Melbourne Hospital, where during the night he was operated upon for a fracture of the skull. Despite the operation being successful, John ultimately succumbed to his injuries the following afternoon. In good times William was known for his wealth of reminiscences of the early days of the district however his health failed him for several years until his death in March 1909. He was a man of very industrious habits, of a retiring disposition and much esteemed by those who knew him best. Mary died in January 1915 after a long illness. They are buried together along with their sons John and Thomas in the Eltham Cemetery. In Loving Remembrance William Beloved husband of Mary Jane Crozier Who departed this life March 31st 1909, aged 85 years Also Mary Jane Beloved wife of the above Who departed this life January 3rd 1915, aged 86 years Also John McCelland Son of the above Who departed this life May 20th 1894, aged 42 years also Sacred Memory of Thomas Vance Dearly beloved son of William J. Crozier Who departed this life at Eltham, February 3rd 1882 Aged 17 yearsBorn Digitaleltham cemetery, gravestones, john mccelland crozier, mary jane crozier (nee vance), thomas vance crozier, william j crozier

BHS CollectionHanro Autumn-Winter 1960 Catalogue: Red coloured card with black and white print is a scene of the Swiss Alps and two Swiss Chalets on the top half of the Cover with *Autumn - Winter 1960 Catalogue* printed in white. At the centre is a white rectangular banner with *Hanro Quality Knitwear For Men* printed in black. The bottom half is three men one sitting on a chair, two standing in front of a wrought iron balustrade wearing Hanro garments sketched in black ink. The first has a V necked ribbed pullover with raglan sleeve and contrasting stripe on the sleeve, neck and waist band. Next is a Crewe necked, saddle shoulder Pullover with fold over neck, knitted bands on sleeve and waist. The third is a V necked patterned cardigan with four buttons, saddle shoulder and pockets either side. Inside the cover on white card with black print is advertising to the left and the Index is on the right. The first page of the catalogue outlines the qualities of their garments. Inside are sketches of their Pullovers, Slip-on's, Cardigans and Sleeveless Cardigan's along with the Style number, Name of Garment, colour and size. The back has the price list to the left and on the right is a list of advertising materials. At the bottom printed in black is *This year, go along with Hanro - for Handsome Profits in Knitwear! Inside the back cover on white back ground with black, grey print and sketching is *Here Now! The very latest Continental Wool knits Styled in Switzerland*. Sketched is a Swiss Alps and village scene. In the foreground on a balcony are two men and a lady wearing Hanro Knitwear. In the centre printed in black is *Permasized & Mothproofed for life with 'Mitin'. A black Banner with white print is *by Hanro. At the bottom is a sketch of the Liestal Switzerland factory The Home of Hanro* The back cover, red with white and black print. A 5cm black strip vertically from top to bottom of the page. 5cm from the top on a white banner is *Hanro (Aust) Knitting Mills Limited* printed in black. Under that is the address and phone number of the Bendigo and Melbourne Sales offices. Down to the right is the details Representing other states is Queensland, Western Australia, South Australia and Tasmania. At the bottom left in a white box is a sketch of the Hanro Factory in Liestal Switzerland. On the button is *The Home of world-famous Hanro in Liestal, Switzerland. Box 116Abook, magazine, catalogue, hanro. catalogue

Clothing. Half slip petticoat - elastic waist, peach coloured nylon. Embroidered with sprays of flowers on a band of sheer nylon inserted into the skirt of the petticoat, and a deeper band of the embroidered flowers on the hem. Main part of petticoat in 3 panels. Insert of decorative nylon.Strip of main fabric, then finish with a 12 cms deep panel at decorative nylon. Appears to have home made elastic casing, maybe modified from another garment.Label at waist band - Hanro 100% nylon - 40.costume, female, undergarments

Clothing. Half slip petticoat, light peach in colour, nylon half slip, trimmed at hemline with 3 cms band of lace, 12 cms band permanently pleated nylon, 8 cms band of lace. Elastic waist band.Label inside side seam: Hanro 100% Nylon. Hips 40costume, female, underwear

Clothing. White cotton half slip floor length petticoat. Drawstring waist six darts across centre front waist. Back opening (21cm). two layers from 58 cm below waist. Outer layer of horizontal strips of broiderie lace and two rows of three pintucks. Scalloped edge at bottom of petticoat. Second layer of white cotton fabric. French seams. Machine stitched. Old box 230.Stamp inside waist band, ''P Lyon''costume, female, half slip floor length petticoat

Clothing. Coffee coloured polyester cotton full slip petticoat. Shaped top at bust line. Nylon ribbon shoulder straps (1cm). Scalloped top edge and hemline with decorative dark brown stitching. Embroidered floral patterns below shoulder straps and centre front above hemline.Tag 1 inside seam ''SIZE 10 to fit Bust 32, waist 24, hips 34''. Tag 2 ''LYN MAID INTERNATIONAL STYLED IN AUSTRALIA''. Permanent Press Polyester 65%, Combed Cotton 35%.Made in Hong Kong.costume, female underwear, coffee coloured full slip petticoat

Clothing. White nylon half slip petticoat. Elastic waist with decorative casing. Decorative scalloped blue stitching around seam on hem. Vents on both side seams at hem (5cm). Letter M monogram on front LHS. Blue stitching filled with satin fabric (26cmX10cm).Tag inside seam, ''ALL NYLON'' ''M''costume, female underwear, white nylon half slip petticoat

Half Length Evening Slip in Cream Pure Silk. Spoke stitched hem machine stitched. Floral pattern above hem line. Button closed opening at waist. McClure Family Collection.stawell clothing material

- Belonged to donor's Grandmother Alice Smith - 1960's - Worn at cousin's wedding 26/06/1971- Navy lace evening dress with burgundy slip - 3/4 sleeves - Cummerbund waist feature - Full skirt'Created by Simone'wedding, lace, evening dress

The dress was made by Mrs Alloway of Coburg. The dress was made from two dresses which appeared in 'The Bride' magazine; the top from one photo and the skirt from another. Joan Lorraine McGahey wore this dress when she married Francis William Kerry on 28/03/1959.1959 Full length white lace and net over white taffeta slip. Long sleeves are lace to wrist and has light covered buttons. Front has square neckline with lace appliqued to bodice which falls to dropped waistline. Front panel is lace onto net flounce measuring 30 cm. Back has three net flounces falling from waist to form a train which is attached with lace bow. Back of neck has 8 buttons and loops.costume, female ceremonial

Red nylon, deep laced trimmed half slip or petticoat - elastic waist - straight skirt - 15cm red lace trim on hem line.Warniers 100% Nyloncostume, female underwear

George Harold Merrett married Dorothy Lorna James at Christ Church, Horsham 14/08/1954. wedding gown and accessories were donated by family members. Photo of wedding couple.Cream lace dress and train overlaying pink satin with attached cream taffeta half slip trimmed with 4 cm cream lace inserted with blue ribbon. Design is scalloped sweetheart neck, dropped waist line and 34 pink satin covered buttons down centre back of the bodice. Sleeves are crossover cap sleeves and 180 cm train from centre back waist line. Pair of elbow length cream kid gloves, three pearl buttons at wrist and cream net horseshoe with apple blossom and pink rayon horse shoe. Full length cream veil attached to pearl and blossom headdress. See also NA4231 Mauve Bridesmaid's dress, NA4138 Mauve hat for bridesmaid's dress and NA3949 Mauve fingerless gloves for bridesmaid's dress.costume, female ceremonial

The attached card states - 'Mother's knitting stick'. There is a brass hole one end with four brass nails where the tip of a knitting needle is inserted for support. The curved and fits into a belt or tape around the waist. Knitting was carried out on curved metal needles, one of these needed to be kept rigid by being held between the hand and knitting sheath held at the side of the body either tucked into a belt or held under the armpit. The sheath would allow someone to to knit with one hand whilst performing chores with the other. They also took the weight of the work and stopped stitches from slipping off the bottom of a double ended needle. Many were given as love tokens but there were plenty made by men for their daughters or other close family members.An antique curved carved wooden knitting stick or treen Knitting Sheath for hand knitters. It is approximately 23cm (9 inches) long with simple carving on one side of M H R in large letters as well as a nine pointed star next to them. There is a brass hole one end with four brass nails where the tip of a knitting needle is inserted for support. The curved end fits into a belt or tape round the waist. 'M H R' and a 'nine pointed star' is carved into the curved part of the stick . There is an attached card - 'Grandma's (crossed out) Mother's knitting stick. When using four needles the "working" one goes into the hole at the brass end of stick. Curved end fits into belt or tape round waist'accessories, knitting equipment, knitting

White cotton nightgown, with broderie anglaise at neckline, waist, hemline and arm holes. Half slip lining.nightdresses

Owned and worn by Susan Heywood (nee Cox). Later donated to SSHS.Flesh coloured half slip made from Nylon. Used as a petticoat. 3/4 length.Peter Dee: Size 18 To Fit: Bust 100cm, Waist 80cm, Hip 105cm.clothes

Symbolism: Fish - abundance. Scrolls- happiness and prosperity. Fan - longevity. Chrysanthemum - longevity. Because these skirts were worn under knee length jackets , the embroidery only came up to where it would meet the bottom of the jacket. 'Chinese Dress from the Qing Dynasty to the Present' 2008 Valery Garrett. Symbolism - from C.A.S.Williams ' Chinese Symbolism and Art Motifs' 2006 and 'Hidden Meanings in Chinese Art'2006 Terese Tse Bartholomew.Cyclamen coloured, self patterned silk damask skirt with godets bordered in mid blue and lined with aqua silk. It has a wide cotton waist band with a loop at each end. The band was made in cotton (or hemp) to stop the skirt from slipping down. It was fastened by means of a tie or button. The skirt has a wide front panel embroidered with slowers in shades of blue and white, the central flower, a peony, is in a vase or urn. There are varius symbols inthe embroidery surrounding the central flower. Machine embroidered braid forms a border around this central area and beyond this is another hand embroidered border on white with blue and flesh coloured pink flowers. The godets have small embroidered motifs of fish, scrolls, fans and chrysanthemums. Embroidered in Pekin knot stitch outlined in metal thread. Pound sign 5-15-0 written in pencil on waistband.embroidery, garment, silk embroidery, china, 19th century

Symbolism: Woman with a fan (shan) - a symbol of longevity and a pun for goodness. Gourds: fertility and good fortune. Peony: wealth and honour (fugui). Blossoms: bring forth fruit and therefore bring forth prosperity. Meander pattern: represents longevity.Lemon silk skirt lined with coral coloured silk. There is a broad cotton waist band with loops at each end, through which a tie would have been used to fasten the skirt. The reason for the cotton at the top was so that it didn't slip, as silk would have done. There is a central front panel bordered in black satin. within this is an embroidered floral and 'meander' or Greek key pattern. The 'meander' pattern is done in couched goldwork. Within this is another border of embroidered, machine made braid. The central motif of two women in a garden setting is embroidered on silk mesh and appliqued onto the background fabric. One of the women holds a fan, the other has her arms raised up and she bends slightly forward. Behind the woman with the fan there a is a little fence/bridge. To the left of the other woman is what appears to be a vase with a flower, next to what may be a gourd shaped vase. Worked in Pekin knot stitch and couched gold.embroidery, garment, silk embroidery, oriental, 19th century, china