This sports coat was made at a Fletcher Jones factory about the 1970s. David Fletcher Jones (1895-1977) served in World War One and in the 1920s set up as a travelling hawker selling drapery in Western Victoria. In 1924 he leased three shops in Liebig Street, Warrnambool and in 1928 opened his Man's Shop at the intersection of Koroit/Liebig Streets. He manufactured men's clothing on site in a new building erected in 1931. In 1946 a Fletcher Jones shop was opened in Melbourne and in 1948 a factory was established in Warrnambool with a new company Fletcher Jones and Staff established in 1951.This company then operated in other States and known Australia-wide firstly for its production of men's trousers and later for men's and women's clothing. By 2011 the Warrnambool factory was closed and the company dissolved. This coat was bought by Lew Officer, a member of a family with pastoral interests in the Western District.This item is of considerable historical interest as an example of the high quality work produced by the Fletcher Jones and Staff Clothing Stores. This company was a key industry in Warrnambool in the 20th centuryThis is a man's sports coat made of Harris tweed hand woven in the Outer Hebrides made from Scottish-grown wool. The checked material is in brown tonings. The coat has a brown material lining and there are two brown buttons down the front and two on each sleeve. The collar has a grey felt lining.fletcher jones clothing stores, warrnambool, harris tweed jacket, lew officer

These shorts come from the Fletcher Jones clothing factory in Warrnambool. They have never been worn. David Fletcher Jones (1895-1977) served in World War One and in the 1920s set up as a travelling hawker selling drapery in the Western District of Victoria. In 1924 he leased three shops in Liebig Street Warrnambool and in 1928 he moved his business to the corner of Koroit and Liebig Streets. He manufactured men’s clothing on site with the business known as the Men’s Shop. In 1931 he moved into a newly-erected two-storeyed building on the site. In 1946 he opened a store in Melbourne and in 1948 he established a clothing factory in Warrnambool with a new company set up in 1951 – Fletcher Jones and Staff. This company became known Australia-wide with its production, firstly of men’s trousers and later both men’s and women’s clothing. By 2011 the factory was closed and the company dissolved. These shorts are of interest as an example of an item made at the Fletcher Jones factory in Warrnambool. The Fletcher Jones Clothing Company, known throughout Australia, was one of the most important industries in Warrnambool in the 20th century. These men’s shorts are made of polyester and viscose and are light brown in colour. They have an elasticised waist band with five buttons and a corded lining, three pockets and a nylon zip front opening with a metal fastener. The shorts have two labels stitched into the inside of the garment and one paper label attached to the shorts by a nylon clip. ‘Fletcher Jones Australia’fletcher jones factory, history of warrnambool

This hat is one commonly called a fez but there are many variations of the style and colour and many different names according to the country or group wearing this type of hat. The name fez comes from the city of Fez, the capital of Morocco up to 1927. This style of hat was part of the traditional clothing of Cyprus and introduced into the Balkan countries in the Byzantine era. In the early 1800s it was made part of men’s clothing by the Sultan of the Ottoman Empire and was used particularly as part of the military uniform. Today in military circles it is used as part of a dress uniform only but is extensively worn by men in many countries and is now seen to be part of oriental cultural identity. This particular fez appears to be a theatrical prop.This hat is not an authentic one, being a theatrical piece, but it will be useful for display.This is a short cylindrical peakless hat made of cardboard covered with a burgundy-coloured felt. There is a black tassel attached to the top and hanging down the side of the hat. The inside of the hat has a green and white striped material around the edge and patterned material covering the rest of the inside. ‘8’men’s headwear, history of warrnambool

This is a woman's kilt (skirt, shawl and pin). Two of the objects were made by the Fletcher Jones clothing company. The Tartan is the Australian tartan which was designed by John Reid, a Melbourne architect, when he entered a competition run by the Scottish Australian Heritage Council. He chose the colours of the Outback as the basis of his tartan. The tartan is design registered in Australia (No. 97439). (Source: District Tartans, P. Smith and G Teall, 1992). This outfit was possibly made around 1990. David Fletcher Jones who served in World War One had a itinerant drapery business in the Western District before opening a tailoring business in Warrnambool in 1924.He began to specialise in men's clothing and in 1946 opened a shop in Melbourne. In 1948 he opened a clothing factory in Warrnambool and formed a new company Fletcher Jones and Staff. The company expanded to all states of Australia and included the manufacture of both men's and women's clothing making it one of the best known clothing companies in Australia. The company dissolved in 2011 This is a fine example of a Fletcher Jones clothing product and comes from a firm which was a dominant industry in Warrnambool and known Australia wide. It has further cultural significance being in The Australian Tartan..1 An orange/tan checked woollen kilt with a pleated skirt and straight panel at the front with a side fringe and a metal buckle It has an adjustable waist with buttons and metal clips. .2 A triangular shaped shawl in the same material as .1 .3 A metal pin or brooch in the shape of a sword and a circular piece with a swan image and a motto ENDURE FORT..1 Fletcher Jones AUSTRALIA'S FINEST CLOTHING PURE NEW WOOL .2 FLETCHER JONES AUTRALIA'S FINEST CLOTHING MADE IN AUSTRALIA .3 ENDURE FORT fletcher jones clothing company, warrnambool industries, australian tartan, tartan, australian tartan kilt, fletcher jones kilt

Issued during WW2 for women to knit items of clothing for men on Active ServiceProvided comfort for men on Active Service in inhospitable areasRectangular tan coloured 12 page booklet. Has a RED six pointed star on the cover with A.C.F printed inside it.Page 8 has the #7 crossed out and substituted with #6. Page 12 has a three inch rule added in pencil.knitting, clothing

The photograph was taken when Stathi Raftopoulos was seserved with the Civilian Military Forces during World War 2. Young Greek and Australian-Greek men joined the Australian Defence Forces during World War 2 and served in various capacities. Ithacans who were unnaturalised were recruited into the Civilian Military Forces as 'Allied Aliens' and served the war effort on the home front. Naturalised Ithacans saw active service.A black and white photograph of fifteen men wearing army style clothing and light coloured berets sitting around and relaxing.wwii, army

Both men are dressed in typical clothing of the time period. They are dressed for going out as they are attending the Stawell Gift which was very popular at the time for a annual outing.Demonstrates typical dress of the period for local residents.Rectangular Black & white. Two men dressed in typical clothing of the time period. Suit, tie and hat. They are standing together posing for the photo.In red ink stamped across the back Kodak Nov 85m. Written in blue ink "George Davis & Eric Hamilton ready to go to Stawell gift 1929"gift, george, streatham, nerrin, davis, stawell, eric, hamilton

Depicted are three men dressed in women's clothing, including bonnets, tutus and wigs. They are part of a theatre group.The photograph provides insight into entertainment, performance and recreation in Beechworth during the 1950s. The item's interpretive capacity is enhanced by its strong relationship to other photographs in the catalogue. Collectively, these records enrich the community's understanding of how the arts have developed in Beechworth since the mid-twentieth century.Black and white rectangular photograph printed on matte photographic paper.Reverse: 5657 / K42K242entertainment album, entertainment, dance, theatre, theatrical group, beechworth, event, party, 1950s

This waistcoat was made for Mr Alan Vinnell by the Fletcher Jones Man’s Shop in 1946 and was worn by Mr Vinnell at his wedding in Lang Lang on 27/4/1946 to Miss Madge Ridgway. Alan was the son of Albert Vinnell and Ada Rose Wood. He attended school in Macarthur about 40 kilometres northwest of Warrnambool. The Fletcher Jones Man’s Shop was located at the corner of Liebig and Koroit Streets in Warrnambool. David Fletcher Jones (1895-1977) served in World War One and in the 1920s set up as a travelling hawker selling drapery in Western Victoria. In 1924 he leased three shops in Liebig Street and in 1928 he moved to the Koroit/Liebig Streets intersection with his Man’s Shop. He manufactured men’s clothing on site. In 1931 a new set of two-storeyed buildings was erected on the site and Fletcher Jones moved into the building. In 1946 a Fletcher Jones shop was opened in Melbourne and in 1948 a factory was established in Raglan Parade, Warrnambool with a new company, Fletcher Jones and Staff established in 1951. This company became known Australia-wide, firstly for the production of men’s trousers, and later men’s and women’s clothing. By 2011 the Warrnambool factory was sold and the company dissolved. This waistcoat is of historical interest as an example of the high quality work produced at the Fletcher Jones Man’s Shop in Warrnambool in the mid 1940s. The Fletcher Jones business became one of the most important ones in Warrnambool in the 20th century and the early 21st century.This is a sleeveless woollen waistcoat made of blue striped material with a black cotton backing. The back has two black cotton flaps with a metal buckle to allow for the tightening of the coat across the back. The inside is lined with a cream, yellow and grey striped cotton material. The waistcoat has one inside pocket with a button enclosure and four outside pockets. The waistcoat has six black buttons on the outside and a maker’s label stitched on the inside. ‘Fletcher Jones The Man’s Shop Warrnambool Mr A. Vinnell Date 15/2/46’fletcher jones man’s shop warrnambool, history of warrnambool, albert vinnell, vinnell

Port of Portland Authority archivesFront: Fran Byrne (black ink stamp, lower right) Back: 3182-1 (pencil, centre) "N/ "Boneless beef from "Down Under" being received and checked at/ the B. Schwartz & Company plant, Chicago, Illinois, U.S.A." (typed on paper, sticky-taped to top of page, now removed and in object file)port of portland archives, cargo, chicago, usa

Internees from camp 3 playing soccer.Black and white photograph of 3 men, one in white clothing the others in dark clothing. Post and rail fence on right hand side of picture. Trees in background.camp 3 soccer, camp 3 sport

Scrap Quilts are quilts, usually pieced, that are made from a wide variety of fabrics, in various colors and designs. The quilt may be made from one Bloc design or different designs. Scrap Quilts can be carefully planned by color and design or improvisational in design.Hand stitched single bed patchwork quilt with a series of patchwork squares made from scrap materials, including clothing. Each square has a central point with narrow strips arranged in the form of a maze. Viewed at an angle and highlighted when photographed, a diamond pattern appears. "Autumn tones dominate the the quilt. most of the pieces appear to come from men's clothing (browns, tweeds, checks). Most squares include a red strip and some pink or lilac pieces from women's clothing or home furnishing fabrics. The backing is a heavier linen fabric (possibly curtain fabric) with predominant colours of green, red, pink and green in a floral design. At the top of the quilt several cotton tabs have been attached to allow the quilt to be hung. These have not discoloured so may be a more recent addition, A gathered border (6cms wide) is on all sides in the same fabric as the backing.linen, scrap quilt, patchwork quilt

These items were found in the ruins of a house/ hut located along the Clarkesville Road at Bendoc. The donor, David Buntine was stationed in Bendoc in 1969-1971 managing timber harvesting operations for VicForests. The swatches of curtain material are from Edward Arnold & Co Department Store of Oxford and Crown Streets, Sydney. The six tag labels are from Schute, Bell & Co Ltd - Wool & Produce Brokers, Sydney. There is a carbon copy of a receipt from the Shire of Orbost to Mr J. Dent. It is dated 9-10-1915 and is for the amount of 10 shillings. There is a receipt for a gun licence dated, 18-5-1920 and is from Edward Dent for 10 guineas. The invoice / receipt is for men's clothing and cups from Peter Joseph General Storekeeper at Delegate and is dated September 1920. There is an overdue notice to Isaac Dent, Bendoc for a 12 month subscription to "The Bombala Times" - W.G. Tweedie. Isaac Dent was married to Margaret Leslie and had six children - Isaac, James, Mary Ann, Charles, Elsie and Joseph. They made their home at Burrumbooka, near Bombala. The Bombala Times newspaper has been continually published since 1863. It was owned by the Johnson family between 1938 and 1975. These documents are early 20th century records of business transactions. The Dent family were early settlers in the Bendoc / Bombala district.A collection of invoices, receipts, labels and a card of material swatches. 3095.1 is a rectangular card with swatches of material stapled to it. 3095.2 and 3095.3 are rectangular pull apart labels. 3095.4 and 3095..5 are carbon copies of receipts. 3095.7 is an overdue notice. All documents have hand-written and printed information.dent-isaac-bombala edward-arnold-&-co schute-bell-&-co joseph-peter-delegate bombala-times

Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from."Playing cards featuring Onkaparinga sales mottos and picturesOnkaparinga Pure Wool Blankets/Australia’s Best/Rugs, Blankets, Piece Goods, Men’s and Boy’s Clothing/Made from Pure Wool In White Pink Blue Green And Primrose/The Home Of The Famous Onkaparinga Pure Wool Products/White And Coloured Blankets Give Individuality And Charm/Made In Australiablanket fever, wool, playing cards, advertisements, onkaparinga

This is a coat hanger made in Germany for the Warrnambool firm of Cramond and Dickson. John Cramond and James Dickson opened a general store in Warrnambool in 1856, selling men’s and women’s clothing, drapery and manchester and it had its own tailoring and millinery business. This store became a prominent one in Warrnambool for over 100 years, closing in 1973. The business operated for most of this time at the corner of Timor and Liebig Streets. This coat hanger is of great interest as a memento of the business of Cramond and Dickson, one of the most important businesses in Warrnambool’s history.This is a wooden coat hanger with a metal hook inserted in the centre of the hanger. The wood has been smoothed and stained to a light brown colour. The wood is curved and the ends are slightly tapered. The hook has a round stud at the bottom to prevent the hook from coming out of the hole. The hook is somewhat rusted. The printing on the hanger is in black.‘Cramond & Dickson Tailors & Outfitters Warrnambool Made in Germany’.cramond and dickson,, warrnambool, history of warrnambool

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Cut velvet pelerine featuring multicoloured garlands of flowers in shades of gold, brown and blue on a pink ground. Chenille trim and long silk fringe, Centre front hook and eye closure, Lined with pale pink silk.women's clothing, outerwear -- capes, fashion -- 1890s, fashion design

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. White cotton cutwork camisole. Tape insert around waist, ribbon insert around neckline. Front and back have a band of hand worked cutwork leaf sprays, as do the sleeves. The neckline is round. The garment is short sleevedlace, women's clothing, australian fashion

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Chemisette with a square neckline and three buttons down the front. It has an attached peplum. The sleeves and neckline are edged with lace. A row of ribbon insertion lace tape is attached to fabric of neckline. 30 mm in from the front of the neckline is a row of drawn thread work. Bodice is also decorated with 4 rows of triple pin tucking. The garment is short sleeved. The buttonholes are concealedlace, women's clothing, underwear, camisoles, chemisettes, undergarments

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Sleeveless chemisette with five concealed pearl buttons. Hand worked broderie anglais lace. Peplum is attached to an insert of ribbon tape lace. Neckline and bodice edged with lace. The same lace is also used to border an insert cutwork panel with concealed button holes lace, women's clothing, underwear, undergarments, chemisettes

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Sleeveless chemisette with 3 pearl buttons decorated with 4 rings of cut work flowers. Ribbon threaded around the neckline. Bodice gathered to attach to peplum at waist line. Handworked.fashion and textiles collection - kew historical society, lace, women's clothing, underwear, undergarments, chemisettes

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. White muslin camisole with fabric made by machine joined tape lace. Sleeves have three layers tape lace between three pieces of muslin. Edges are of a layer of scalloped tape lace joined to sleeves by a ribbon insert tape lace.fashion and textiles collection - kew historical society, lace, women's clothing, australian fashion, night wear

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Circle of muslin, lace edged, with an attached bias tape to form a tube for gathering capfashion and textiles collection - kew historical society, lace, women's clothing, australian fashion

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. White cotton voile blouse with short sleeves. Neckline ornamented with collar and jabot style front edged with tape lace. Sleeves also ornamented with tape lace. Sleeves and neckline gathered with roulauxfashion and textiles collection - kew historical society, lace, women's clothing, australian fashion

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

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. White cotton jabot of Irish crotchet lace and machine made lace and machine sewn. Inserted lace layer has flat and three dimensional crotchet roses. Lace edging at the bottom has three 3 dimensional roses and shamrocksfashion and textiles collection - kew historical society, lace, women's clothing, australian fashion

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. White cotton voile puff sleeved chemisette with four engraved pearl buttons. Neck edged with an edging lace and narrow tape. Sleeves finished with two rows of pin tucking and edging lace. Insertion and tape lace at neckline.lace, women's clothing, underwear, undergarments

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Camisole with pearl buttons. Two circular floral motifs on either side of front buttons. Broderie finish to armholes and the back. Joined peplum for gatherhing tape at waist linelace, women's clothing, lingerie, broderie anglaise, undergarments

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Camisole comprised of three types of machine lace and an embroidered cotton joined together to form a fabric and backed with fine netting. There is a band of narrow lace at the square neckline, this is attached to a band of insertion lace with ribbon holes and then wide bands of insertion lace. At the upper midriff level there is a band of lace interspersed with embroidered butterflies. Garment is buttoned at the front.lace, women's clothing, lingerie, underwear, undergarments, chemisettes

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne. Crutchless Directoire knickers. Hand sewn muslin pant with a front central openingwomen's clothing, underwear, undergarments, directoire knickers