As children were admitted to Victorian Deaf and Dumb Institution, The Victorian School for Deaf Children and Deaf Children Australia, their details were recorded and they were given a registration number. Information included Medical Information.The Registers document where children came from, their family details and medical information, all relating to the time they were admitted and reflect the society of the time.Light green fabric with red tape over spine bound book containing specially printed pages with handwritten entries and an alphabetical index notebook attached to back cover. Contains register of pupils of Victorian School for Deaf Children, from 1970 to 1973, admitted to Princess Elizabeth Kindergarten for the Deaf (Elgar Rd, Burwood). Each entry is a full open two pages. The alphabetical index notes their Admission (?) number from 1993 to 2181Spine: "REGISTER OF PUPILS" in gold lettering "1993-2181/YEARS 1970 - 1973" handwritten in inkdeaf children australia, deaf education, register of pupils

As children were admitted to Victorian Deaf and Dumb Institution, The Victorian School for Deaf Children and Deaf Children Australia, their details were recorded and they were given a registration number. Information included Medical Information.The Registers document where children came from, their family details and medical information, all relating to the time they were admitted and reflect the society of the time.Brown fabric with red leather over spine and on front and back cover corners, bound book containing specially printed pages with handwritten entries and an alphabetical index notebook attached toinside back cover. Contains register of pupils of Victorian School for Deaf Children, from 1973 to 1978, admitted to Princess Elizabeth Kindergarten for the Deaf (Elgar Rd, Burwood). Each entry is a full open two pages. The alphabetical index notes their Admission (?) number from 2182 to 2451Spine: "2182/to/2451" "1973/to/1977" handwritten in ink. Stamping on edge of red leather.deaf children australia, deaf education, register of pupils

As children were admitted to Victorian Deaf and Dumb Institution, The Victorian School for Deaf Children and Deaf Children Australia, their details were recorded and they were given a registration number. Information included Medical Information.The Registers document where children came from, their family details and medical information, all relating to the time they were admitted and reflect the society of the time.Brown fabric with red leather over spine and on front and back cover corners, bound book containing specially printed pages with handwritten entries and an alphabetical index notebook attached to inside back cover. Contains register of pupils of Victorian School for Deaf Children, from 1978 to 1982, admitted to Princess Elizabeth Kindergarten for the Deaf (PEJS). Each entry is a full open two pages. The alphabetical index notes their Admission (?) number from 2452 to 2749Spine: "2452/1978" handwritten in ink. Stampin on edge of red leather.deaf children australia, deaf education, register of pupils

Elaborate Silk like Fabric Year Memorabilia with a female figure in green dress with mustard coloured hat in middle:Months of the Year listed either side. Water scene in background. Words in three languages saying "Happy New Year" in red writing.Vietnam So K.D.1196 B.T.T Neay 11-9-70 in green print ; bottom right hand sidememorabilias

This vaporiser is enclosed in a portable black cylindrical bakelite carry case with moulded handle, woven fabric strap and single steel latch. The item comprises a three-chambered vaporiser, an assortment of attachments including black ribbed rubber tubing, light brown rubber rebreather bag, facemask, black rubber mask harness, Connell pharyngeal airway with connector, an attachment for an endotracheal or nasal tube, as well as spare thermometer and other parts.Stencilled in white paint on the outside top lid is 'THIS SIDE UP / WITH CARE / SEE INSTRUCTIONS / INSIDE LID'. Serial number is inscribed on metal plate inside the lid and printed in white on the inside lid is 'IMPORTANT / The Oxford Vaporiser is a scientific apparatus'vaporiser, oxford, anaesthetic, portable, bakelite, connell pharyngeal airway, heated vapor, endotracheal, nasal, rebreather bag, thermometer, facemask

Dr. Joseph Clover (1825-1882), an English physician, first described his Portable Regulating Ether Inhaler on Jan. 20, 1877. Clover was an especially sought after anesthesiologist and early pioneer in the specialty. This was the best-known of many inhalers that Clover designed. The dome-shaped reservoir was turned to points on a control dial to gradually increase or decrease the percentage of the air that passed over the ether. Several inventors based new inhalers on this, while the original continued to be manufactured as late as the beginning of WWII. (Source: Wood Library Museum)Black round topped box with brass hooks at front and brass hinges at rear. There is a black fabric handle on the top. Inside the box is black padding with the manufacturer's logo printed in gold leaf. There is a square section in the base of the box for holding the square clear glass bottle for ether. There is also a dome-shaped metal inhaler with a "whistle tip" type connection to the mask. The mask is made of tan leather. There is also a metal ether measure for pouring the ether.Printed in gold leaf inside lid of box: MAYER & MELTZER [?] PORTLAND ST. / MAKERS •Engraved on side of inhaler: Mayer & Meltzer / London •Stamped on connector of inhaler: MAYER & MELTZER RN NO 212327 •Engraved on rear of inhaler: Clover's Inhaler •Printed in white on blue sticker: O.2.5A •Measurements have been stamped on the bottom of the inhaler. •Printed in black ink on mask: MADE IN ENGLAND •Stamped on metal connector inside mask: 6 •Printed in black ink on white manufacturer's label on glass bottle: ETHER PURUS '720 / H. Francis & Co., Melbourne.clover, joseph, mollison, crawford henry, george bankin, mccaul, kevin, royal women's hospital, coroner, freemason, surgeon, gynaecologist, obstetrician, mayer & meltzer, francis & co, melbourne, ether purus

Hurley, Sir Thomas Ernest Victor (1888-1958) was gifted this Probyn Williams inhaler in 1914. After studying at Melbourne University, Victorian-born Hurley was a Medical Officer at the Royal Melbourne Hospital until he commenced private practice in Collins Street. He was appointed Captain Australian Army Medical Corps, AIF and served in Gallipoli with the 2nd Field Ambulance. He served in Enypt, London, and the Western Front during World War 1. He gained a Companion of the Order of St George and St Michael in 1917. Upon return to Melbourne he held positions such as surgeon to Victoria Police (1928-1956), elected to Council of the Victorian branch of the British Medical Association, member of the Charities Board of Victoria and foundation member of the Royal Australasian College of Surgeons and chaired the Flying Personnel Research Committee m a consulting surgeon at the Royal Melbourne Hospital. This apparatus is transitional between Clover's and Hewitt's having Clover's narrow "ways" and compact size, but using Hewitt's ether-control lever.Black round topped box with brass hooks [missing] at front and brass hinges at rear. The initials T.E.V.H. are printed in gold leaf on the front. There is a black fabric handle on the top. Inside the box is black padding with the manufacturer's logo printed in gold leaf. There is a square section in the base of the box for holding the square clear glass bottle for ether. The pear-shaped mask is made of metal. There is also a metal ether measure for pouring the ether. The metal inhaler is ovoid shaped. The rotating gauge has a series of numbers engraved onto the inhaler for measurement. There is an elbow joint attaching a re-breather bag, with a small amount of waxy paper remaining attached with a thin ribbon. There is a small glass bulb encased in a metal housing. Printed in gold leaf on front of box: T.E.V.H. •Printed in gold leaf on inside lid of box: MAYER & MELTZER / LONDON / MELBOURNE & CAPE TOWN •Engraved on side of inhaler: PRESENTED / TO / T.E.V. Hurley Esq.,M.D.M.S. / by / THE M.S.S. / 15.6.14. •Engraved on reverse side of inhaler: PROBYN WILLIAMS / ETHER INHALER •Moulded into connector on elbow joint: MAYER & MELTZER •Stamped into base of metal pourer: MAYER & MELTZER / LONDON •Blue sticker with white printed text on front of inhaler: O.2.21.hurley, thomas ernest victor, probyn williams, university of melbourne, world war 1, wwi, gallipoli, australian army medical corps, medical student society, mayer & meltzer, clover, joseph, hewitt, fredrick william

Black round topped box with brass hooks at front and brass hinges at rear. There is a black fabric handle on the top (broken). Inside the box is black padding with the manufacturer's logo printed in gold leaf. There is a square section in the base of the box, usually for a glass bottle but which is holding a metal pourer. The rest of the kit is missing.Printed in gold leaf on inside lid of box: MAYER & MELTZER / LONDON / MELBOURNE & CAPE TOWN Stamped on underside of metal pourer: BARTH & CO / LONDON Handwritten on inside of lifting linen-covered paper: [indecipherable] d as described on Pawn-Ticket / January 1903 / Jacket / Boots [cont...]mayer & meltzer, barth & co

Sir Frederic W. Hewitt (1857-1916), an accomplished and well respected English anesthesiologist, was an expert in the function and use of the Clover Ether Inhaler. In 1901, Hewitt described his modification of the Clover Inhaler. Often referred to as the Hewitt Wide-Bore Inhaler, Dr. Hewitt introduced changes in order to make it easier to breathe through the device and improve the ventilation of oxygen and carbon dioxide. In 1901, Hewitt was recruited to anesthetize King Edward VII for emergency abdominal surgery. This was just a day or so before the new King was to be coronated. He recovered well, and Hewitt became the first anesthesiologist ever to be knighted. (Source: Wood Library Museum)Tall black round topped box with brass hooks at the sides and brass hinges at rear. There is a brown fabric handle on the top. The box has red padding inside the lid and red lining inside the base and sides. There is a round section in the base of the box for holding the round clear glass bottle for ether. There is also a ellipse-shaped metal inhaler on small metal base with a thin metal handle and pipe with bakelite plug attached via a small metal chain. A brown mask is made of brown leather and celluloid which is connected to the inhaler. There is a metal ether measure for pouring the ether.On notecard in box: (B) HEWITT'S INHALER 1895, MADE BY GEO. BARTH & CO LTD., ADVERTISED AS THE SOLE MAKERS OF THE INHALER AND RECOGNISED BY HEWITT IN HIS TEXT BOOK - ANAESTHETICS AND THEIR ADMINISTRATION - AS THE MAKER OF HIS INHALER. / GIVEN BY DR. E.S. HOLLOWAY IN 1951, WHO ACQUIRED MUCH OF HOWARD JONES' EQUIPMENT AFTER THE LATTER'S DEATH. Stamped on underside of glass bottle in a circle: WUBW [illegible] Blue sticker on inhaler: O.2.13. Printed on inhaler under handle: Geo Barth [illegible] / SOL [illegible] Printed on body of inhaler: Full Printed on body of inhaler: 1/2 Printed on inside of leather mask: F35hewitt, sir frederic, jones, howard, inhaler, geo. barth & co. ltd., ether

The donor of this gift, Professor John Gibbs, has played an important role in the history of ANZCA as a board member of the first ANZCA Council. In the late 1980s Professor Gibbs was President of the New Zealand Society of Anaesthetists and in 2004 received the ANZCA medal for his major contributions to the status of anaesthesia. The muffineer set was presented in a custom made box bearing the manufacturer's mark 'Nanking Store', active in Shanghai, China from the late 19th century until early 20th century. Each item in the set is stamped with the makers mark and character of a rooster. It is unknown as to the symbolism of the rooster, however, it may have represented the Chinese year of the rooster. It is possible this is a Chinese export silver piece, as a result of increased export trade to the West in the early 20th century. Chinese export silver were made in foreign taste for export, in particular common items such as tea and coffee sets. A Muffineer is a small container with a pierced top for sprinkling sugar, salt, spice, or other powder. It gained its name from its early use for sprinkling sugar or salt on muffins and were part of the Victorian tableware. After the First World War and the change of life style, this was later referred to as sugar shakers.A sterling silver muffineer set of Queen Anne revival with tray. Muffiner set contains 3 silver shakers (muffineer), 6 silver condiment dishes on stand 3 with lid and handle, 10 small, rounded spoons, 10 blue, glass inserts for condiment dishes. The set comes with a custom made presentation box, lined with beige silk. The box proper is lined in dark blue velour with individual sections cut out to sit each set piece. Each piece is hallmarked except four spoons. Large heavy oval shaped silver tray with extended loop rope designed handle on either side decorated with a very ornate fern leaf pattern design etched into the entire base of the tray. [printed in gold lettering on beige fabric inside lid cover] Chinese name of manufacturer in Chinese characters / NANKING STORE / GOLD AND SILVER SMITHS / 444 SZECHUEN ROAD / SHANGHAI / markers mark and Chinese characters [hallmarks on condiments dishes] NKSTERLING / SILVER / character of rooster [hallmarks on muffineer] NANKING / SILVER / character of rooster [hallmarks on spoons - 6 only] NANKING / character of rooster [hallmarks on tray reverse] 19722 number scratched into surface.professor john gibbs, nanking store, chinese export silver, muffineer, sterling silver

Regimental pocket book for use by non-commissioned officers and men of the 14th Battalion AIF. Publication presented to the 14th Battalion by pupils of Church of England Grammar School, Melbourne. Issued by Commanding Officer Lt Col RE Courtney VD. Contains sections on: a Nominal Roll of Officers; Espirit de Corps and The Regimental Motto; Badges of Rank and how to recognise them; Duties of Non-Commissioned Officers; The Special Duties of the Squad Commander in the Attack; The duty of every individual man in the Attack; The Special Duties of Section Commanders in Defence; Applications etc by Letter; The Soldier, Fit and Strong; What every Outpost Sentry should know; Signals; General Introduction for Guards and Sentries; The Rifle, and how to care for it; The Three Rules for Aiming; Points to Note when you are firing; Rates of Fire; Scouts; The Individual Use of Cover; Hints for Camps; Sergeants and other Non-Commissioned Officers; Musketry; Description of the SMLE Rifle Mark III; Ships' Bells and what they mean; the Half-company Commander in the Attack; Regimental SongBooklet covered with blue fabric-covered card embossed with the insignia of The Australian Commonwealth Military Forces. Contains multiple paper pages printed in blue with yellow border. Bound with sewn blue cotton. Two booklets held in collection.SKHS1587 inscription inside front cover, in blue ink handwriting, now largely obscured: G Clarendon Hyde 2.1.15. Inside back cover: No 115 "C" Company Sept 1914. Both SKHS1587 and SKHS 1620 contain handwritten notations against the Nominal Roll of Officers, updating the information about the officers listed.14th battalion aif

Third Book of the Victorian Readers (First Edition). Fabric covered cardboard cover. Printed 1930.books, primary reader, victorian education

Fourth book of Victorian Readers (First Edition). Fabric covered cardboard cover. Printed 1930

Fourth Book of Victorian Readers (First Edition). Fabric covered cardboard cover. Printed 1930.books, primary readers, victorian education

The Mark II Pilot Balloon Slide Rule was made of wood laminated with heavy white plastic with a length of 24.5-in. and width of 2.5 inches. Mark II rules were manufactured in Australia by W & G (Melbourne). The W & G rule differs only slightly from the English A. G. Thornton LTD rule. The W & G rule uses serif fonts and has some fiducial marks that the English rule lacks. Exact dates of production are not known but the MK II is known to have started production by 1927. The printed scales are engraved in the plastic faces. The slide rule has 4 captive cursors (glass windows and brass guides) that ride in slots on the top and bottom edges. Each can be moved independently of one another. The cursors are missing from this item. Brass knobs at both ends of the slide facilitate its movement. The case is fabric covered wood with felt lining. No known history for this item as located in a property after purchase. The Pilot Balloon slide rule is used to convert the observed azimuth and elevation readings into wind velocity and direction records. The use of slide rules was abandoned with the wide spread adoption of computers and programs to do the calculations, as well as the decline in the use of optical pilot balloon theodolites.Made in Australia by White & Gillespie (Melb) Pty Ltd. Established in 1910, the firm was involved mainly in printing plate manufacture, but during the Second World War it manufactured a variety of navigational aids and range finding devices for the military. About 250,000 instruments were made during that period. After the war the company produced, among other items, drawing instruments and slide rules. The case is fabric covered wood with felt fabric lining containing a long black laminate ruler with numerous white markings and numbers. Top of the ruler is in three sections with the centre section movable by small gold metal knobs at either end. This slide rule contains a engraved notation on the rear face "IMPORTANT. NORMALLY NUMBER OF GRATICULE SCALE DIVISIONS PER RADIAN (K) X LENGTH OF TAIL IN FEET (I) = 12X 105. IN OTHER CASES MULTIPLY GRATICULE READINGS BY 1.2/KI BEFORE CALCULATION ON RULE" Top of Slide Rule - RAAF Ident No G268/480 Serial WG/22pilot balloon slide rule, raaf

This was the official state flag of Italy used by Italian armed forces during WWII. The tri-colour flag with the emblem of the former Royal House of Savoy was the first national flag and lasted for 85 years until the birth of the Italian Republic in 1946. Soldiers' inscriptions on the flag suggest that it was capture from Italian troops during the Battle of El Alamein on 9 July 1942. The service numbers tell us that these soldiers served with the 2/24th Battalion which was raised Wangaratta. Walter Edward PARKER VX34529 Lancelot HALL VX32047 DOB 25/10/1904 Mildura Greville Egerton DENNYS Capt. NX4731 DOB 4/3/1917 DOD 4/10/1969 Enlisted 27/10/1939 George Charles GREEN VX21968This was the official state flag of Italy used by Italian armed forces during WWII. The tri-colour flag with the emblem of the former Royal House of Savoy was the first national flag and lasted for 85 years until the birth of the Italian Republic in 1946. Soldiers' inscriptions on the flag suggest that it was capture from Italian troops during the Battle of El Alamein on 9 July 1942. The service numbers tell us that these soldiers served in the 2/24th Battalion which was raised in Wangaratta. Recognising the cultural and historical significance of the flag to both Italy and Australia, the Wangaratta RSL received a grant to have the flag professionally restored and framed in 2017.Large Italian flag with green, white and red vertical panels of equal size defaced with the Savoyan coat of arms, a red shield with white cross bordered with blue. Three two-piece hoist ties on the green side. Panels are sewn together from separate pieces of fabric. The shield appears to have been printed directly onto the white panel. The edges are hemmed.There are several handwritten inscriptions on the coat of arms in red and blue/black ink detailing the name and service numbers of different soldiers. (Not all of the writing is legible). Legible texts reads: "VX32047 / L HALL / ALAMEINE / 9.7.42" "VX21968 / G Green" "VX?45?? / W PARKER / ALAMEIN" - "NX4731 Greville Denys"italian flag, italy, el alamein, battle of el alamein, 2/24th battalion, wangaratta, ww2

Handwritten inscription refers to 16th Reinforcements G.S.G (General Service Group). Transported back to Australia via Troop Ship SS Riverina. Printed by Cambridge. Printed at the University Press, for The British and Foreign Bible Society 146 Queen Victoria Street London.Was given to Richard Evans who was born in Chiltern Valley ( who served in WW1 )Blue soft cover fabric weave. Parchment coloured pages with small black print. 64 pages. No. 69029. Pt. R Evans 16th Reinforcements G G G Aus Imperial Forces Abroad 20/11/ 18 Stamped British and Foreign Bible Society Bible House 214/3 Flinders Lane Melbourne. chiltern, chiltern valley, richard evans, ww1, gospel st mark

1916 New Testament owned by Richard Evans while serving in WW1Richard Evans was born in Chiltern Valley and served in WW1Size 66mm x 100mm, colour khaki fabric, reinforced cover print, front and back cover has black print, parchment coloured pages with red edges. Cover insignia contains laurel wreath with dove of peace above a small bible Inside front cover contains wording - Richard Evans 19.18 (different pen entries) Pte R Evans Nos 69029 16th Reinforcements Victoria Aus Imperial Forces Abroadchiltern valley, chiltern, new testament, ww1, richard evans

This handbook contains the setting instructions for a Standard Hattersley Loom developed by George Hattersley and Sons Ltd. The Hattersley loom was developed by George Hattersley and Sons of Keighley, West Yorkshire, England. The company had been started by Richard Hattersley after 1784, with his son, George Hattersley, later entering the business alongside him. The company developed several innovative looms, of which the Hattersley Standard Loom – developed in 1921 – was a great success. The Hattersley Standard Loom was designed and built in 1921. Thousands of models were expected to be sold, which would bring considerable financial success to the company. After the recapitalisation boom of 1919, cotton yarn production peaked in 1926 and further investment was sparse. Rayon, an artificial silk, was invented in the 1930s in nearby Silsden, and the Hattersley Silk Loom was adapted to weave this new fabric. An example of this type of loom can be seen on Vic Collections here ( https://victoriancollections.net.au/items/54065d0f9821f50e3cc9c122 ) and is also on display within the National Wool Museum in Geelong, Victoria. A copy of this manual may be available by contacting the National Wool Museum Collection Team. Book, 64pp. Red and black loose leaf, soft cover, printed black ink. "[Hattersley] Standard Loom Tuners Handbook: Setting instructions " - George Hattersley and Sons LtdTHE BRUCE WOOLLEN MANUFACTURING CO LTDtextile industry - history textile machinery weaving textile industry - education, george hattersley and sons ltd, weaving looms, weaving machinery, textile industry - history, textile machinery, weaving, textile industry - education

Trophy ribbons won by the Wettenhall's Stanbury Stud. According to Mr Parsons, (19 Mar 2004) the quilt was almost certainly made by Mrs Janet Wettenhall. It was hung in her sun room.Quilt, composed of felt ribbons stitched together and lined with beige woollen fabric. Most of the ribbons are royal blue, there are two purple ribbons and the quile is edged with green ribbons. All the ribbons have been screen printed in yellow ink. There is a velcro strip attached at upper back edge.The ribbons are prizes from sheep breeding competitions from 1958 to 1961.[various]corriedale sheep sheep breeding agricultural shows, stanbury corriedale stud, wettenhall, mr rupert e. wettenhall, mrs janet, victoria, corriedale sheep, sheep breeding, agricultural shows

On the 1984 Los Angeles Olympic Uniforms donator Doug wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. When the forthcoming Los Angeles Olympic Games was announced, the Product Marketing Group seized upon the chance to show the world that we could make top fashion garments and display them on our elite athletes on the world stage. A concept was launched using a contemporary top designer, Adel Weiss, with the most exclusive fabrics and knits available, and all with a lot of hype. This launch failed dismally for the following reasons- - The designer did a wonderful job presenting an excellent fashion range on perfect skinny models. The AOC however wanted a uniform which had an obvious Australian appearance when fitted to elite, and frequently muscular, athletes. - The fabrics chosen did not reflect the performance required by travelling athletes, there was no recognition of the need for ‘easy care.’ - There was no recognition given to the problem of measuring, manufacturing and distribution of a range of articles when the selected athlete could be domiciled anywhere in Australia. - There was no appreciation of such historical facts as Fletcher Jones, who had been unofficial suppliers dating back to the 1954 Olympics in Melbourne, and the Fletcher Jones board member, who was also an AWC board member, and was not in favour of the change. The project passed from Product Marketing to Public Relations, a big spending off-shoot of the AWC Chairman David Asimus, and due to the day to day operations of the project was passed to me and PR took care of the financial matters. The first task was to meet with the AOC and find out exactly their requirements. This lead to the production of a design and manufacturing brief, cointaining exact time lines for each event required to ensure an appropriate uniform on every athlete chosen to represent his/her country on the date given for the Opening Ceremony in Los Angeles. Working backwards the timeline becomes- 1. Noted the exact date of the Opening Ceremony. 2. Estimated the date for distributing completed garments to each athlete. 3. Estimated the time span available for measuring each athlete and commence making each component of the ensemble to the individual measurements of each athlete. 4. Decided the date for making the final choice of uniform design concept. 5. Decided the date for distribution of the design brief to selected designers. These five steps were spread out over a two year period. The Commonwealth Games occur midway between each Olympic Games, work on the Olympic uniform commences the week after the Commonwealth Games closing ceremony and MUST be ready by the prescribed day two years hence. The project also had to remain cognisant of trade politics existing within the span of the task, as well as the temperament of designers in general. It is no overstatement to say that in the past every designer in Australia believed they could, and should, be chosen to design the Australian Uniform. The final choice of designer almost always faced criticism from the fashion press and any designer who had been overlooked. However, with the contenders receiving an exacting brief the numbers of serious contenders greatly reduced. The Los Angeles Olympic Uniforms. A further reason for the AWC bid failure to design the LA uniform was that the AOC had already chosen Prue Acton to design it. This was based on her proven performance during previous games as she had a talent for creating good taste Australiana. Her design concepts also considered the effect when they were viewed on a single athlete as well as the impact when viewed on a 400 strong team coming on to the arena. A blazer trouser/skirt uniform in bright gold was chosen for the formal uniform. It was my task to select a pure wool faille fabric from Foster Valley weaving mill and have sufficient woven and ready within the prescribed timeline. The trouser/skirt fabric selected was a 60/40 wool polyester plain weave fabric from Macquarie Worsted. This fabric had a small effect thread of linen that was most attractive when dyed to match some eucalyptus bark Prue had brought back from central Australia. For the Opening Ceremony uniform, Prue designed a series of native fauna, a kookaburra for the men’s shirt and a pleated skirt with a rural scene of kangaroos, hills and plants. This presented an insurmountable printing challenge to the local printing industry as it had an unacceptably large repeat size and the number required (50) was also commercially unacceptable. The solution was a DIY mock up at RMIT and the employment of four student designers. The fabric selected for this garment was a light weight 19 micron, pure wool with a very high twist yarn in alternating S and Z twist, warp and weft. This fabric proved to be the solution to a very difficult problem, finding a wool product which is universally acceptable when worn next to the sin by young athletes competing in the heat of a Los Angeles summer. Modifications to this fabric were developed to exploit its success when facing the same problem in future games. Garment Making- The most exacting garment in the ensemble is the tailored blazer, plus the related trouser/skirt. Unfortunately tailoring athletes that come in various shapes and sizes such as; - Weight lifters develop an enormous chest, arms and neck size. A shirt made to a neck size of 52 would produce a shirt with cuffs extending well beyond the wearer’s hands. - Basketball players are up to 7 feet tall and garments relying ona chest measurement grading would produce a shirt with cuffs extending only to elbow length. - Swimmers develop enormous shoulders and slim hips, cyclists by contrast develop thighs I liken to tree trunks and a uniform featuring tight trousers must be avoided at all cost. Suffice to say many ensembles require specialist ‘one off’ treatment for many athletes. Meanwhile there is a comfortable in between group who can accept regular sizes so you can cater for these by having back up stock with plenty of built in contingencies. Athletes may be domiciled anywhere in Australia, this creates a fundamental problem of taking their measurements. The Fletcher Jones organisation was key to answering this problem due to their presence in every capital city, as well as many provincial towns around Australia. Each athlete on being selected for the Olympic Team was simultaneously requested to visit their nearest Fletcher Jones shop. The standardised measurement data collected was shared with the other manufacturers, e.g. Pelaco Shirts, Holeproof Socks and Knitwear, Maddison Belts, and even Hush Puppy Shoes. As the time for the Games approached the AOC made arrangements for combining meeting of all. Selected available athletes at the Australian Institute of Sport, Canberra, where, among other things, they were fitted and supplied with their uniform. The method evolved as follows.Men’s cream coloured button up, collared shirt. Images of a kookaburra have been printed onto the shirt, a single kookaburra on the left breast and a pair of kookaburras on the reverse of the shirt. The kookaburras are printed in a brown tone to complement the cream colour of the fabric.On tag - FMaustralian wool corporation, 1984 los angeles olympics, olympic uniforms, men's uniforms, sport, athletes

The conduct of the LA games changed many factors in a short space of time. The Americans made their Games a huge financial success, whereas other countries, e.g. Canada, was left with a huge debt. The key to this was SPONSORSHIP which soon replaced the old Australian way of fundraising with pub raffles. It also began to change the atmosphere where the AWC had previously been valued for their generous donation. There was a move by commercial specialist uniform marketing organisations paying sponsorship money to publicise the fact that they were clothing high profile athletes. Old loyalties remained but became tested more and more as time progressed. For example, each uniform was expected to include an Akubra hat, why? Because it always had. For the same reason the uniforms also had Driza-Bone Coats. The day before the Seoul Opening Ceremony it rained in Seoul, so at the Opening Ceremony the Australian Team emerged in their Driza-Bones, made from cotton, not a wool fibre in sight, and the wool growers were footing the bill for over a million dollars. Thoroughly embarrassed, I resolved to avoid this situation next time by having all uniform fabrics pre-treated with Scotchguard prior to garment making.The scarf is brightly coloured in blue, green, yellow, purple and red on a plain cream base fabric. The lines of colour run on an angle across the fabric as jagged, irregular lines with small motifs of Australia, the Southern Cross stars, fish, triangles and a wave pattern, placed throughout. The centre of the scarf is dominated by a depiction of Australia presented in yellow. Within Australia are eucalyptus leaf shapes as well as mountainous shapes and the wave shape that is featured elsewhere on the scarf. The left hand short hem of the scarf has a differing pattern with larger lines running on the opposite angle to the rest of the scarf. Within the larger lines the same motifs are again printed.

A Textile Designer’s Fabric Sample Book is an important tool for keeping a record of past designs. This is useful in order to showcase a designer’s previous work; functioning like a portfolio or a résumé. They also serve as a source of inspiration, sometimes even providing a template to re-release iconic designs. The National Wool Museum has a large collection of Fabric Sample Books. They reveal the colour and daring designs produced by textile mills across various time periods. This Fabric Sample Book is from the 1920s and gives us insights into design trends that are now over a century old.The cover of this book has a brown/grey marble. It carries many marks and oils from the hands, after more than a century of use. A strip of red tape has been added to the spine of the book in order to give it integrity. The book internally has white pages that have turned a brown/cream with age. These pages have a faint blue line printed horizontally across them, to assist with handwriting. The contents of the pages are fabric samples which have been staple to them, as well as handwriting with a blue ink. The pages also include technical drawings, relating to the fabric samples and how such samples were woven together.textile design, textile manufacture

This jacket is by the prolific spinner and weaver Jean Inglis. It has been woven with a warp of commercially brought wool & a weft of hand spun Corriedale. It is completed in a Swedish lace style of weaving. The highlight of the jacket is the blue section of fabric on the top left shoulder of the wearer, which works down to the bottom right hip. This pattern looks like long thin individual separate sections of fabric stitched to the jacket; however, only one section of fabric has been added. A dying technique has been utilised to give the appearance of multiple sections. This Japanese dyeing technique is called Shibori, “to wring, squeeze or press". It is a manual tie-dyeing technique, which produces several different patterns on fabric. The specific pattern on this fabric is known as Kumo Shibori. It utilises bound resistance. This technique involves folding sections of the cloth very finely and evenly. Then the cloth is bound in very close sections. The result is a very specific spider-like design. This design requires very precise technique. Specific to this jacket, the fabric for the dyed section was made with the same fabric as the rest of the jacket. A section of the excess fabric was concertina wrapped around a 100mm pipe and tied up before dying. This gives the consistent straight blue lines, with no bleed from the dye. The sections were then sewed into the jacket with the occasional sequin added for additional decoration and glamour. The jacket won 1st prize at the 1988 Geelong Show. Jean was assisted by the dress maker Ruth Randell with some of the design and sewing. Jean always found sewing “a bit of a bore”. The jacket also has an attached swing tag. It was added to provide information to the judges at the Melbourne Show on how the jacket was created. It comes complete with Jean’s self-proclaimed terrible handwriting. It was donated to the National Wool Museum in 2021.Cream singled breasted jacket with no overlap. The jacket has no column of buttons for fastening, or lapels. It is designed to be plain, to not draw attention. The jacket is highlighted by the Shibori dyed waves on the top left shoulder of the wearer, which works down to the bottom right hip. This blue dyed section of fabric is dotted with the occasional blue sequin. Internally, the jacket features a white silk lining for comfort. The jacket ends in a straight cut hem, including at the cuffs. The jacket has an attached swing tag. The swing tag is cream with a printed thin black boarder. Within the boarder, handwriting in black ink is found. It has a hole punch in the top left corner of the swing tag for attaching to the jacket.hand spun, hand weaving, textile design, textile production, shibori, kumo shibori

Now 100 years old, this quilt belonged to the donor’s grandfather John William Huffstutter. John was Born in 1898 in a log cabin in the Ozark mountains of Missouri, USA. Tragically, John’s mother died when he was four years old. John said that he could always remember her voice calling his name as he hid under the porch in one of the many thunderstorms that frequent the area with his dog. John was raised by his grandmother and was treated as the youngest to her other children, growing up with his aunties and uncles rather than brothers and sisters. John began to study engineering at the State University of Iowa before serving in the US Army Engineer Corps in The Great War. He enlisted when he became eligible and served briefly before the Great War ended. He then returned to his engineering studies in Iowa, and shortly after finishing his studies got his first job with Westinghouse in Pittsburgh at age 23. It was when John was leaving for this job that he was given the quilts as a reminder of home from his grandmother Sarah Jane "Sallie" Tindall Coble, and her daughter (John's Aunt) Ottie Maude Coble Bittick. Widowed at age 78, John took to sleeping in his screen porch under one of these quilts. John remembered one winter in Missouri waking in his log cabin to find snow covering him and his quilt. When he died at age 94, the quilt he used was completely worn out and discarded. This remaining quilt was shipped to Australia, where Carol’s (the donor) immediate family had emigrated in 1970. Opening the box that contained the quilt released a wave of comforting smells, emotions, and a flood of childhood memories. Carol distinctly remembers sleeping under these quilts for afternoon naps at her grandparents' house. The quilt is 74 x 80 inches (1880 x 2030mm), matching the size of a modern-day king bed. It is made of various four-inch (100mm) squares. These squares are made of old men woollen suits in dark colours of browns and greys. The quilt is layered with a wool backing fabric and a batting lawyer of unknown material, possibly cotton or wool. The quilt is tied together with red wool yarn and the backing fabric is folded over the edge to be used as a binding. Embroidered across the front of the quilt in purple wool yarn is "John Huffstutter", "13 Oct 1921". A small, printed cloth label "HUFFSTUTTER" is pinned on the reverse of the quilt. The quilt is well-worn but in good condition considering its age. The care instructions passed down by word of mouth with the quilt were to "never wash, only air".Front embroidered. Purple handstitching: "John Huffstutter / 13 Oct 1921" Reverse. Printed cloth label: "HUFFSTUTTER"ozark, missouri, usa, textile history, quilt heritage

Attached George Gross Biography. Vogue Australia|With more than 40 years in the industry,- George Gross is one of Australia's best known fashion designers. Designing his own. label for the last 35 years, Gross is renowned for his glamorous evening wear, corporate and race wear ranges. Embodying style and sophistication, Gross has dressed celebrities the world over in his eponymous label.|With his first creation - a sequined shift, at the tender age of 16 George still believes 'every collection starts with the fabric and is all about the cut and proper finishing. The looks and silhouettes change every season but not dramatically, it is more that they evolve from season to season.'|The George Gross label was first conceived in Adelaide by Gross and his business partner Harry Watt. As designer, both were working for other fashion houses and saw a gap In the market for elegant evening wear, suiting and separates. Joining with his twin sister Kathy, the three began with a small Adelaide store and expanded to include more than 500 retailers worldwide at the height of their business.|Inspired by real women, Gross showcases his love of colour, cut and quality with each collection. His aim is to create sensuous clothing that women of any age, shape or taste look fabulous wearing. Attributing his longevity to a desire for experimentation while also listening to his customers' needs, Gross designs the fabric prints and only uses the best quality natural fibres from Europe.|Gross and Watt have won 13 Australian fashion design awards between them and both work closely with charities throughout Australia. Working primarily with Breast and Prostate Cancer Research, George organises parades around Australia, especially in their home town of Adelaide.|Gross now has seven stand alone stores, nine concession areas in David Jones department stores and numerous wholesale clients Australia wide. Having finished summer 2009, George is now working on winter 2010, his 73rd collection with many more to come.Three piece Grey - brown pin stripe pants suit. Fully lined pants, shaped waist band. Zip front & turned up cuffs. Jacket fully lined, wide reveres, single breasted, one button. Two pockets. Tailored waistcoat, 5 buttons. Two imitation pockets. Stretched lace backGeorge Grosscostume, female