"From Galleons Reach 1850-1936". Printed in England by Charley & Pickersgill Ltd of Leeds, and describes in words and drawings the machines built by Tomlinsons (Rochdale) Ltd., Soho Works, Rochdale, England. These include raising machines for woollen fabrics.textile industry, tomlinsons (rochdale) ltd

This item is from the "Barone" Collection. "Barone" (also known as "Seaview") was a stately Brighton home built at 9 Moule Avenue prior to 1855 and demolished in 1986. The house's residents included Edward Elgin Browne (during 1859-72), a Melbourne tea merchant, and the family and descendants of retired Scottish Army captain Archibald Black (during the period 1880-1970). Its neighbors included “St Ninians” owned by the Ward Cole family, “Seacombe” owned by the Moule family, and the home of James Grahame and his family. The items in the "Barone" collection were largely donated by two of the house's later owners, Mrs Doris Halkyard and Mrs Brian Brandt.A piece of hand painted cream silk velvet believed to be from a cushion cover. Date unknown.barone, seaview, brighton, cushion

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's 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 the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to  spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.8133.1 - The front of the short sleeved shirt has four colour blocks. The bottom two quadrants of the shirt are yellow and cream, the top two are red, above the cream, and green, above the yellow. The collar of the shirt is cream and the cuffs of the shirt are yellow. The back of the shirt is solid green. There are seven buttons with small amounts of colour on them to do up the shirt, and a motif of Australia made up of curving, crosshatching lines on the left of the shirt, sitting over the line between the red and cream colours. 8133.2 - The front of the short sleeved shirt has four colour blocks. The bottom two quadrants of the shirt are yellow and cream, the top two are red, above the cream, and green, above the yellow. The collar of the shirt is cream and the cuffs of the shirt are yellow. The back of the shirt is solid green. There are seven buttons with small amounts of colour on them to do up the shirt, and a motif of Australia made up of curving, crosshatching lines on the left of the shirt, sitting over the line between the red and cream colours. The bottom hem of the shirt is asymmetrical with the back of the shirt longer than the front. 8133.3 - Red fabric sample. 8133.4 - Red fabric sample. 8133.5 - White fabric sample with permanent marker writing "F22630." This sample also has the tag attached. 8133.6 - White fabric sample. 8133.7 - White fabric sample. 8133.8 - Green fabric sample.8133.5 - On tag - "Allan Robison Textiles Design F22853 82m 30 Wangaratta St Richmond Victoria, 3121, Australia Tel 429 - 9600 Fax 427 - 0594"1992 barcelona olympics, sport, athletes, fashion, design, uniform

About the 1992 Barcelona Olympic Games donator Doug Pleasance 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 technichian, 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. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.8341.1 - A pair of dark green trousers made from a wool blend fabric. 8341.2 - Green sample fabric with labels stapled on. One staple that was used to attach the label has gone through several layers of fabric preventing it from being unfolded. 8341.3 - Green sample fabric with white thread attached where it has previously been sewn. 8341.4 - Green sample fabric. 8341.5 - Green sample fabric.8341.1 - On label - FLETCHER JONES 8341.2 - on labels- Wool PE. 80:20 FAILLE WEAVEolympics, 1992 barcelona olympics, olympic uniforms, trousers, wool, fletcher jones, wendy powitt

About the 1992 Barcelona Olympic Games donator Doug Pleasance 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 technichian, 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. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.8340.1 - A pair of men's green shorts made from a wool blend fabric. 8340.2 - Green sample fabric with labels attached. 8340.3 - Green sample fabric.8340.1 - on label - FLETCHER JONES 8340.2 - on label - Wool PE. 80:20 PLAIN WEAVE SULZER LOOMolympics, 1992 barcelona olympics, olympic uniforms, wool, fletcher jones, wendy powitt, shorts

About the 1992 Barcelona Olympic Games donator Doug Pleasance 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 technichian, 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. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Cream full length trousersolympics, 1992 barcelona olympics, olympic uniforms, trousers, wool, wendy powitt

About the 1992 Barcelona Olympic Games donator Doug Pleasance 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 technichian, 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. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to ‘spot the Aussie’ and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Olive green culotte shortsolympics, 1992 barcelona olympics, olympic uniforms, wool, wendy powitt, culottes

The Returned Soldiers and Sailors Mills was located near the Barwon river on Pakington Street, Geelong, where its building still stands. The mill was established in October 1922 with capital acquired from War Gratuity Bonds. The mill produced fine grade woollen products with its speciality being ‘Retsol’ travelling rugs.31 page red book bound with metal pins containing fabric samples glued onto paper, with some printed text.cover: [printed] A FORECAST OF TEXTILE VOGUES / FOR THE COMING SEASON / FROM / R. S. & S. Woollen Mill. / Geelongr. s. & s mill, soldiers, sailors, geelong, war, wool, mill

The Returned Soldiers and Sailors Mills was located near the Barwon river on Pakington Street, Geelong, where its building still stands. The mill was established in October 1922 with capital acquired from War Gratuity Bonds. The mill produced fine grade woollen products with its speciality being ‘Retsol’ travelling rugs.25 page red book bound with metal pins containing fabric samples glued onto paper, with some printed text.cover: [printed] A FORECAST OF TEXTILE VOGUES / FOR THE COMING SEASON / FROM / R. S. & S. Woollen Mill. / Geelongr. s. & s mill, soldiers, sailors, geelong, war, wool, mill

Artist Alison Withers work DIY Deluge Design No. 5 was awarded Expressions: The Wool Quilt Acquisitive Award in 2023. Works were received from across Australasia and internationally from some of quilting’s most highly regarded and awarded artists. Finalists work was displayed at Art Quilt Australia 2023 presented by Ozquilt Network and the National Wool Museum from 12 August to 12 November 2023. Artist Statement: It's clear we need to adapt the anatomy of our human spaces to become more resilient to the increasingly unavoidable impacts of climate change. Made by piecing, applique and free machine stitching, using industrial felt, hand dyed merino felt, woollen suiting, cotton fabric, wool theatre curtain backing and cotton and polyester thread.Rectangular portrait orientated art quilt depicting an environmental scene including boats, lights, elevated buildings, plants and birds on a background of shades of cream, blue and grey. A baton is sewn into the back at the bottom.Back: DIY Deluge Design No.5 / Alison Withersquilt, ozquilt network, prize, wool, art, felt, piecing, applique

Pink and blue patterned sample of fabric, with rough cut edges. Fabric is doubled over and stitched together. A cream paper tag is attached with black printed text and hand written blue text.front: [tag] “GLENMILL” \ TWEED \ Pattern No. 4289 \ Piece No. 3602 \ Width 54 \ Length 52 5/8 \ Strings 2 \ 52 3/8 back: [tag] 80% WOOL / 20 % RAYON / 0 5 2 5/8

Long crinkle cut blue fabric sample with label stamped in ink. A brown paper tag is attached with string with hand written blue text.front: [tag] SW3 Dyed / Blue 4 / 37 ½ lln(?) – 70 yds / PeNo 678 front: [label] TRADEMARK / PHYSICIAN / REG No 76880 / SPOTLESS FINISH / CHILLPROOF / GUARENTEED PURE VIRGIN WOOLwool, fabric, blankets, sample, physician, collins bros mill pty ltd

Ten striped blanket samples held together with split pins. Colours include brown, pink, blue and cream. Each sample has an ink printed Physician label and a Physician sticker with a number.wool, fabric, blankets, sample, physician, collins bros mill pty ltd

Alexander Lau established his business in 1950 in the Nicholas Building, 37 Swanston Street, Melbourne. He designed textiles and commissioned many of his textiles to be spun and woven in Geelong mills. He had a long association with the Returned Soldiers and Sailors Mill and with Mr Schofield, the manager. In 2000, he retired and closed the business.Glossy paper clothing tag with rainbow coloured logo and black printed text.front: CRESTKNIT KNITWEAR & / ALEXANDER LAU FABRICS / TOGHETHER IN / CO-ORDINATING FASHION / (SEE OVER) back: This ticket is your / SYMBOL GUIDE / to help you to / co-ordinate this garment with / a color-matched CRESKNIT lambswool / pullover or cardigan. / Look for the matching ticket on / CRESKNIT LAMBSWOOL KNITWEAR / and you'll find colors created to / give you sophisticated / CO-ORDINATION.

Card with fabric samples affixed with staples. Card has some hand written text and two holes punched in spine.front: [handwritten] Albion Mills Geelong / 627 20/4samples, fabric, brochure, school uniforms, albion woollen mills co. pty ltd

Four page fold out booklet containing coloured fabric samples and printed text. front: [printed] Fashion Shades / Autumn 1933. / SANDOZfabric samples, textile industry, fashion, sandoz, switzerland, autumn

Stanley Couzens, a Gunditjmara man and long-time Geelong resident, painted this story upon commission from the Geelong Wool Combing Company. It depicts hunting in the You Yangs, the distinctive granite peaks that overlook the region. In 1993, Couzens’ painting was translated into a pattern by textile designer Jenifer McMahon. It was then turned into a jumper using wool sourced entirely from the region. It was fully processed, from fleece to fabric, in Geelong. The jumper was given to attendees at the opening of the Geelong Wool Combing company on 10 December 1993. Among the many guests, was the Prime Minister Paul Keating. The painting was acquired with the permission of the Couzens family.Framed acrylic painting on board, showcasing the You Yangs mountain range, people, and local flora and fauna in warm earth tones. The painting is signed 'S. Couzens 93' in the bottom right hand corner. The painting is framed in a dark wooden frame.Bottom right corner - 'S. Couzens 93'you yangs, gunditjmara, aboriginal art, jenifer mcmahon, design, geelong wool combing company, jumper

The knitting machine is a recently designed instrument, especially when it is compared with its ancient counterpart, the loom. It enables the creation of many metres of fabric very quickly. A knitting machine is composed of a series of needles which mimic the process of manual knitting. The mechanism engages numerous mechanical elements simultaneously and enables the creation of many metres of fabric very quickly. In addition, a knitting machine can be setup to produce unique bolts of fabric. The density of the fabric may be modified and a knitting machine can produce double-faced effects. A doubled-faced effect creates colour combinations through the introduction of an additional colour to the knitting pattern. This knitting machine is a Coppo brand. It contains over five hundred needles and was produced in the 1960s. It is a representation of the best available in the world at that time. Originating from Italy, it was designed for commercial use. Through both precision and capacity, Italian artisans were seen to be the best in the world of textiles and knitwear. Through emigration, globalisation and the regularly available quantities of wool, Australia came to compete on this stage. The owner of this particular machine migrated from Italy in 1959. When she did, she brought with her a Dubied knitting machine. She later replaced it with this Coppo. When in Australia the owner began work as a piece worker, knitting jumpers and worked for some of the iconic names in the Australian knitting trade including ES Poratt and Alpin Manufacturing. The owner’s role progressed from a piece worker to a wool garment designer and she won many Wool Industry Awards in the 1970s and 1980s. Her high quality of work using and her individual custom designs were spoken about by many of her customers and she had a very large private clientele. She designed and knitted fully fashioned tailored jumpers for people for around 30 years.Knitting table sits on a stand with wide metal legs. Legs contain lettering 'COPPO torino'. Legs are connected via three thin metal poles as well as a metal band and the bed of knitting table at top. The connecting metal band has the lettering 'SUPER - COPTAL' attached. The Knitting table itself contains two beds and a bench at the rear. Attached to the bench is a thin metal structure for the elevation of yarn. It has four crane esk structures above on this metal structure. The bench is covered in a pale grey laminate in the imitation of wood. Attached to the knitting bed is a sliding contraptions containing two handles at the front followed by a complex semi-circle sliding mechanism used to move the knitting mechanism front and back.Left Stand. Lettering: Coppo Torino Right Stand. Lettering: Coppo Torino Centre Stand. Lettering SUPER - COPTALcoppo, knitting machine, design, italy, wool, business, migrants

For nearly a century, Paris was the most important centre for textile design. From all over the world textile entrepreneurs came to Paris for inspiration. From the 1930s, style services developed in Paris in which companies collected the latest textile samples and circulated them around the world. Subscriptions to this service was expensive, but it not as expensive as going to Paris and other places where new trends arose. Textile designers, in Geelong and Melbourne, subscribed to books such as John Claude Freres books to get the latest colour fashions.Unbound book comprised of 114 separate pages of fabric samples from John Claude Freres.fashion, john claude freres

New York: Reporter Publications, 1953-1983. Hardcover. A broken run of this remarkable publishing venture, providing insight into the fashion of the day, fabric swatches, history of textile design, interviews with designers, etc.18 unique magazines containing multiple years. An invaluable reference tool for researching American lifestyle, tastes, fashion, style and fabrics as they evolved from the end of World War II to the dawn of feminism. With real vintage fabric swatches in each issue. Each issue is profusely illustrated with color photography and fashion illustration, as well as with beautifully designed covers by important artists. Such design magazines were utilised by Australian designers to help inspiration for the upcoming season's fashion. Such magazines were not cheap, compared to an international business trip however, they are seen as affordable to the point of being invaluable. 18 unique magazines from American Fabrics. First issue is from 1948 with latest from 1968. Colourful external covers with internal pages containing a mixture of black & white pages, colour pages and fabric swatches. Images of front and back cover are visible within media as well as contents of all 18 copies, particular articles of interest are obtainable by contacting the National Wool Museumtextile design, 1940s-1960s

Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. Once a pattern has been selected for mass production, a master card is produced. A mastercard shows exactly how to replicate the designs and colours depicted on the sample attached. “Ends” is the technical word to describe a vertical band and “picks” describes a horizontal band.Brown card with fabric sample stapled to the top right. Writing is present on the left and bottom of the card detailing the information applicable to the design of attached fabric. 14 individual Masetercards in collectiontextile calculations, textile design

Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. These three bolts of fabric come from the same run of fabric used to tailor Suit Jacket 8045. All fabrics were designed by Nino Corda while he was working at the Foster Valley Mill. The bolts of fabric have an attached swing tag. This swing tag details information such as composition of the fabric, total amount of fabric and the design number.Three bolts of fabric with repeating pattern in 100mm grid. All three bolts have frayed edges, indicative of their need to be sent for finishing. The dominant colour in all three fabrics is grey. 8044.1 has red and green lines running vertically and horizontally and an attached swing tag. 8044.2 has red and orange lines running vertically and horizontally and an attached swing tag. Fabric bolt has yellow label attached to one edge of fabric, depicting the fabric’s number. 8044.3 has orange and blue lines running vertically and horizontally. No swing tag is attached.8044.1. Swing tag. Typed wording. Front. foster / valley / Pty / Ltd. / (Incorporated in Victoria) 8044.1. Swing tag. Typed and handwritten wording. Reverse. JONO TAILORING / CALL NO……………. / DESIGN 6302-49-5 / PIECE NO 9528 / METERS 3.5 STRINGS…………… / NET METERS…………… / COMPOSITION / 70% WOOL 30% POLYESTER 8044.2. Swing tag. Typed wording. Front. foster / valley / Pty / Ltd. / (Incorporated in Victoria) 8044.2. Swing tag. Typed and handwritten wording. Reverse. left over (?unknown handwriting?) / CALL NO…………… / DESIGN 6302-49-2 / PIECE NO…………… / METERS 6.0 STRINGS…………… / NET METERS…………… / COMPOSITION / 70% WOOL 30% POLYESTER.textile design

Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. This Suit Jacket was tailored from fabric designed by Nino while he was working at the Foster Valley Mill. Nino developed a Mastercard such as w8043, which was sent to a mill in order to produce bolts of the desired fabrics w8044. These fabrics were then given to tailors where the final product was produced, such as this Suit Jacket.Single breasted suit jack with two buttons and notched lapel. Jacket is predominantly grey with black buttons and a silver silk interior lining. Four darker grey vertical and horizontal lines make up the design of the fabric on the exterior of the suit jacket. suit jacket, weaved, tailored

Photographs were most likely used for promotional purposes. The Q-VEE machine is a scouring machine. When fabric is removed from the loom it is often stiff, rough or uneven. Scouring removes the oils and dirt picked up from manufacture, leaving the fabric soft and fluffy. The photographed machine was made by J. Stone & Co, a British marine and railway engineering company based in Deptford in south east London.Four black and white, blue tinged photos of a Scouring Machine from different angles. Black writing on the rear, typed with a typewriter and stamped with the company stamp.8051.1 - rear - "Q-VEE" Machine. Tomlinsons (Roshdale) Limited. SOHO Works Rochdale. 29.6.37 849 8051.2 - rear - "Q-VEE" Machine. Tomlinsons (Roshdale) Limited. SOHO Works Rochdale. 29.6.37 856 8051.3 - rear - "Q-VEE" Machine. Tomlinsons (Roshdale) Limited. SOHO Works Rochdale. 29.6.37 851 8051.4 - front on machine - FIY Chain Gear J.Stone & Co Ltd London rear - P.I.V. Dial Control Tomlinsons (Roshdale) Limited. SOHO Works Rochdale. 29.6.37 853textile machinery, wool manufacture, wool, scouring

From home of the Late Mrs. Wm Henderson, crochet work possibly made by her mother, Mrs Henry Sebire Snr. Antimacassars were draped on back of lounge chairs to protect the fabric.White rectangular antimacassar crocheted with fringed edges.antimacassars

World war 2 Japanese good luck flag carried by Japanese soldier in the Pacific. Good luck flags were commonly carried and bore the names of members of the soldiers home town.It is believed that this flag had previously been on display at the old Footscray depotJapanese flag comprising of red circle centrally located on a stained white background with black conji lettering surrounding the central red circle. The flag is quite badly stained and has rips and moth holes distributed evenly across its face. there is some slight bleeding of the red colour into the lighter fabric above the circle. Framed behind consevation glass in stained wood and gold frame on a black card board backing. ww2, japan

This apron was designed for the Ballarat Apron Festival by local designer Clare Schreenan of Clasch Designs Ballarat. The tartan fabric was designed by Art Gallery of Ballarat for the 2014 exhibition “For Auld Lang Syne: Images of Scottish Australia, from the First Fleet to Federation”, and is officially registered with the Scottish Register of Tartans. The colours are highly significant: grey being chosen for the basalt plains on which Ballarat is built upon; Blue and white representing the Eureka Flag; and yellow for the gold that has made Ballarat so famous. Born in Ballarat, Schreenan attended Loreto College before studying fashion at Melbourne College of Textiles. She has worked extensively in Sydney, travelling to Paris, London and Los Angeles for work projects. She returned to Ballarat in 2006, launching Clash Design. Featuring the official, highly symbolic Ballarat tartan, and made by highly renowned local designer Clare Schreenan, this contemporary apron is of local significance to the Ballarat community. Grey, blue, white and yellow wool tartan fabric apron with asymmetrical design. Velco closures on back with zipper detailing. ballarat, tartan, apron

A set of cream linen table linen comprising: one rectangular centro piece or runner, four rectangular place mats and eight square serviettes. All pieces have pulled thread, or drawn fabric, as well as embroidered detailing, patterns and edging.table linen., household textiles.