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

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 stretchGreen knee length skirt with button and zip back. Has two pockets, and two darts in both front and back.Label 1 - Barcelona 1992 Official Uniform supplied by Australian Wool Corporation Label 2 - Fletcher Jones Australia 141992 barcelona olympics, australian wool corporation, wool, olympic games official occasions

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.Yellow long sleeved shirt with detachable floral collar. Double breasted pockets.Label - Pelaco1992 barcelona olympics, australian wool corporation, wool

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.Green button up tailored jacket with two faux pockets and a breast pocket on left hand side. Olympic logo on left breast pocket.Label 1 - Barcelona 1992 Official Uniform Supplied by Australian Wool Corporation Label 2 - Fletcher Jones Australia On breast of jacket - Australia Barcelona 19921992 barcelona olympics, uniform, jacket, fletcher jones

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.Yellow shirt, one pocket on left breast. The cuffs and the collar are white.On label - Barcelona 1992 Official Uniform supplied by Australian Wool Corporation1992 barcelona olympics, wool, australian wool corporation

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.Floral tie with cream, red, green native flower design.On label - Woven & manufactured in Australia by "Tee-Dee" exclusively for the Australian Wool Corporation1992 barcelona olympics, uniform, tie, australian wool corporation

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.Green jacket with Olympic emblem on left breast pocketLabel 1 - Barcelona 1992 Official Uniform Supplied by Australian Wool Corporation Label 2 - Fletcher Jones Australia Label 3 - Warm iron dry clean only On jacket breast - Australia Barcelona 19921992 barcelona olympics, uniform, tie, australian wool corporation

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.Straw hat by brand ‘Akubra’ in the style ‘Olympian’, size 56. Sides of crown woven with decorative pattern and hatband printed with native Australian flora. Retains original swing tag.Labels: Akubra / 56 / Olympian / MADE IN AUSTRALIA1992 barcelona olympics, uniform, australian wool corporation, hat

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.Straw hat by brand ‘Akubra’ in the style ‘Olympian’, size 59. Sides of crown woven with decorative pattern and hatband printed with native Australian flora. Labels: Akubra / 59 / Olympian / MADE IN AUSTRALIA1992 barcelona olympics, uniform, australian wool corporation, hat

This group and RDNS Sisters are at a meeting at Fawkner Park Community Centre and are listening to the lady on the left who is pointing out information to them.. Liaison had occurred between Doctors and the Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS), from its inception in 1885. This increased when Midwifery was introduced in August 1893 with close liaising with the Women’s Hospital. As District nursing grew it was recognized that closer liaising between many Public Hospitals and Community Centres would be beneficial, for not only the MDNS, later called Royal District Nursing Service (RDNS) Trained nurses (Sisters), but also for the patients of RDNS and the hospitals. In August 1964 a Liaison Officer commenced at the Alfred Hospital. This soon increased to Liaison Officers working full time at several Public Hospitals. They facilitated the smooth transition from Hospital to home for many patients who required ongoing nursing care. Liaison Sisters regularly attended discharge planning meetings, interviewed prospective patients, co-ordinated discharge and booked the first visit by the visiting RDNS Sister. At the time of a patient’s discharge, the Liaison Sister forwarded information on their diagnosis and instructions regarding the care required at home to the appropriate RDNS Centre, and in turn the attending District Sister wrote a report of progress and any queries to the Hospital Doctor, via the Liaison Sister, at the time the patient was attending outpatients. Any new instructions were then sent back to the District Sister. Liaising also occurred between District Sisters and Doctors when patients were referred by General Practitioners and did not attend a hospital. District Sisters also liaised with personnel attached to Community Centres.This black and white photograph is of a group of two men and five ladies, three of whom are Royal District Nursing (RDNS), Sisters, sitting at a large dark wooden table which has an open folder and papers with diagrams or information on them, Notepads and pens sit in front of several. L-R is a partly hidden man who has short dark hair; wears glasses, a dark suit over a white shirt and dark tie. His left hand is up to his face. Next is another man with short dark hair who wears glasses; has a grey suit, white shirt and patterned tie. His right hand is up to his face. Next is a lady with short curled hair who is wearing a dark patterned and white edged vest over a round neck grey jumper. She is looking at, and holding a pen in her right hand poised over, a sheet of paper with columns and writing on it. Next is an RDNS Sister with collar length dark curled hair, who has her left hand up to the side of her face. Then an RDNS Sister with short straight hair. Next is a lady with her dark hair drawn back and wearing a white jumper; she has her hands up to her chin. Next, and far right, is an RDNS Sister, who has short straight blonde hair and has a pen in her right hand. Her left hand, with a dark watch at the wrist, is up to the side of her face. The group are all looking at the columned information sheet which the lady on the left is pointing out with her pen. The RDNS Sisters are wearing light grey skivvies under dark grey V neck tunic style frocks.Barry Sutton LO 40royal district nursing service, rdns, rdns liaison, rdns uniform

Hilda Hill Collection. Combination Sepia & Black & White Photos Double Sided Card Total of 8 depicting family life towards the end of the First World War in 1918 up until July 1924. A comparison exists between life at 'The Ranch' ? In Eppalock in 1918 versus life at 'The Ranch' in 1924. lady standing at the front of the house with left arm raised to shade her eyes dressed in a dark coloured dress, light coloured cover on chair in background at 'the Ranch' June 1918. Oval black and white photo of Doreen at Durvol, dressed in black skirt and white shirt with black school? Tie June 1918. Proud parents with baby sitting in pram, both p[parents are wearing dark coloured hats dark clothing and white shirts, pram is boat style body with large rear wheels and smaller front wheels. White picket fence in background, May 1918. Also on this page is a reference to 'The Ranch' July 1924 in white, but no photo. Claire and Doreen sitting on lawn area, small garden to left, row of decorative plants in semi circle, dead tree centre background and other trees to left and right background, S.H.L.C. 24 Sept 1918. Boys' Flag Drill - repatriation Upper Reserve 19 October 1918. Group of people, all but one females, all in white at No. 7 reservoir happy 9 January 1919. Al and Marie sitting, Al in all white and hatless, Marie in white blouse and black waistcoat with black tie, foreground shows large rocks, background has trees in distance, No.7 reservoir 9 January 1919. Childrens folk dance at Upper Reserve, All children dressed in white, large round hat in foreground, and suited man in hat walking past 19 October 10918.Hilda Hill Personal Collectionaustralia, history, post war life

Hilda Hill collection. Combination of Sepia & Black & White Photos Total of 9. Photos. Five boys all dressed in white and wearing white boaters playing instruments in a band, left foreground Tuba, two in centre playing trombones, man in background playing smaller tuba like instrument, Clem Easter Fair procession1920. Four young ladies and four young men sharing a picnic at the lake, (Weeroona?), ladies wearing white or light coloured outfits and the men and boys all dressed in darker clothing, background left building on far side of the lake, at the lake 'Hungry' January 1920. Ken at Lockwood April 25th 1920, wearing white shirt dark waistcoat and trousers, left arm on top of gate post, two stays for the gate post and dry tree limb on ground, background open paddock with trees further in the background. Babe & Hilda at the Easter Fair 1920, Both wearing broad brimmed hats, one light the other dark, dark coat and skirt combinations with white accessories. 'the Three Graces' Queen street, April 25th 1920, 1 wearing dark suit and hat with white shirt and dark tie, centre wearing grey suit hat white shirt and dark tie also holding a ball his left hand round the shoulder of the man to his left, man on right wearing dark coat grey trousers white shirt and dark tie his left hand is holding round stick. Group of seated ladies, lady to left wearing light broad brimmed hat and white blouse holding bunch of leaves, next lady also wearing light broad brimmed hat dark dress white blouse with large collars folded over the coat lapel, and glasses, next at rear of group lady in hat white dress and dark coat left hand on shoulder of person left front of herself, This lady wearing dark wide broad brimmed hat dark coat and skirt with white blouse and also holding a bunch of leaves, last lady on right wearing a floppy brimmed hat with white blouse and dark coloured outfit with light coloured lapels, One Tree Hill April 18th 1920. Family group Lockwood April 25th 1920,some of the males are wearing hats others not, most are in dark coloured suits with or without coats, all of the ladies are wearing hats of varying kinds, all appear to have white blouses on with dark skirts or dresses, photo in open paddock with trees in the background. Girlie & Frank Queen street April 25th 1920, Girlie in foreground seated on rug of which more next to her is where Frank may sit, to her wearing glasses dark dress with white blouse and white hat, Frank wearing grey suit and hat is holding an object over the head of Girlie,background left a suitcase on the ground, centre background is a slim tree, right background house with gabled roof and bull nose verandah, high picket fence, trees on footpath. Left side buildings fronting the footpath. Babe seated on the hand rail at the bottom of wooden stair case, wearing broad brimmed hat dark dress and white blouse, shadow in foreground of the photographer and assistant, left is wire fence with wooden posts and top rail, April 1920.australia, history, post war life

B+W photograph on front mount studio portrait (B+W) of lady seated on upholstered chair (carved wood), man standing behind occasional table. Man is dressed formally (Bow tie and stiff shirt); whiskered- beard & moustache. Inscription: Front: the crown studios Sydney - printed on board. Back: (P.T.O).Back: Handwritten: 'Mr & Mrs Wittmann in later years when/they had gone to live in Sydney. RHSV stamp (Royal Historical Society of Victoria/Bendigo Branch), '1128', Printed by Studio: 'George & Market Streets/Sydney', 'The Crown Bromide Enlargement Coy 'Trade Mark'','The/Crown/Studios','Mark Blow/General/Manager', 'Portrait enlarged/on Bromide,Platinotype/Carbon Opal, and Finished/ in crayon, indian in, partel/water colour or oils',' Telephone No 477','Cable Address 'Bromide'/Sydney',' Copies of this Photograph No__ maybe had at any time'.The Crown Studios, Sydney, George & Market Streetperson, family, wittmann portriat

Sepia photograph on grey board of Cohn Bros Cricket Club. Perhaps employees of Cohns, dressed in suits, shirts, ties and pants. Some seated. Some on platform at rear, cricket pads on one male, one holding bats, another a ball. Inscriptions: on front - hand written at top in ball point pen 'Cohn Bros Cricket Club'. At top R corner 'GP26'.On back - 'Royal Historical society of Victoria, Bendigo Branch' circular stamp. Written in ink - 'Back row: Dave Guerin, Tom McCormick, W Nielsen, Squimpy Mead, Jack Davini', Middle row: Jack Burns, Jack Kirby, Jack Jordan, Mick Meehan, Pompey Franks, Jack Marshall, Toucher Leahey, Flook Kilby. Front row' Tom Dillon, Dehli Nielsen, Ned Carter, Huey Gratz, Bert Newell', 'Andy Ferrari' (all in pencil with blue ink over). History: Previous Acc. No. 'GP 26'.recreations, sports, cricket, bendigo, sport, entertainment, male, portrait, cohn brothers, clubs, clubs and associations, business

The owner of the uniform jacket is unknown at present. This appears to be a set made up for display. Service Medal ribbons on uniform are; 1. British War Medal 2. WW1 Victory Medal (faded) with MID leaf 3. Possibly Colonial Auxillary Forces decoration 1901-1938 (Green) or Colonial Auxillary Forces - Long Service 1901-1937 (Green). 4. Efficiency Decoration 1930- onwards (faded).. 1. Khaki jacket - old pattern. Four front pockets - held shut with dark copper buttons. Rising Sun Collar Badges. Lt. Colonel metal rank badges on epaulettes. the jacket has plain khaki lining. But has striped lining in the arms. It has a ribbon bar showing four medals and i M.I.D. leaf. The arms have a circular red/black colour patch, 3.3 cm diameter. 2. Khaki trousers - Two side pockets, one hip pocket. 3. Sam Browne belt - tan leather. Brass fittings includes sword holder. 4. Scabbard, tan leather with a silver top. Suits a sword. 5. Hat - peaked, khaki with dark Rising Sun Badge. 6. Belt - khaki woollen with dark copper buckle. Inside belt are light brown buttons. 7. Tie - Khaki woollen. 8. Shirt, Khaki, cotton polyester with Sgts stripes.officers uniform, accoutrements, passchendaele barracks trust

Service Ribbons are: British War medal 1939 - 45 annd Australian Service Medal. Belonged to Lt. Col. E.P. Seymour. One of the CO's of 38 Bn.1. Jacket - woollen, black. Lt Col Rank Badges, gold, on epaulettes. Rising Sun badges on collars. Aust Commonwealth Military Forces. Four pockets. Four gold centre buttons. Top two pockets held shut with a gold button. 2. Trousers, woollen, black with red vertical stripe on sides. Pockets - 1 coin, 2 hip, 1 rear. Fly held shut four black buttons. 3. Shirt (ex) white short sleeved. 1 button missing. E... its cotton pocket. 4. Belt, Woollen black. Brass buckle. Two mini straps on inside of belt. 5. Tie, black, cotton. 6. Ribbon bar WW2 (2 medals). 7. Hat peaked black. Formal wear. Gold braid on brim. Red band and red piping. Rising Sun Badge. Aust Comm Military Forces.On trousers, written on two pockets is name: “Seymour” Hat has a ticket inside. “Lt. Col. E.P. Seymour”post ww2, passchendaele barracks trust, e.p. seymour

Series of Black & White Photos Total 5 of the Hill Family & Friends during leisure in 1922. Mollie dressed on black with white blouse astride a horse & Hilda wearing a tartan skirt with a white blouse, at the Durvol Property Kyneton Victoria Australia September 1922. Four young ladies all wearing a dark colour dress with white blouse, two are wearing dark hats and two white, sitting on a metal ended wooden slat seat, Castlemaine 1922.Nora Nellie Jonah sitting on a rocky outcrop, two wearing dark clothing with white blouses on in lighter colour wearing hat with white bands on crown. At Inglewood November 8th 1922, Six males al dressed in dark suits with white shirts and dark ties, also six ladies one in coloured dress others all in white one wearing a tartan like pattern skirt, one lady has dark hat another light coloured. Enjoying the Reservoir Inglewood 1922.Hilda Hill Perrsonal Collectionaustralia, history, post war life

Framed portrait of John Wicking who was President of the Association for the Blind 1973-1984 as well as a generous benefactor. It is part of a series of paintings commissioned by the AFB Board to commemorate the work of past presidents of the organisation. Mr Wicking wears a navy suit, white shirt and navy blue Kiwi tie. John Wicking served as President of Vision Australia from 1973 to 1984 and as Vice President in 1990. He was Managing Director and Chairman of Kiwi International when he was introduced to the Committee in 1971. With a natural air of authority, he was known to be both strong and wise. One of the first hurdles Mr Wicking faced following his election as President in 1973 was understanding the health service system and sorting out the differing views of committee members over recommendations for projects costing hundreds of thousands of dollars with no funds to implement them. The ten years of his Presidency were a time of exceptional growth and expansion. He was instrumental in acquiring an adjacent property to those already owned in Glenferrie Road in 1974 at a cost of $120,000, on which the Low Vision Clinic was erected – the first of its type in Australia. Land was also bought in both the metropolitan and country areas for future expansion. Day care centres were opened in Ballarat and Bendigo and new metropolitan services commenced. Mr Wicking formed a committee to explore the possibility of a radio station people unable to read standard print. As a result 3RPH commenced broadcasting in 1981. Mr Wicking was also involved in the incorporation of Vision Australia under the Companies Act in 1990. After his retirement as President Mr. Wicking continued as a committee member until 1994. In 1995 he was instrumental in the establishment of the Tilly Aston Heritage Collection, on which he served as Chairman until sadly passing away in 2002. 1 art original in old gold frameThe plaque at the base of the painting reads 'Mr John O. Wicking AM / President 1973-1984 / Association for the Blind'. association for the blind, vision australia, john wicking

Mt Beauty High School commenced in 1953 as a Higher Elementary school as the need for a secondary college grew with the increase in population due to the Kiewa Hydro Electric Scheme. It became the Mt Beauty High School in 1964.Historical: Education in Mt Beauty commenced relatively late so there was less of a tradition. The decision to adopt a uniform is of interest to compare it with other schools and the times.Girls winter school uniform consisting of - Blazer x4 See KVHS 0019 Dark green blazer made from pure wool flannel. It has 3 pockets - 2 lower ones on each side and on the left pocket at chest height is the cloth badge 'Mt Beauty' at the top, colored scene of mountains and river in the middle and 'High School' at the bottom.... Shirt - x2 White long sleeved blouse with collar, buttons down the front and one button on each sleeve. Tie - 124 cm long with pointy ends and with a diagonal yellow stripe 0.5 cm wide on green 2.5 cm apart. Label: "Tee Dee" Made in Australia 90% wool 10% nylon Tunic - Grey pleated tunic (3 pleats on both the front and back) with a zip pocket on the right from the waist 14 cm long Also a 3.5 cm wide grey belt with grey plastic buckle and Label on centre back at neck: "Stamina / clothes/ Tailored by / Expert Craftsmen / Crusador Cloth" Size 46 uniform, mt beauty high school, school uniform

Sister Gibbs is liaising with Dr. Gibbs to discuss his patients who are attended by RDNS.Liaison had occurred between doctors and the Trained nurses of the Melbourne District Nursing Society (MDNS), from its inception in 1885. This increased when Midwifery was introduced in August 1893 with close liaising with the Women’s Hospital. As District nursing grew it was recognized that closer liaising between many Public Hospitals would be beneficial, for not only the MDNS, later called Royal District Nursing Service (RDNS), Sisters, but also for the patients and the hospitals. In August 1964 a Liaison Officer commenced at the Alfred Hospital. This soon increased to Liaison Officers working full time at several Public Hospitals. At the time of a patient’s discharge, the Liaison Sister forwarded information on their diagnosis and instructions regarding the care required at home to the appropriate RDNS Centre, and in turn the attending District Sister wrote a report of progress and any queries to the hospital doctor, via the Liaison sister, at the time the patient was attending outpatients. Any new instructions were then sent back to the District sister. Liaising also occurred between District field staff and Doctors when patients were referred by General Practitioners and did not attend a hospital.On the left of this black and white photograph is Sister Melanie Gibbs of the Royal District Nursing Service (RDNS). To her right is Dr. L.B. Witts who is wearing glasses; has short dark hair and is wearing a grey suit, white shirt and dark tie; he has a stethoscope around his neck with the end on his lap. He is sitting 'side on' at the end of a low cabinet with three drawers seen.and is turned toward Sister Gibbs. His right arm and hand are resting on an open book on the top of the cabinet. Sr. Gibbs, who has dark curled hair, is wearing her grey RDNS uniform coat with the RDNS insignia on the upper sleeve, and peaked hat. She is seated 'side on' in the photograph facing Dr. Witts. Her dark leather rectangular shaped case, with RDNS written in the top third, is resting on Dr. Witts' low cabinet. On the left in the background sit a set of four light grey metal drawers above a set of dark drawers and part of an open Venetian blind over a window is to the right.Photographer's Stamp. Quote No. HN 47melbourne district nursing society, mdns, royal district nursing service, rdns, patient care, rdns liaison, sister melanie gibbs, dr l.b. witts

Hilda Hill Collection. Black and White Photos Total of 7 in subset, 3 containing images of Victorian Coastline in particular Pt Lonsdale and Queenscliff in 1921. Another has a family group on a property owned in Kyneton Victoria known as 'Durvol' in October 1920. Ken wearing a grey suit and sitting on a large stone in the garden stargazing, to his left is a short section of a picket fence and ornate corner post, large trees in the background. Four ladies standing on the rock as the seaside, Doreen, Nora, Lila, and Rita, all dressed in white, the second and third are carrying darker coloured coats on their arms, Queenscliff 1921.Leonie dressed in white and holding a black hat with both hands, background shows trellis and weather boards, left foreground may be heap of cut wood. Frank is sitting on steps dressed in white shirt, dark waistcoat, and dark trousers, background is brick wall and handrail attached to the steps. Four ladies in four wheel tourist coach owned by J. L. Priddle, the two at the front are both wearing white, lady to the left also is wearing a dark coat and scarf, the ladies at the rear are both wearing dark tops and the lady on the outer is wearing a white dress. The background appears to be covered on shrubbery. Four ladies sitting on the rocks at Queenscliff February 1921, Three of the ladies are dressed in white, one in a darker colour, all are wearing hats of similar design either black or white. Pone man dressed in a black suit with a white shirt and black tie, the three ladies are all wearing white blouses and darker dresses, the child at the front is dressed entirely in white, Merry??? Durvol October 1920.Hilda Hill Persdonal Collectionaustralia, history, port londsdale & queenscliff, hilda hill ? realted to frank a hill, stock and station agent and hill family real estate. family owned property out at eppalock. could this be where 'the ranch' property was located?

Framed portrait of Thomas Marks who was President of the Association for the Advancement of the Blind 1900, 1935-1937. It is part of a series of paintings commissioned by the VAF Board to commemorate the work of past presidents of the organisation. Mr Marks sits at a table, wearing black tails and pants, a white pleated dinner shirt and black evening dress bow-tie. One hand rests next to a cup and saucer, the other rests on his lap. Tom Marks was educated at the Royal Victorian Institute for the Blind. He was a founding member of the Association for the Advancement of the Blind (now Vision Australia) at its establishment in 1895. He went on to serve as President of organisation in 1900 and was later appointed as a part time paid secretary – an office he occupied from 1904 to 1927. He again served as President from 1935 to 1937 during which time he celebrated his 80th birthday. As the living conditions of many blind people were deplorable at this time – they were often confined to a room or shed without any social contacts – it was realized that support for blind persons was needed to serve as a refuge for the oppressed, a home for the indigent, a rest home for the sick and a convalescent home to provide both respite care and permanent accommodation. Mr Marks had a reputiation of having good contacts and being able to use people with more knowledge than himself. An able musician, Tom Marks was often employed in the homes of wealthy families. As a result he met Mr and Mrs Grimwade who were already supporters of Vision Australia. They organized a gymkhana to raise money for the nucleus of a building fund. From this time Tom Marks was involved in the finances of the centres at Brighton, Ballarat and Bendigo, which were the ultimate result of the fund. He was also part of a team that negotiated the financial agreement between the RVIB and Vision Australia over fund raising and the allocation of money, which lasted from 1930 to 1939. 1 art original in gold frameThe plaque at the base of the painting reads 'Mr Thomas Marks / President 1900, 1935-1937/ Association for Advancement of the Blind'. association for the advancement of the blind, thomas marks

Framed portrait of George Maxwell who was President of the Association for the Advancement of the Blind 1920-1935. It is part of a series of paintings commissioned by the AFB Board to commemorate the work of past presidents of the organisation. Mr Maxwell is turned slightly away from the viewer, and wears a blue suit, white high collared shirt and a blue tie. George Maxwell was President of Vision Australia from 1920 to 1935. After an early teaching career he studied law, was admitted to the Bar and became one of Victoria’s great criminal lawyers and later a Federal Member of Parliament. He took an interest the welfare of blind people from his student days. A detached retina in 1920 led to total blindness nine years later, which gave him a great empathy for those with a similar affliction. Through his contacts he was also instrumental in obtaining the first voting rights for blind Australians. Up until 1902 blind people were unable to vote if they couldn’t write with a pen. George Maxwell was working at that time at the legal firm of Strongman and Crouch one of the partners, Mr. Crouch, was elected as a member of Parliament. When the Commonwealth Electoral Bill was being drafted, Mr. Crouch has a clause added enabling blind people to vote in Federal elections, constituting a world first. But perhaps his greatest achievement was obtaining the pension for legally blind people. Until 1910 only those who met the age and means test criteria were eligible. With the help of his legal and political friends a bill was passed which granted the pension to all persons over 16 years of age who were unable to work due to physical disability or blindness. Until this time these people had to be supported by their families or go to a benevolent institution. This was a world first and gave to blind and vision impaired people a measure of independence which increased both their self reliance and self esteem. 1 art original in gold/brown frameThe plaque at the base of the painting reads 'Honourable George A Maxwell Q.C. / President 1920-1935 / Association for Advancement of the Blind'.association for the advancement of the blind, george maxwell

Series of Black & White Photos of Hill Family and Friends during the war and post war life. Total 8 Photos. Welcome Parade General Pa n Bendigo October 21, 1918, tram wiring post in street, large two storey building in the background named Stanley's Coffee palace at corner of Mitchell and Mollison streets, Large crowd on roadway, Covered wagon among crowd with Good Shepherd laundry written on the side, foreground shows General Pau being driven through the crowd, General Pan is wearing a Napoleon style hat. Doreen dressed in a light coloured dress with white collar standing before a hedge, at rear is part of a corrugated iron roof gable, S.H.L.C. 27 September 1918. Group of four ladies three dressed in white and other a darker colour all seated on the ground, distant background a row of trees along a fence line, tea time Hibernian picnic Axedale 13 November 1918. Three women and young boy all seated on the ground, the ladies are all in white and two wearing white hats, young boy is dressed in suit with white shirt and dark tie and his right hand is pointing to his open mouth, to their right is a wooden structure and distant background more people can be seen, dinner time Hibernian picnic Axedale 13 November 1918. Overdeveloped photo of two young men standing between two shrubs and in front of a full length external window blind, 'The Ranche' February 1918. Group of four males dressed in dark coats and grey trouser at the snow Mt. Buffalo July 1923. Baby Irene clothed in white with bonnet seated in an English style pram with large wheels, picket fence and shrubbery in background, may 1918. Gert dressed in white shirt dark cardigan and dark skirt standing in front of hedged garden and trees, a small part of a roof can be seen between the trees, Railway Reserve 1918.Hilda Hill Personal Collectionaustralia, history, post war life

Sunshine West High School started in 1960 with classes held in the old church and the church hall of St Mark's Anglican Church, Sunshine, Victoria, 3020. The school transferred to Lachlan Road, West Sunshine when the new building was completed. In 1961 the proportion of students from European background was almost 52% and those of British-Australian almost 48%. By 1965 the number of students totalled 699, with 28 of them being the first to do the Form 6 (Year 12) Matriculation exam. By 1969 the number of students had increased to the point that some classes were held in shelter sheds. In 1992 the multi campus Sunshine College was formed through the amalgamation and restructure of six schools: Sunshine West High School, Sunshine Technical School, Ardeer High School, North Sunshine Technical School, Sunshine High School, and Tottenham Technical School. The last two school sites were closed and are now occupied by Victoria University and the Tottenham English Language Centre respectively. Sunshine West High School became the junior West Campus of Sunshine College. The style of school uniform displayed here is not used by the Sunshine College. The girls had two sets of uniforms, one for the summer and one for the winter. The frock and blazer (as displayed) were for the summer but a grey straw hat, grey socks, and black shoes were also part of the compulsory uniform. The displayed grey v-necked jumper could be worn in both summer and winter. The winter outfit consisted of a blue shirt, a tie (as displayed), a grey box pleated tunic, blazer, grey stockings, black shoes, a blue felt hat and grey gloves. Of particular interest is that the boys did not have to wear the feminine looking style of grey jumper with the pink and blue stripes. They wore a dark blue jumper. There was a 'uniform inspection' carried out after the Monday morning assembly and the Prefects had the task of policing students to make sure that they wore the full complement of items, both to and from school. The 3 badges indicate that the female student was a member of the School Council, which had replaced the Prefects around 1969 or 1970, and she was also Captain of one of the 4 Sports Houses and of her Form. Sources of information: (1) http://www.sunshine.vic.edu.au/history.htm (accessed 4/11/2015). (2) Book - 'Harvester City' by Olwen Ford (page 412). (3) Discussions with two former students.Sunshine West High School played a significant part in the secondary education of local children, however the school had a relatively short life span in its own right during the latter part of the twentieth century. The items of girls school uniform, the school insignia, and the 3 metal badges serve as a historical reminder of the previous existence of the school, and of the colours and designs of these items.Four items of girls school uniform plus 3 metal badges: (1) Dark blue blazer with school insignia on the left breast pocket. (2) Blue and white striped frock. (3) Light grey v-necked jumper with dark blue, light blue, and pink stripes around the neck and the cuffs. (4) Dark blue tie with light blue and pink diagonal stripes. The 3 badges are School Captain, House Captain, and Form Captain.Insignia on blazer - SWHS / COURAGE AND WISDOMsunshine west high school, girls school uniform, carland, blazer, frock, school jumper, swhs, courage and wisdom, junior campus, west campus, sunshine college, 1960, 1991

The Red Ribbon Movement of 1853 represented a significant series of events in the history of Bendigo. During that year there was much agitation on the Bendigo gold fields, particularly during July and August of 1853, directed against the payment of what the miners called a tax - a licence fee of thirty shillings ($3) a month for the right to search for gold on what was declared Crown land. They had to pay the licence whether they found gold or not. The miners, or diggers as they were called, also resented the means used by the authorities at the time to collect the gold licence - through so-called 'digger hunts'. The miners were expected to carry their licences with them, and the police, who were often untrained, used harsh methods to check these licences. In Bendigo, the miners took to wearing a red ribbon ‘as a symbol of their protest against the licence. Red was a very common colour in items such as shirts, so was readily available. Shopkeepers too tied red ribbons to their premises as a sign of support for the miners. It should be remembered at that time virtually everyone was a miner. The diggers also had their own banner, designed by William Dexter, a china painter from Devon. This flag showed the pick, shovel and cradle representing labour, the scales representing justice, the Roman bundle of sticks meaning unity and the kangaroo and emu of Australia Many thousands of Bendigo miners signed a petition to La Trobe, the Governor of Victoria, protesting against the licence fee. When the Governor rejected the petition, thousands of diggers marched in peaceful protest. Miners from White Hills, Eaglehawk, Golden Square, Kangaroo Flat as well as from Bendigo Flat, converged on what is now Pall Mall and View Point, surrounding the ~government camp on Camp Hill. The camp had been reinforced with soldiers of the 40 Regiment, as the Government feared bloodshed. The miners then gathered on the hill behind View Point to hear from their leaders - among them George Thomson, Captain Harrison, Captain Brown and W.D.C. Denovan. They resolved to pay a token fee often shillings ($1) for the September licence, whenthey met with Commissioners Panton and Wright on Camp Hill. Although Wright and Panton were sympathetic to the miners, the offer was rejected, but no licence fees were collected for September. Thus a possible bloody conflict was averted by the common sense shown by the miners' leaders and the commissioners. It was a truly democratic protest against arbitrary government and preceded the Eureka Stockade Incident by over a year. Bendigo Historical Society Committee on a Tram, two photos, one of five people standing behind a display cabinet, and the second one a Banner stretched across the tram. On the rear of the photo is "L-R Jim Evans, Terry Davidson, Ron Monro." Second from left is Jim Evans (President) and fourth from the left is Terry Davidson, with extreme right, Ron Munro (Vice President). In the cabinet is the 1853 Bendigo Goldfields Petition (Red Ribbon Rebellion) The society holds the petition in digital form. The diggers had their own banner, designed by William Dexter, a china painter from Devon. This flag showed the pick, shovel and cradle representing labour, the scales representing justice, the Roman bundle of sticks meaning unity and the kangaroo and emu of Australia history, bendigo, tram, 1853 bendigo goldfields petition, red ribbon rebellions