Otto Lilienthal (1848-1896) from Berlin, Germany, is widely credited as being the first person to make repeated successful gliding flights. He was known for adopting a thorough scientific approach founded on observations of the flight of birds in relation to the problem of inventing a man carrying heavier than air machine that would fly. He developed and tested bird-like gliders controlled by weight shift by the pilot (a similar method to modern hang gliders). The pilot held on to the glider with his forearms resting in hoops mounted on the main structural beam connecting the wings. The weight shift was achieved by the pilot swinging his trunk and legs. In contrast, the pilot of a modern hang glider is suspended below the glider and, with the use of an A-frame, allows the whole body to be moved around to achieve control. The Lilienthal design apparently had a tendency to pitch down and a tailplane was added to mitigate this problem. Lilienthal flew from hills in the Rhinow region and from a conical hill he built near Berlin. He made over 2000 flights. Importantly, for others seeking to progress manned flight at the time and also for the historical record, reports of Lilienthal’s flights (some with photographs) were published and Lilienthal detailed his experiences and corresponded with other flight pioneers. Lilienthal’s work became well known and influenced Orville and Wilbur Wright in their initial experiments with gliders in 1899 (although in their quest to design and fly an aeroplane they relied on new data created by wind tunnel testing). The replica built by Bruce Hearn is of the 1893 Lilienthal glider. It is very similar to the “Normal-Segalapparat” (Normal Glider) for which patent protection was later granted a few years later. The Lilienthal replica glider is an important addition to the AGM collection as it represents the beginning of successful gliding flight. Hang glider made of wood with wire bracing – yet to be covered with authentic cotton fabric. The glider has a small plate with identification details including name of builder (Bruce Hearn) glider, hang glider, lilienthal, hearn, replica

Yellow fabric banner, printed in black. On banner ' Primary 1267, Bendigo North School'.bendigo, education, bendigo north primary school

Unused piece of silk fabric (left-over from construction of a Basil Watson plane?)aviation, civilian, silk fabric

Fabric covered photo album, painted rural scene, spiral binding, hand paintedphoto album

Framed painting of armed soldiers on a hill with a display of red poppies below. Poppies are fabric.display of red poppies

The Councillor Minstrel symbol is a C and two crossed horns.A pair of royal blue stiffened fabric with chrome metal Councillor Minstrel symbol epaulets.methodist order of knights

These are reproductions of the cushions that were originally designed for the platform bed (item F007). In later years these were replaced by more colourful cushions (items F009 and F010).Three flat square cushions upholstered in the same fabric as the sofa in this room (item F004).walsh st furnishings, robin boyd

The Commander symbol is crossed gavels above a crown. These are symbolic of authority.Royal blue stiffened fabric epaulets with metal Methodist Order of Knights Commander symbolsmethodist order of knights

Wangaratta Art Gallery CollectionA handwoven textile sculpture made from red fabrics and threads shaped into a tubular shape.textile, liz williamson

The panels from the I Am Because We Are series are woven from cut-up donated socks. They were woven on a four-shaft floor loom with a cotton warp. The names of the donors have been typed onto polyester ribbons which have been woven in with the socks. It’s possible that the typewriter ink could fade if exposed for long periods to strong light, but the sock material should be fairly stable as they were almost exclusively commercially-produced socks. The wood of the frames has been painted with an acrylic paint, and covered with MDF boards. The fabric is stretched over the frames and secured with staples.Wangaratta Art Gallery Collection. Donated by Artist.A woven textile work using fabric in shades of black, grey, white, green, and orange.

Gloves belonged to the husband of the donor, a member of the Society.The gloves were worn with dinner suit on formal occasions during the 1950's.White cotton fabric, three pin tucks on back, silver press stud at wrist.costume accessories, male

The 7th Australian Light Horse (VMR) was raised from companies of the pre-federation Victorian Mounted Rifles mainly in the central area of Victoria and the Goulburn valley. In 1912 it was renumbered 15th Light Horse with the motto Pro Rege et Patria and retaining the territorial title Victorian Mounted Rifles. Following World War One the regiment was renumbered 20th Light Horse (VMR)Tqo lapel badges with red fabric backing of the 7th Light Horse Regiment (VMR).goulburn, vmr, 20th, light horse

Black with part covering of brown adhesive fabric. Small magnifying eye pieces missing. Original markings Colmont F1 Paris on each eye piece. Engraved No 2MK11 and IMI5075. Large lense end engraved 809 and square symbol with arrow pointing upwards.

The Fashion & Design collection of Kew Historical Society includes examples of women’s, men’s, children’s and infants' clothing from the 18th, 19th and 20th centuries. While the collection includes some examples of international fashion, most items were handmade or purchased in Melbourne.Cotton apron comprised of scalloped panels of plain green and white floral patterned fabric.clothing - women's, aprons, protective wear, fashion design, fashion -- 1950s

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

R.A.M.C. = Royal Army Medical Corps - British. Uniform issued to Captain McKenzie. refer Cat No. 7875.5 and 7876.2.1. Jacket - black and crimson colour wool velvet type fabric. Crimson colour fabric on collar and sleeve cuffs with gold braid edging. Mandarin collar with two gold and silver metal collar badges - crown, snake on pole, laurel wreath and ribbon scroll with lettering - "ROYAL ARMY MEDICAL CORPS" - British - Tailor made uniform. Shoulder epaulettes - gold colour twisted braid with two gold, blue and green metal rank pips = Lieutenant. on right epaulette. Gold colour metal buttons with shank, raised emblem and lettering - (same as collar badges). Lining - combination top gold colour, lower black colour silk fabric. Sleeve - white colour cotton fabric. At waist red leather lining strip. Brass colour metal belt hooks. Manufacturers label on white cotton fabric, inside on collar. 2. Trousers - stirrup pant style, black colour wool fabric, six button fly. Crimson colour, wool fabric. Three 1.5 cm strip down each side. Black colour bakelite buttons. White colour cotton fabric lining to waistband. At ankles - black leather straps with metal buckle. Manufacturers label on white cotton fabric label with black ink print and handwritten details - back, inside below waistband lining.1. & 2. Black ink print "HOLT & SON/ Military Tailors/ 20 Sackville Street, PICCADILLY, W". Handwritten black ink pen "T.F.C. McKENZIE/RAMC"uniform, ramc, british, ww1, service dress, mckenzie

Black fabric has a geometric type all-over silk embroidered pattern, woven into the fabric. Three panels of fabric make up the skirt, with a lower rounded panel at the hemline, to complete the circular skirt. Above the hemline, two bands 0f plain satin fabric, approximately three cms wide, are stitched in overlapping semi-circles, approximately six cms apart. Ends of these strips are cut to a point, and finished with a tiny black, glistening button. Waistline has a 2.5cm band, fastened with metal hook and eyes. Black fringed braid around hemline.costume, female, long black skirt with satin/button trim

Clothing. Infants white linen nightdress. Wide U shaped neckline with casing front and back threaded with cotton tape. Fabric tightly gathered around neckline and into casing around waistline. Back opening (23cm) fastened with cotton tape ties threaded through casings at neckline and waist.Decorative open lace across centre front (16cm X 3.3 cm) has pink fabric insert underneath. Fabric ties (69cm) attached to either side of lace band at waist. Short cap sleeves with fabric frill on edges.costume, children's, infants white linen nightdress

Accompanied fabric samples donation.Baruffa/ Zegna Baruffa- Lane Bergosesia/ VALLEMOSSO-ITALYtextile industry textile mills, zegna baruffa, textile industry, textile mills

The handkerchief was on display at Flagstaff Hill reception area from 2008-2105 as an example of fine needlework with a lace pattern typical of the early 1900's. During that era the house mistress would often carry two handkerchiefs, one for blowing her nose and one out on show, perhaps in an apron pocket.This handkerchief is an example of fine handmade needlework. It is also an example of women's fashion accessories in the late 19th and early 20th century.White starched silk handkerchief, square shape, very soft fabric edged with 5cm embroidered net lace. Net was embroidered as a strip then joined at corners. The design is backstitched then the lace has been joined to the fabric using blanket stitch. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, handkerchief, lace handkerchief, woman's handkerchief, women's accessory, silk handkerchief, fine handcraft, needlecraft, ladies' handkerchief, 1900s

This item was worn by Sarah Archer, born 9.11.1881, and her daughter Irene Jean Maiden, born 1.7.1923, She lived in Orbost all her life having been born at the oOld Orbost Hospital in Nicholson Street. Irene died aged 86. Until well into the 20th century, the corset was an essential element of fashionable dress. Corsets were worn by women (and much earlier by men) to enhance their figures and to hold their stockings in place. Although still sometimes used they were mainly used prior to the making of pantyhose approximately 1960. A corset made of heavy apricot / pink cotton fabric . It has back tape acing through metal eyelets, and slide hooks. It has suspender straps with clips attached to the bottom of the corset. The stays, possibly whalebone, are sewn vertically into the fabric.on label - in red ink - "Liberty Reg'd "6/2815 D" small below waist size 32" exactcostume-women corsetry clothing

Length of fabric. Royal motifs- Grenadier Guards; Three Lions; Golden Carriage; Beefeaters. Pattern printed onto fabric. Possibly a synthetic or silk mixture. Possibly produced to mark the Coronation of Queen Elizabeth 2. Old Box 85.

Patchwork Wagga Rug Item donated to Carol Holsworth at Specimen Cottage 2014 - 2018. No details taken of donor or ownership of the item. Item made of fabric remnants handstitched together. Includes hessian, cotton fabic and knitted woollen fabric.textiles, domestic, patchwork bed cover - wagga

Clothing. Pink nylon woman's singlet with shaped top at bustline. Ribbon shoulder straps(1cm). Top edge and hem trimmed with 2cm self stripe transparent pink nylon fabric. Singlet made of nylon fleece backed fabric.costume, female underwear, woman's pink nylon singlet

The puppets were made by German POW's in camp 13 and sent to internment camp 3 as gifts for the children at Christmas time.Hand painted green paper mache head. Teeth and inside of jaw painted red with red fabric lining at back of jaw. Black painted eyes. The body is of green fabric, hand stitched to leather which is tacked to the crocodiles head.hand puppets, internment camp hand crafts, pow puppets, sharon lohe, ww2 camp puppet theatre, crocodile puppet

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