Sad-irons or "solid" irons were made by blacksmiths and used to smooth out material by pressing the hot iron over it. A piece of sheet -iron was placed over the kitchen fire and the irons placed on it could be heated whilst remaining clean of ash.. The women used 2 irons - one heating while the other was used. Thick cloth or gloves protected their hands from the hot irons. The handle was removed from the cool iron and re- attached to remove the hot iron from the fire. The cool iron was replaced on the fire or stove to heat again. These irons were cleaned with steel wool to prevent them marking the material. If the iron was too hot the material would scorch. Most homes set aside one day for ironing and some large households had an ironing room with a special stove designed to heat irons. However, most women had to work with a heavy, hot iron close to the fireplace even in summer.The Curtis family were early settlers in Moorabbin Shire c1880 and used sad ironsA small, curved, flat iron, with attached handle, used for cuffs, collars and frillsSILVESTER'S/ PATENT/ SALTERS / No 3 with the pretzel & a arrow going through the centresad iron, kitchen equipment, pioneers, early settlers, market gardeners, sewing, craftwork, clothing, moorabbin, brighton, bentleigh, fireplaces, stoves

Churchill Island Heritage Farm has a large photographic collection dating from the nineteenth century. This series of photographs was probably taken at a Farm in Kyneton and shows a similar historic farm to Churchill IslandPhotograph of a display of horse tack and equipment including bridles and collars in a wooden barnCatalogue number written on reverse in pencil.churchill island, photograph, kyneton

Black and White Tin Photograph of a Woman wearing a dress with lacy collar and a hat,person, individual, portrait, tin back photograph, woman's portrait

Photo of Nic Cua who was, after the formation of the Tatura Historical Society, the first former internee to return from the U.K. to visit the Camp 2 site. Now deceased.Head and shoulders sepia photo of man with collar and tie, neatly combed hair.On back of photo- Nicola Cua; 6 Shirley Heights; Shirley Road; Wallington. SMG 9QD Surrey. 01 647 2719.camp 2, italian internee, "dunera", "arandora star", photography, photograph, slides, film

Head and shoulders of unknown man wearing a gown over a suit and collar and tie."15"glen iris presbyterian church

Wood block with photographic plate. Head and shoulders of unknown man in a collar and tie.glen iris presbyterian church

B. 1860 Victoria; d. 1948 Burwood Victoria. Methodist minister, ordained 1886. Served at Dromana 1886; Poowong 1887; Wodonga 1888; Preston 1889; Donald 1890; Casterton & Coleraine 1893; Wangaratta 1895; Euroa 1898; Pyramid Hill 1901; Forth 1904; Latrobe 1908; Avoca 1911; Beeac 1914; Kilmore 1917; Frankston 1920; Mordialloc 1923; Superintendent Gardiner 1926. (No further records.).Photo of a young man with long sideburns and moustache, wearing a clerical collar and suit."Rev. Charles Angwin"angwin, charles

Sailor painted white with blue collar and pink face and hands. White cap.toys, general

Cream silk lace collar with silk cord and two tassels at one endcostume accessories, collar accessories

Collar formed entirely of white and clear beading. Large loops at bottom edging.costume accessories, collar accessories

Large cream lace collar with 16 large flower medallions at lower face.costume accessories, collar accessories

Cream fine mesh collar with four long points. Cream silk embroidery.costume accessories, collar accessories

White Lawn Collar with three wide pieces. White flower embroidered on points.costume accessories, collar accessories

From the McNamara Collection- Child's nylon collar with points & front tie - Edged in lace - Cream colourNilchild's clothing, collar, lace, mcnamara, tyack

Afrika Korps enlisted man's collar tab.Mouse grey with three tan stripes.

Fashion accessoryTape lace collar. Machine made tapes with needle made filling stitches.

From the McNamara collectionDusty pink dickie collar with ruffles edged with lace and small bow on front.collar, mcnamara heather, dickie front

Part of McNamara collection- False peaked collar - Cream pique cotton - Shell buttons - Press studsclothing, false front, dickie front, blouse front

The 17th Australian Light Horse was raised in 1912 in central Victoria. It took its territorial title from the Prince of Wales Victorian Volunteer Light Horse (Hussars) formed in 1863 following a reorganisation of units of the Mounted Volunteer Corps.Collar badge of the 17th Light Horse (Prince of Wales Light Horse) Regiment. light horse, victoria, prince of wales

The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories. This dress is one of a number of items donated to the Fashion Collection by Dione McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Grey flannel wool dress with a wide collar and elbow length squared sleeveswomen's clothing, australian fashion - 1960s, mcintyre collection, dresses

Studs for Collar or Cuffs. One all bone the other has a metal Corestawell

Colour photograph of a Matcham Skipper sculpture of the head of a man with shirt collar and tie. Printed on reverse: 9821308 5 © Sandy Kilpatrick sandy kilpatrick, photograph, matcham skipper, sculpture, male head

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

This silk nightdress was made by Mabel Church in the 1920s. Mabel undertook a dress making and tailoring apprenticeship at Whan's Store in High Street, Wodonga. This item has well documented provenance and a known owner. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history and social history.A mid-length silk nightdress with pink hand stitched embroidery on collar and sleeves.silk, dress making, dress, tailor, apprencticeship, nightdress, 1920s, wodonga, whan's store, albury wodonga

Donated by Rob Innes- belonged to his mother, Miriam Effie Ines nee Drury.(B 1895) Could also have belonged to her mother. B 1856.Square lace collar made of cream torchon lace with flowerlike patterns. Handmade.costume accessories, collar accessories

Part of S E Surman collection (album) page 34 lower left.Sepia portrait of an older bearded man wearing suit jacket collar and tie.thomas rowe, surman collection

Part of Old Lintonian collection No. 117.Black and white postcard portrait of a man with moustache, wearing a suit, collar and tie."Post Card 1 doz as photo". "Walter Nicholls".walter nicholls, old lintonian collection