Badge received by Dorothy Kiely in 2012 on the 70th anniversary of the Australian Women's Land Army. The Australian Women’s Land Army (AWLA) was formed during the Second World War to combat rising labour shortages in the farming sector. From December 1941, when Japan entered the war, the nation’s need to build up its armed forces was placed above the needs of other industries. Agricultural labour was steadily diverted to the armed services and war industry To meet the shortfall in rural labour, State and private women’s land organisations were organised, modelled on those established in Great Britain during the First and Second World Wars. A national body was formed on 27 July 1942 under the jurisdiction of the Director General of Manpower. While policy was devised by the Commonwealth Government, the organisation of the AWLA remained State-based. An extensive recruiting campaign was undertaken for new members. Most members of the existing land armies were later incorporated into the AWLA as well. Black box containing gold star shaped badge with red crown above Australian coat of arms Badge:-Australian Women's Land Army 70th Anniversary 2012 Box:- top in gold lettering 70th Anniversary of the Australian Women's Land Armyawla, ww2, dorothy kiely

From around circa 1850 Braybrook was already well established and became a staging point for prospectors on their way to the diggings. Local government for this rural area to the west of Melbourne came when the BRAYBROOK ROAD DISTRICT was proclaimed on 28 May 1860. This authority was superseded on 23 January 1871 with the formation of the SHIRE OF BRAYBROOK. The Shire of Braybrook existed for about 80 years during which time it experienced significant industrial growth. The Shire of Braybrook ceased to exist in 1951 when the CITY OF SUNSHINE was formed.The Coat of Arms informs the observer that the Shire of Braybrook was initially a rural area with its images of a cow, sheep, and hay. The reference to industry however probably does not indicate adequately the large growth in industrial activity that occurred within the Shire. Circular board of Masonite painted by A. H. Walker which is a true depiction of the Coat of Arms for the Shire of Braybrook. It is mainly blue, yellow and red coloured with black writing, and has images of a cow, sheep, and hay, and also indicates a reference to industry.Shire of Braybrook Victoria / Dieu Et Mon Droit / By Industry / A. H. Walkercoat of arms, shire of braybrook, a. h. walker, plaque, sunshine

Shoe-making began in Australia among the penal colonies in 1790 who crafted shoes from imported leather. The first Australian-made shoes were expensive and many people were sent back to England for their shoes until the 1830s. However, in the years after Australian shoe-making became more accessible and affordable. Toward the end of the 19th Century, many wealthy women became obsessed with the latest fashions for both themselves and their children. Shoe-making became a profitable business for several leading companies during the 20th Century, as the industry was seen as a successful and practical item that most Australians required.The baby shoe holds significance as it represents the craftsmanship of Australian leather shoe-making from the 20th Century. As the style of shoe is more modest and stylish, it can be assumed that it was the type of footwear used for the Church Sunday Service or for special occasions, with further gives insight into the social constructs of Chiltern, a rural town in Victoria, at that time.Black leather with wool pom pom attached with a metal stud. Leather sole is black and the inner of the shoe is cream. Discolouration on the bottom of the shoe due to dirt.chiltern, shoe, footwear, leather shoe, baby shoe, chiltern athenaeum

Shoe-making began in Australia among the penal colonies in 1790 who crafted shoes from imported leather. The first Australian-made shoes were expensive and many people were sent back to England for their shoes until the 1830s. However, in the years after Australian shoe-making became more accessible and affordable. Toward the end of the 19th Century, many wealthy women became obsessed with the latest fashions for both themselves and their children. Shoe-making became a profitable business for several leading companies during the 20th Century, as the industry was seen as a successful and practical item that most Australians required.The baby shoe holds significance as it represents the craftsmanship of Australian leather shoe-making from the 20th Century. As the style of shoe is more modest and stylish, it can be assumed that it was the type of footwear used for the Church Sunday Service or for special occasions, with further gives insight into the social constructs of Chiltern, a rural town in Victoria, at that time.Black leather shoe. Leather sole is black and the inner of the shoe is tan. Discolouration on the shoe due to dirt.chiltern, shoe, footwear, leather shoe, baby shoe, chiltern athenaeum

PART OF CORKOAK TREE FROM SMALL STAND OF CORKOAK TREE GROWING AT MT. BECKWORTHSPECIMEN OF PIECE OF CORKOAK TREElocal history, rural industries, timber

found amongst the tools at Kurth Kiln Part of wood harvesting machineryChisel shaped tool for a machine with a 3.5cm hole at one end. 3cm thick and 6cm wide at the thick end. Could be part of a slasher or hammermillrural industries

The first sculpture awarded the Shire of Eltham 'Art in Public Places' Award/Commission. The Judges were Inge King, Jenny Zimmer and Daryl Jackson. The work deals with the juxtaposition of suburban and rural surroundings. This scupture is a typical example of the artist's oevre of the period. This sculptre is site specific and refers to the nature of the environment. The colour - bushfire red / sienna - alludes to the history of fire in the urban/rural fringe and the title, as well as the sculpture's shapes, forms and material refer to the natural and local elements. Judges report noted: "The most vital and expressive work for the site...with a great sense of dynamic movement and vibrant colour. Its' abstract forms will enliven the surroundings and the urban and natural environment. This work is the most appropriate for the site and expressive of the dynamics of an evolving community in which artistic discourse and debate has always thrived." The work has acquired the status of a major landmark from the National Trust. The Breeze is an abstract work made out of welded steel and painted in enamel in bush fire red / sienna. It comprises a series of flat, cut-out shapes, interlocking at different angles, giving the impression of being hinged together rather than fixed. The work references nature and the built environment. Its geometric shapes suggest man-made structures within industry and suburban life, while rural areas can be identified by the organic flame-like shapes fanned by the wind. The circular cut-out in the eye mimics the sun, symbolising the intense heat of the Australian climate, while the colour red alludes to the history of bushfire within the urban and rural fringe. N/Apublic art, ginger, red, sienna, elements, steel, abstract, breeze, fire, sculpture

Design of quilt is based on grade 1 and 2 primary school drawings collected by the artist, Deborah De Williams, from schools including Birregurra, Newcomb, Lara, Inverleigh, Winchelsea and Bannockburn, relating to urban and rural communities and their relationship to the wool industry. Project was funded by a grant from the Australian Councils Regional Arts Fund.tapestry wool industry textile, tapestry, wool industry, textile

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

Part of dinner set owned by Donor's grandmother Martha Edwards, 42 Husband Road, Forest Hill.Founded in 1851 under the name Hulme & Booth and it was not until 1877 that the name was changed to Burgess & Leigh. Until 1999 Burgess & Leigh was still being run by the family.|In August 1999 the factory was rescued from receivers by R&W Darling and the name changed to Burgess, Darling & Leigh.|As the business grew it was moved to a new factory in the rural district of Burslem. As with all industries, potteries have seen great changes and Burslem & Leigh adapted and modernised.|The business continues to this date. See supplementary file for more information.Cream crockery dish with lid. The dish and lid have a gold rim edging and black key patten and brown floral band on the dish and lid. The dish has scalloped edge handles with gold trim and the lid has a handle with gold trim.Burleigh Ware, Brugess & Leigh, Burslem, Englanddomestic items, crockery

The 1924 building of the Glenormiston Butter and Cheese Factory Company Limited is one of the more intact butter factories in the state. This building, together with the 1936 addition, stand free on the site and make up the total complex. Architecturally interesting, Glenormiston gains visual importance from the bi-chromatic banded chimney, one of the best diary industrial chimneys in the state, and the elegant design and detailing of the complex which indicated the added importance placed on the industry in the western district over and above mere commercial concerns. The factory is noted for its aesthetic impact gained by being situated outside the township in a clear rural situation at the foot of Mount Noorat. The Glenormiston/Trufood connection is technologically significant for its innovative role in establishing the dried skim milk powder industry, once a site of high tourist importance. Historically the well known Black family, Western District pioneers and large land holders, played an important role in establishing both Glenormiston and Trufood and the family connections operated to maintain the unusual trading links between the two.(http://vhd.heritagecouncil.vic.gov.au/places/69388/download-report, accessed 31 January 2017) In 2015 the building was neglected and in a ruinous condition. A number of colour digital images of the Glenormiston Butter & Cheese Factory Company.glenormiston butter & cheese factory company, glenormiston, factory, dairy

The Melbourne and Metropolitan Board of Works (now Melbourne Water) was established in 1891. From that time, as part of their work laying water and sewerage connections, they created detailed plans of houses and other buildings in the Melbourne metropolitan area. In 1956 it acquired powers to construct and maintain highways and bridges, protect and improve the foreshores and create and maintain parks within the metropolitan region. This Interim development order comprises part of the municipalities of Brighton, Moorabbin and Sandringham and was made on 20 October 1959.brighton, moorabbin, sandringham, melbourne and metropolitan board of works, map, town planning, cartographic material, interim development order, bayside

8 pages, illustrated.

24 pages.

66 pages.