Fabric samples produced by Aoki International, Japan and sent to Keith Jackson at Victorian Producers' Co-operative Limited.Fabric samples produced by Aoki International, Japan and sent to Keith Jackson at Victorian Producers' Co-operative Limited.Geoff, This is for Keith Jackson fron Aoki International (Vivo textil) Regards, Paul FINE WOOL 152 AOKI INTERNATIONA Vivo Textile Co. Ltd. C. Migutani Vivo Textileweaving textile design, aoki international limited, jackson, mr keith - victorian producers' co-operative limited, weaving, textile design

Sample of 60% wool blend "7544" upholstery fabric supplied by Macquarie Textiles from the Winter 1997 range.Sample of 60% wool blend "7544" upholstery fabric supplied by Macquarie Textiles from the Winter 1997 range.textiles - upholstery, macquarie textile group limited

This is an East German cap which presumably would have been worn by a German airman. It is a fairly recently made piece, dating to the 1980’s or 90’s.This cap has historic significance as a piece of East German airforce uniform. Itnis a fairly recently made piece, dating to approximately the 1980’s-90’s. It is also in excellent condition.A grey fabric peaked cap with fine blue trims and a black plastic head cover. There is a silver fabric rope looped around a silver metallic stud on either side if the cap. Attached to the front/centre of the cap is a metallic ornament depicting the east German logo in red and silver, surrounded by a silver wreath and wings. Above this is a silver metallic ornament depicting a propeller surrounded by two curved pieces of foliage. There is a faux leather strap on the interior and a square of lighter grey fabric stitched into the underside of the cap. This contains inscriptions. There is also a round yellow sticker on the interior side of the plastic head cover. This also contains an inscription.Inscriptions on the grey square of fabric on cap interior: NVA 55 1856 T Inscriptions on yellow sticker on cap interior: HA.05military, airforce, german, cap, hat, east german

Origins are unknown, however it may be possible that since the creator of this quilt has used larger than usual pieces of suiting material, they may have worked as or knew of a tailor for their fabrics.Quilt made of large strips of men's suiting fabric. Machine stitched. Red flannel backing.quilting history, patchwork history, running stitch group, running stitch collection, quilting - history, patchwork - history

Uniform issued to S/SGT "Brian Thompson". Years of service 1973 - 1993. 316221.1. Jacket - white colour polyester/cotton fabric, rolled collar jacket, shoulder epaulettes, top of sleeves, black colour rank badge with gold colour crown and three stripes = Staff Sergeant. Manufacturers label back below collar. 2. Trousers - black colour cotton/polyester fabric with fob pocket and two side pockets. Metal and nylon zipper fly. Red colour wool fabric twin 2 cm stripe down each side seam. Manufacturers label back below waistband. Black colour polyester fabric lining waistband and pockets. Black plastic button inside waistband. 3. Cummerbund - Red colour polyester fabric, broad waist sash with three pleats, metal hook and bracket buckle and hook and loop fastener to adjust lengthy. Black colour polyester fabric lining. Manufacturers label. 4. Bowtie - black colour polyester fabric, pre-tied bow tie with metal clasp. Manufacturers label. 5. Braces - set of white colour cotton elastic braces with metal clips to attach to trousers. Metal slide clips to adjust length and plastic strap joiner.Manufacturers information. 1. Jacket - black fabric label - TETOROM/ 65% POLYESTER/ 35% COTTON/ WIMBLEDON WEAR/ MELBOURNE". White fabric label "97R/ WARM MACHINE WASH/ D NOT BLEACH/ MACHINE TUMBLE DRY/ WARM. WARM IRON." 2. "A.G.C.F./ VICTORIA/ 1987/ ^/ ARMY NO/ NAME" 3. "POLYESTER/ DRY/ CLEAN/ (50c) ONLY" 4. POLYESTER/ DRY/CLEAN/ (50c) ONLY"uniform, army, mess dress, brian thompson

A capelet is a small cape, usually worn around a person's shoulders and often chosen to wear with an evening outfit. The design may include a hood, collar or even ruffles. Fabrics range from fur, leather, velvet and wool to shear silk and net. Trimmings include buttons, lace, ribbon, and tassels. A capelet was a fashionable garment from the late 19th to the early 20th centuries.Capelet with collar. White fur lined with white fabric. flagstaff hill, warrnambool, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, capelet, cape, evening wear, fur garment, fashion, edwardian, victorian, white fur

Greatcoat - Khaki colour woollen fabric with attached half belt. Inside pockets and lining to shoulders and sleeves - khaki colour with cotton fabric. Buttons Khaki plastic Double breasted. Maker's Label - Inside back below collar. On Maker's Label, Black ink print on cotton/polyester fabric "KINDRED MANUFACTURING/PTY LTD/QLD/D (Upwards Arrow) D/1983/???5-66-0? -1812/SIZE 100/TO FIT CHEST 100cm/NAME... SERVICE No....".uniform, australian army

Jane McGrath made this quilt 30 years ago from a tartan fabric sample book (c.1990). It was one of her first quilts. Jane was inspired to quilt by her mother Shirley Critchley. Jane recalls her mother being a very talented quilter, with one example being the “Unpicked Jumper Wagga” which can be found within the National Wool Museum’s Collection (REG 8283). Shirley taught Jane the basics in quilting and assisted her in preparing this quilt. The quilt is backed with material from disused woollen skirts. Jane could not recall what material was used for the internal insulating fabric. Jane donated the Tartan Fabric Sample Quilt to the National Wool Museum in 2021. The quilt had been languishing in her cupboard for many years and had found its way to the op-shop pile, as her children had no desire to inherit her quilts. The top layer of the quilt consists of five distinct rows of tartan samples appliqued together. The rows of tartan samples are broken with a boarder of white, grey, and brown fabric which runs in parallel lines. This fabric is also used to bind the quilt together at the edges. The internal insulating fabric of the quilt is not known. The backing fabric is a grey coloured wool originating from disused skirts. The Tartan samples contain stripes of varying width and colour. The samples have been arranged so that the stripes run diagonal on the quilt. Many different colours have been used. The predominant colours are red and black, with lessening amounts of blue, yellow, white, green, and grey featuring. quilts, tartan fabric samples, upcycle, shirley critchley/jane mcgrath collection

Also black and white photograph of Simply Fabric shop front 1 56 Church Street Lakes Entrance number 03760.1 size 6 x 7 cmBlack and white photograph of Lynne and Peter Marshall proprietors of Simply Fabric 1 56 Church Street Lakes Entrance Victoriabusinesses

Items in collection re David Dixon RAN R112262, refer Cat No 5215.5 for his service details. Four Baseball caps - with peak, navy blue cotton fabric. 2. With red peak and strap. 3. Corduroy cotton fabric.Embroidered gold thread, grey thread on illustrations. 1. "HMAS SYDNEY/VUNG TAU/FERRY" below red and gold emblem of an anchor. 2. "HMAS BRISBANE/DDG-41" with ship "DICKO" on back and "THE STEEL CAT" on back. 3. "HMAS SUCCESS/OR 304" with ship "DAVID" ON BACK. Handwritten inside "1997/LSMM DIXON/R112262" in black ink. 4. "HMAS YARRA/DE45" with ship on a fabric badge.uniform, headwear, navy

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Brigtly coloured pinfaore using a representative 1950s fabric with a design of kitchen items in different coloursprotective clothing, handmade clothing, costume accessories, lisa sylvan, pinafores, fashion design, women's clothing -- 1950s, fashion 1950s

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Pleated pink and white striped cotton apron interspersed with bands of a separate blue and white fabric.aprons, protective clothing, handmade clothing, costume accessories, lisa sylvan

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.8124.1 - The blouse is cream with an Australian floral design inspired by the work of artist Margaret Preston. The blouse has a scoop neck, cream buttons and small triangular cut outs on the sleeves. The shoulder seam runs to the points of the triangle and another across the back of the shoulders to create a rounded design. 8124.2 - Floral print fabric sample, this sample is cut in the shape of the front panel of the blouse but is unsewn. 8124.3 - Floral fabric sample. 8124.4 - Floral fabric sample. 8124.5 - Floral fabric sample.BARCELONA 19921992 barcelona olympics, sport, athletes, fashion, design, uniform

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Navy blue and white pinafore picked out with sections of plain blue fabric on the pocket, waist and bodice.Label: "Taniwha / Quality Will Tell"protective clothing, handmade clothing, costume accessories, lisa sylvan, pinafores, fashion design, women's clothing -- 1960s, fashion -- 1960s

Merchant navy Captain badge featuring gold anchor sitting on red cushion surrounded by gold ferns with gold crown. Badge is attached to black fabric band.written in white on back "120/97" Attached fabric "PWO 2676 Accompanying paper: "PWO 2676- Merchant Navy [120 97]/ Cap Badge/[ Donated by Ralph McDonnell]

Part of the "Wagga collection". Made from squares of patchwork suiting, machine stitched with red diamond and rectangle motifs at strategic positions. The diamonds look like they have been inserted in the fabric pieces where a dart has been cut and opened out.Quilt made of squares of patchwork suiting and fabric offcuts, machine stitched with red diamond and rectangle motifs at strategic positions.quilting history, patchwork history, running stitch group, running stitch collection, quilting - history, patchwork - history

White background, red cross, with button holes to attach.Red cross on fabric

One of a collection of fourteen items of protective wear and household textiles donated by Lisa Sylvan, a long-term resident of Kew, Five of the items are homemade aprons made and worn by her mother. Of the seven pinafores, three identical but differently sized pinafores were made in her parents' factory, while the other three are handmade. The handmade aprons and pinafores are representative samples of women's work, possibly from published patterns, using fabrics originally deigned for dresses. Typically, contrasting fabrics and colours were selected to provide visual interest. The donation also includes a hand embroidered linen supper cloth and a commercially produced 'birds of Australia' printed table cloth. Most of the collection derives from the 1950s.Although not uncommon, hand-made protective clothing in the form of aprons and pinafores often represents samples and styles of 'women's work' using remnant fabrics often designed for other purposes. While generally utilitarian, women found means of gracing these items by the use brightly coloured fabric or patterns, the positioning of pockets and the use of contrasting fabrics to provide visual interest.Handmade apron created out of a blue and white dress fabric that has a pattern of leaves. The apron is highlighted with red braid.aprons, protective clothing, handmade clothing, costume accessories, lisa sylvan, fashion design, women's clothing -- 1950s, fashion 1950s

A street by street survey of each of the proposed precincts was undertaken. For each precinct, building fabric was defined in terms of intactness, scale, construction type, architect and predominant eras of construction.A street by street survey of each of the proposed precincts was undertaken. For each precinct, building fabric was defined in terms of intactness, scale, construction type, architect and predominant eras of construction.cultural property, protection of historic sites, heritage overlay precincts, heritage review, building citations

These were found by former Port Melbourne social worker Beris CAMPBELL when clearing out old files. They were photographed by an unknown social work student in 1988 for a project "The Role of the Pub in the Social Fabric of Port Melbourne."One of a group of 20 photos of Port Melbourne hotels, taken by a student in 1988 for the project "The Role of the Pub in the Social Fabric of Port Melbourne". Hibernianhotels, built environment - commercial, beris campbell, hibernian hotel

The classic triple-fronted brick veneer is one of the best-known styles of the forties and fifties. The distinctive colour schemes, furniture, fabrics, gardens and memorabilia are also discussed.Includes: index, bibliography. The classic triple-fronted brick veneer is one of the best-known styles of the forties and fifties. The distinctive colour schemes, furniture, fabrics, gardens and memorabilia are also discussed.Front page: Sue Barnettarchitecture, (mr) peter cuffley, dwellings, interior decoration, 1940-1949, 1950-1959