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National Wool Museum
Uniform - 1992 Barcelona Olympic Games Village/Travel Block Print Shirt, Wendy Powitt, c. 1992
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.8133.1 - The front of the short sleeved shirt has four colour blocks. The bottom two quadrants of the shirt are yellow and cream, the top two are red, above the cream, and green, above the yellow. The collar of the shirt is cream and the cuffs of the shirt are yellow. The back of the shirt is solid green. There are seven buttons with small amounts of colour on them to do up the shirt, and a motif of Australia made up of curving, crosshatching lines on the left of the shirt, sitting over the line between the red and cream colours. 8133.2 - The front of the short sleeved shirt has four colour blocks. The bottom two quadrants of the shirt are yellow and cream, the top two are red, above the cream, and green, above the yellow. The collar of the shirt is cream and the cuffs of the shirt are yellow. The back of the shirt is solid green. There are seven buttons with small amounts of colour on them to do up the shirt, and a motif of Australia made up of curving, crosshatching lines on the left of the shirt, sitting over the line between the red and cream colours. The bottom hem of the shirt is asymmetrical with the back of the shirt longer than the front. 8133.3 - Red fabric sample. 8133.4 - Red fabric sample. 8133.5 - White fabric sample with permanent marker writing "F22630." This sample also has the tag attached. 8133.6 - White fabric sample. 8133.7 - White fabric sample. 8133.8 - Green fabric sample.8133.5 - On tag - "Allan Robison Textiles Design F22853 82m 30 Wangaratta St Richmond Victoria, 3121, Australia Tel 429 - 9600 Fax 427 - 0594"1992 barcelona olympics, sport, athletes, fashion, design, uniform -
National Wool Museum
Sample Book
Donated by the Gordon Institute of Tafe, Wool Departmenttextile fibres textile design textile industry - education, cowey, mr gordon - gordon institute of tafe, wool department, colour blending, textile fibres, textile design, textile industry - education -
National Wool Museum
Book, A Material World: fibre, colour and pattern
"A Material World: fibre, colour and pattern" - Powerhouse Museum, Sydney, 1990. Catalogue from an exhibition of the same name held at the Powerhouse. Primarily an overview of the main aspects of the Powerhouse textile collection.fashion weaving embroidery textile design textile fibres, dyeing, printing, fashion, weaving, embroidery, textile design, textile fibres -
Chiltern Athenaeum Trust
Clothing - Pair of gloves and an umbrella/parasol cover, Unknown
Ladies’ gloves were an essential part of life in the 1840s to 1900 Victorian era, regardless of class most ladies wore gloves. The glove design, material, and fit would hint at a lady's status, despite their hands being covered. A shorter style of glove would have been used for daytime wear, along with the matching parasol cover and would be matched to the owner's outfit. Leather was a material often used since the 1900s, however when WWI hit the price of leather gloves increased and many resorted to cheaper materials for their accessories. Although particular styles for evening-wear gloves altered throughout the 20th Century, the classic neutral leather glove was a staple throughout Australian ladies' fashion during this time. The need for gloves and parasol cover however disappeared in the 1960s when gloves were only used in the winter months as a practicality rather than a fashion accessory.The leather gloves and parasol cover indicate the owner was wealthy and was able to spend money on good quality accessories. This may have been due to the fact that Chiltern was a gold-rush town and would have had some wealthy families living there from the late 19th Century. The leather items are a symbol of such wealth and social signifiance in the rural town of Chiltern.Gloves: Beige colour with brown hand stitched detail on the upper hand - 3 lengths. Brown stitched all around with finger gussets. Three brown leather button detail to the upper cuff (actual leather circular pieces meant to resemble buttons, hand stitched in beige). Umbrella/parasol cover: Same soft leather as gloves and detail, metal zip along the length and tapered to one end. Two leather circular pieces meant to resemble buttons, one missing at the top). chiltern, leather, leather gloves, leather parasol cover, parasol, parasol cover, gloves, wealth, gold rush, chiltern athenaeum museum, chiltern gold rush -
Nillumbik Shire Council
Ceramics (bowl): Mary-Lou Pittard, Mary-Lou Pittard, Decorative Bowl, 1983
Mary-Lou began exhibiting in the mid 1980s and over the years has been involved in producing unique pieces as well as developing a large range of domestic ware. In 1984, six months after graduating from a Bachelor of Fine Arts at Phillip Institute of Technology, Mary-Lou was invited to present a solo exhibition at Devise Gallery in South Melbourne. This objective, she says, compelled her to find a studio and was an incentive to focus on developing her ceramic practice independently.Mary-Lou Pittard holds close ties to the Shire of Nillumbik - living and working within Eltham. Her Eltham North Mudbrick Studio employed 5 assistants until recently when Mary-Lou and partner Chris Pittard have scaled down operations. They now produce everything themselves and find that this enables them to focus on producing unique, sculptural ceramic works. Mary-Lou is currently exploring the fine qualities of porcelain and combining these with her ongoing passion for decorative colour and form. 'Decorative Bowl' is a wheel-thrown/moulded bowl, oblong in shape and has been manipulated by hand. Narrow sections have been incised from the main body, perhaps a practical design feature for air circulation, and the rim has been altered to form a jagged edge. Bold colourful shapes decorate the interior of the bowl. They have been applied directly to the bisque surface and subsequently covered with a transparent glaze which protects them and enhances their permanency.mary-lou pittard, ceramic, chris pittard, eltham, nillumbik -
Nillumbik Shire Council
Public Art: Susie KUMAR & Naomi KUMAR, Benchmark (Location: Conventry Oval, Elizabeth Street, Diamond Creek), 1997
1996 Nillumbik Art in Public Places Award (installed late 1997). A biennial program that ceased in 2007. The program commissioned artists to make and install public art in various sites around the Shire. Award judges that year were Tony Trembath and artist Peter D. Cole. Susie Kumar has a Bachelor of Landscape Architecture degree from RMIT and Naomi Kumar has a Bachelor of Fine Art in photography degree from VCA. The Kumar sisters designed the sixty meter gently curving bench in response to the topography of the site, Conventry Oval. The sculpture is designed to describe the boundary between the formal oval and the natural creek bank and a considered relationship to the bike track and the river. It forms a link between the activities and aesthetics of its environment. The work is a comical interpretation of the utilitarian public bench. From a distance the bright red runners (the colour of the local football team's stripe) appear to float about the surrounding green. One end of the work is straight and finished. The other remains 'unfinished' hence allowing for the concept of unlimited extension. The 'legs' (steel hurdles) are arranged with a sense of movement and rhythm in sympathy with the activities happening around the work and with the stands of trees in he background. 'Benchmark' also serves as a functional purpose; providing a choice of places to sit to watch action on the oval. Stainless steel, timber (Victorian Ash) and red enamel paint. Sixty meter long red bench that gently curves in response to Conventry Oval. Bolted on top of evenly spaced stainless steel hurdles, four rows of timber runners are joined to provide unbroken continuous lengths. The bench stands on a framed bed of crushed rock (Lilydale topping).N/Abench, sport, wood, victorian ash, stainless steel, public art, ekphrasis2017 -
Nillumbik Shire Council
Artist Book: Tommaso DURANTE (b.1956 ITA, arrived. 2001 AUS) with text by Chris WALLACE-CRABBE (b.1934 AUS), Skin, Surfaces and Shadows, 2007
'Skin, Surfaces and Shadows' was created by Tommaso Durante in 2004 during his stay in Bundanon (gifted to the Australian people by Arthur & Yvonne Boyd - South East Australia) as international artist in residence and it was enriched during the artist’s stay in Broome (Western Australia) in 2005. On that occasion he collected the raw materials that were subsequently wrought to develop the actual bookwork.On the edge of artistic practice and philosophical inspiration, 'Skin, Surfaces and Shadows' pushes the boundaries of art, craft and design by combining digital technologies with traditional techniques and materials. Durante visually explores the surfaces of organic things (trees, surface textures, etc.) and the figurative dividing line of the shadow. The poet Wallace-Crabbe responds to these images in words. The poet and the artist flit in and out of shadows, skin and the surfaces of paper and life.(a) prints, artist's book (80 pages), ink; Somerset Book White paper (175gsm), digital images, printed in eight inkjet colour pigments, from digital files. Set in digital typefaces Utopia STD Display, Italic and Bold, Frutiger 57 Condensed, 67 Bold Condensed, and 56 Italic. Section sewn around 3 tapes. Full paper binding with blind blocking on front cover handmade head and tail bands. (b) CD of slide presentation to accompany bookwork on display Primary Insc: In black biro, signed and editioned by Tommaso Durante and Chris Wallace-Crabbe (last page '8/25 T DURANTE CWallace-Crabbe')prints, artist book, skin, surface, shadow, poetry, durante, wallace-crabbe -
Nillumbik Shire Council
Public Art: Lasting Memories Mosaic GROUP, Lasting Memories Mosaic Seat (Location: St.Andrews Hall, 1 Proctor Street, St. Andrews), 2012
The 'Black Saturday' bushfires were a series of bushfires that ignited across the Australian state of Victoria on and around Saturday, 7 February 2009. It was Australia's worst ever natural disaster. The fires occurred during extreme bushfire-weather conditions and resulted in Australia's highest ever loss of life from a bushfire: 173 people died and 414 were injured as a result of the fires. For most women being part of the Lasting Memories Mosaic Group was a way of reconnecting to the area, friends and neighbours. As the months went by, the idea of creating a gift to the community together was born. The women wanted to artistically express their memories of what they had experienced. Creating a mosaic seat in the heart of St Andrews allowed the group to be 'in control' of building something from the ground up - a symbol of hope, recovery and renewal. All of their experiences and memories have been included into the seat design, which makes it so special. This mosaic seat is proudly positioned outside the St Andrews Hall, which is also the site for the St Andrews market held every Saturday throughout the year.The Lasting Memories Mosaic group began this piece just after the Black Saturday fires in 2009. After the horrific fires ravaged through St Andrews and the surrounding areas, a group of bushfire affected ladies bravely came back to St Andrews to begin their healing in an artistic way. Each woman created something beautiful and meaningful, using remnants of crockery, glass, tiles and bricks salvaged from their own properties. This artworks identifies who they are and tells their personal 'life journey' and family heritage and memories of what they had experienced before, during and beyond Black Saturday. It is also an expression of their love for the St. Andrews area and the nature and people within it. A large concrete seat in the style of an organic chaise lounge covered in mosaic (broken tiles, glass, crockery and ceramics of all shapes and colour). The pieces have been placed to form pictures, words and patterns that tell and recount stories and memories of reflection, hope and love of a group of people who experienced the Black Saturday bushfires. (Click on links to view details of the seat) black saturday, mosaic, art, lasting memories, st andrews, tiles, glass, fire, concrete, cement, chris reade, ekphrasis2017 -
Darebin Parklands Association
Cutting the ribbon of the new viewing deck, Tom Leigh Photographics, 1993-1994
The viewing deck was designed by Trevor House, architect.Colour photograph of Councillor Vin Heffernan (left) and Rob Gell, Channel 9 & 7 weatherman (right) cutting the ribbon of the new viewing deck in Darebin ParklandsAnnotated with stickers on back. [1994/015541 case admin] -
Darebin Parklands Association
Inspecting the board on the occasion of the opening of the viewing deck, Tom Leigh Photographics, 1993-1994
The viewing deck was designed by Trevor House, architect. Colour photograph of Councillor Vin Heffernan (left), Rob Gell (Channels 9 & 7 weather presenter, centre) and Peter Wiltshire (Darebin Parklands Ranger, right).Annotated with sticker on back. -
Darebin Parklands Association
Installing Clifton Bridge, 1979-1980
The bridge was designed and constucted by Sidney Clifton (pictured), an engineer who lived in a house neighbouring the parklands.Colour photograph. The wooden frame and handrails of the bridge are erected ready for the concrete to be poured in. -
Darebin Parklands Association
Installing Clifton Bridge, 1979-1980
The bridge was designed and constucted by Sidney Clifton (pictured), an engineer who lived in a house neighbouring the parklands.Colour photograph. Two men inspecting the underside of the bridge. The remnants of the wooden frame used to set the concrete bridge can be seen on the right hand side. -
Darebin Parklands Association
Clifton Bridge, 1979-1980
The bridge was designed and constucted by Sidney Clifton, an engineer who lived in a house neighbouring the parklands.Colour photograph. The wooden frame of the Clifton Bridge which the concrete was poured in to set. -
Darebin Parklands Association
Clifton Bridge: removing the frame, 1979-1980
The bridge was designed and constucted by Sidney Clifton, an engineer who lived in a house neighbouring the parklands.Colour photograph. Clifton Bridge being constructed. The wooden frame which held the concrete as it set is being removed. -
Darebin Parklands Association
Clifton Bridge, 1979-1980
The bridge was designed and constucted by Sidney Clifton, an engineer who lived in a house neighbouring the parklands.Colour photograph. Three men inspecting Clifton Bridge. -
Darebin Parklands Association
Clifton Bridge, 1979-1980
The bridge was designed and constucted by Sidney Clifton, an engineer who lived in a house neighbouring the parklands.Colour photograph. Crossing Clifton Bridge. -
Darebin Parklands Association
Clifton Brigde, 1979-1980
The bridge was designed and constucted by Sidney Clifton, an engineer who lived in a house neighbouring the parklands.Colour photograph. Child sitting on Clifton Bridge. -
Darebin Parklands Association
Clifton Bridge, 1979-1980
The bridge was designed and constucted by Sidney Clifton, an engineer who lived in a house neighbouring the parklands.Colour photograph. Clifton Bridge. -
Darebin Parklands Association
Installing Clifton Bridge, 1979-1980
The bridge was designed and constucted by Sidney Clifton, an engineer who lived in a house neighbouring the parklands.Colour photograph. The wooden frame used to set the concrete section of Clifton Bridge. -
Darebin Parklands Association
Installing Clifton Bridge, 1979-1980
The bridge was designed and constucted by Sidney Clifton, an engineer who lived in a house neighbouring the parklands.Colour photograph. Three men installing the wooden frame used to set the concrete section of Clifton Bridge. -
Darebin Parklands Association
Installing Clifton Bridge, 1979-1980
The bridge was designed and constucted by Sidney Clifton, an engineer who lived in a house neighbouring the parklands.Colour photograph. Four men installing the wooden frame used to set the concrete section of Clifton Bridge. -
Darebin Parklands Association
Clifton Bridge, 1979-1980
The bridge was designed and constucted by Sidney Clifton, an engineer who lived in a house neighbouring the parklands.Colour photograph. The wooden frame of the Clifton Bridge which the concrete was poured in to set. -
Darebin Parklands Association
Installing Clifton Bridge, 1979-1980
The bridge was designed and constucted by Sidney Clifton, an engineer who lived in a house neighbouring the parklands.Colour photograph. Four people installing the wooden frame used to set the concrete section of Clifton Bridge. -
Darebin Parklands Association
Installing Clifton Bridge, 1979-1980
The bridge was designed and constucted by Sidney Clifton, an engineer who lived in a house neighbouring the parklands.Colour photograph. Four people installing the wooden frame used to set the concrete section of Clifton Bridge. -
Darebin Parklands Association
Opening of the bridge August 1979, Rockbeare Park Conservation Group, 1979
Bridge opening by Sidney Clifton. The bridge was designed and built by Clifton and volunteers, under supervision of Sidney Clifton.Colour photograph. Annotated on back. -
Victorian Aboriginal Corporation for Languages
Book, Julie Reid, Wergaia community grammar and dictionary, 2007
This consultation draft is a sketch grammar of Wergaia, incorporating a revised Wergaia Wordlist (version 1), now renamed Wergaia dictionary, which was developed from recent and historical sources, and funded by the Victorian Aboriginal Corporation for Languages. It is not intended for use as a language course. To fully understand its contents, the reader will need a high level of knowledge about the structure of Australian languages. Rather, it is intended for use as an adjunct to a course in Wergaia, such as the VCE Study Design Indigenous Languages of Victoria: Revival and Reclamation - Wergaia.colour photographs, b&w photographs, word listswergaia, wotjobaluk, barengi gadyin land council inc, grammar, language learning -
University of Melbourne, Burnley Campus Archives
Photograph - Colour prints, Photograph Collection of Potential Careers
Photographs mounted on heavy cardboard for a display. (1) Nursery with 2 men, "Nursery Trade" handwritten on reverse. (2) Nursery with man and child, "Nursery Trade" handwritten on reverse. (3) Construction site with 1 man, "Landscape Design" handwritten on reverse. (4) Park with 3 men, "Parks and Gardens" handwritten on reverse. (5) Private gardennursery, men, children, parks, gardens -
University of Melbourne, Burnley Campus Archives
Photograph - Colour print, Herb Garden, 1983
The Herb Society of Victoria provided assistance with design in 1984 and Coora Cottage Herbs donated plants. Memorial birdbath and fountain donated by the Herb Society of Victoria and the family of the late Enid Carberry, founding member of the Herb Society and contemporary of Edna Walling 1913-1916. Early and later versions of the Herb Garden. (1) "Herb Garden version 1983." (2) Herb garden 1983." (3) "Herb Garden 1983." (4-8) Nick Osborne and ? In the Herb Garden later version.herb garden, the herb society of victoria, coora cottage herbs, memorial birdbath, fountain, enid carberry, nick osborne -
University of Melbourne, Burnley Campus Archives
Photograph - Colour and black and white photocopy, Kneen and Macauley Visit to Burnley Gardens, 1969-2013
0n 25 April 2013 when some members of the Kneen and Macauley families visited Burnley Gardens for afternoon tea organised by the FOBG.Print outs from mail attachment of photographs taken 0n 25 April 2013 when some members of the Kneen and Macauley families visited Burnley Gardens for afternoon tea organised by the FOBG. (1) Macauleys and Kneens with Andrew Smith in front of the Centenial Building (Dairy). L-R Averil's husband, Averil Macauley, Andrew Smith, Barry Macauley, Douglas Kneen (Tom's brother, designed the Burnley Logo), Celia Kneen, Cam Kneen, Dawn Kneen. (2) Averil's husband, Averil Macauley, Andrew Smith, Barry Macauley, Douglas Kneen. Standing in front of the Centenial Building (Dairy). (3) Cam, Dawn and Celia Kneen on the Roof Garden. (4) Cam, Dawn and Celia Kneen, Averil Macauley on the Roof Garden. Photocopies of photographs sent to the Archives by Jan Downman (nee Macauley) August 2013 Dated 1976 (5a) Garden view. (5b) Luffmann Ponds. (5c) Principal's Residence. (5d) Luffmann Ponds, Cork Oak. (6a) Principal's Residence. (6b) Looking towards Swan Street, Plant Research Institute. (6c) Administration Building. (7a) "Burnley Gardens 1971 Melva Macauley with granddaughter Rebecca Macauley (2 yrs). (7b) C "Burnley Horticultural College 1969 Rebecca Macauley (Jennifer behind).burnley gardens, fobg, andrew smith, centenial building, dairy, averil macauley, barry macauley, douglas kneen, celia kneen, cam kneen, dawn kneen, roof garden, jan downman (nee macauley), garden views, luffmann ponds, principal's residence, cork oak, plant research institute, melva macauley, rebecca macaule, burnley horticultural college -
University of Melbourne, Burnley Campus Archives
Photograph - Colour print, Garden Week, 1983-1986
V.C.A.H. Student designed gardens in the Field Station for Garden Week.vcah, students, garden design, field station, garden week