This brooch was typical of those produced at the beginning of the 20th century. It belonged to a member of the family of Mrs Jean Raper who donated a collection of assorted jewellery to the Wodonga & District Historical Society Collection.This item is from the Raper Collection donated to the Wodonga Historical Society by Mrs. Jean Raper.A round silver brooch with natural coloured mother of pearl centre. The surrounding silver edging of 0.4 width is in a leaf design. The mother of pearl centre is 3 centimetres in diameter.fashion accessory, women's jewellery, vintage fashion jewellery

This brooch was typical of those produced at the beginning of the 20th century. It belonged to Mrs Alice Flora May Yardy, mother of Mrs. Jean Raper. Mrs Yardy died on 2 Dec 1974 in Albury, New South Wales aged 84 years old.This item is from the Raper Collection donated to the Wodonga Historical Society by Mrs. Jean Raper.A large oval brooch featuring a central image of a Grecian woman. This centrepiece is surrounded by a design of flowers and swirls with a silver edge. The brooch has a gold look metal bar across the back.fashion accessory, vintage fashion jewellery, women's jewellery

A cabochon is a gemstone that has been cut, shaped and polished. The resulting gem has a convex (rounded) obverse with a flat reverse. This method is usually applied to opaque gems such as this pair of agates. Cabochons are most commonly used in the design of pendants or rings. These cabochons are part of the jewellery collection of Mrs. Jean Raper.This item is from the Raper Collection donated to the Wodonga Historical Society by Mrs. Jean Raper.2 cabochons or polished stones. One is in shades of brown and the other a lighter beige in colour.jewellery, cabochon, fashion accessory

Example of Australian military battledress Jacket - Battledress of olive drab fabric. Jacket is short, and designed to be buttoned to the outside of high-waisted wool serge trousers. An olive green band with two button holes is attached to the inner lower band. The jacket has a fabric belt across the front, with a buckle. Two rectangular pockets extend beneath the lapels. Inside of jacket has a sewn on, rectangular identification label, and size label. Jacket has four buttons down side front, and one near lapel. Each cuff has a button.Identification label on inside of jacket (black ink): REGIMENTAL No NAME Size label (red ink): M. TX SIZE 17 Faint mark on inner neck lining in red marker, possibly Kbattledress, jacket, military, uniform, outfit, fashion, world, war, australian.

Four page knitting pattern booklet featuring black and white printed graphics and text. The colour cover shows a woman, man and child wearing matching knitted jumpers.front: [printed] L794 / VillaWOOL / Superwash / Slalom / KNITTED IN / 12 PLY / SIZES: 61 to 106 cm / (24 to 42 in.) / PRICE / CODE / B / PURE NEW WOOL / A Superwash / Design / Machine Washableknitting, pattern, fashion, knitwear, women, villawool

Four page knitting pattern booklet featuring black and white printed graphics and text. The colour cover shows a woman wearing a knitted jumper, with a man on an exercise bike in the background.front: [printed] 898 / PRICE / CODE / C / VillaWOOL Belvedere / Kwiknit / Designknitting, pattern, fashion, knitwear, women, villawool

Gold chain and medallion purchased by the donor from Myer Melbourne in the late 1960s with a Norma Tullo woollen long-sleeve mini-dress.Ornate medallion featuring a profile of a woman surrounded by ornate scroll work. The medallion is fixed to a double chain. Before it was assembled, the medallion could be used as a broochnorma tullo, costume jewellery, fashion & design - 1960s, accessories

The cast iron gates (manufactured in Glasgow) introduced at the North West entrance in 1907. The gates were purchased from ‘Fairlie” corner of Acland and Anderson Streets, South Yarra at the cost of 72 pounds and cost 60 pounds to install. They had originally cost the owners of ‘Fairlie’ 1200 pounds. Lee Heap Furniture Warehouse of Williamstown used the postcards to advertise. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. The image in this postcard shows the gates intact and as installed in 1907. The current layout of this area still reflects the change of design, which followed the 1907 removal of the first gardener's residence and the subsequent re-organisation of this quarter of the gardens. This postcard is evidence of the placement of one of the cannons relocated from Fort Gellibrand in 1906. They were removed from the Gardens in the 1960s. These same cannons remain a feature on the Williamstown waterfront in 2013. Black and white image of main entrance gates which are open. Through the gates can be seen a man in waistcoat standing in front of a cannon. The gates are cast iron, double carriage gates with single pedestrian gates on either side and supported by four cast iron posts with ornamental finials. Front: ‘The Entrance Gates, Williamstown Gardens. Vic.’ ‘0457/2’ ‘THE CROWN STUDIOS, SYDNEY’. Reverse: Centre top ‘POST CARD’ with a logo in the middle of the words. Left top corner a drawing of an artist’s board and brushes with a camera in the centre. Left side ‘MESSAGE ONLY.’ Right side ‘ADDRESS ONLY.’ Top right corner inside a dotted rectangle ‘STAMP HERE’. Bottom on card ‘BY THE CROWN STUDIOS, SYNDEY.’ Under the vertical line down the middle line ‘Neither the Address not the Message must cross this line’. In ink ‘With Compliments / from’. An oval stamp with scalloped rim ‘LEE HEAP FURNITURE MANUFACTURER’ inside inner oval ‘FURNITURE WAREHOUSE, / WILLIAMSTOWN’.postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, entrance gates, entrance-gates, cast iron, finials, cannon, crown studios, lee heap furniture warehouse

Australian women's shirt from the closing ceremony of the Sydney 2000 Olympic Games. Designed by Mambo Graphics.Short sleeved and collared with six clear plastic buttons down the right side of the shirt. Shirt features the Mambo "Suburbia" design. The collar and sleeves are blue with yellow and red clouds the rest of the shirt is made up of a suburban street scene - houses, trees, telegraph poles, parked cars and dogs and chickens running along the street. The Mambo logo appears in the centre back of the shirt above the clouds in the design. Double stitched seams. Mambofashion, woolmark company mambo graphics, sport, the woolmark company 2000 australian olympic display - exhibition (21/12/2001 - 24/05/2002), sydney 2000 olympic games

Australian womens shirt from the opening ceremony of the Sydney 2000 Olympic Games. Designed by Mambo Graphics.Yellow shirt with brown/russet checks and Mambo lettering on right chest. MAMBOfashion, woolmark company mambo graphics, sport, the woolmark company 2000 australian olympic display - exhibition (21/12/2001 - 24/05/2002), sydney 2000 olympic games

Australian womens jacket from the opening ceremony of the Sydney 2000 Olympic Games. Designed by Mambo Graphics.Ochre coloured jacket lined with Mambo illustrated material. Left proper base pocket features embroidered Australian Coat of Arms above Olympic rings and the words "SYDNEY 2000". Jacket features zipped cuffs, and four buttons. Inside left features a decorative garment label with Stars of the Southern Cross and the words "AUSTRALIA / MADE IN AUSTRALIA / MAMBO".SYDNEY 2000 AUSTRALIA / MADE IN AUSTRALIA / MAMBOfashion, woolmark company mambo graphics, sport, the woolmark company 2000 australian olympic display - exhibition (21/12/2001 - 24/05/2002)

Four page fold out knitting pattern booklet featuring a colour image on the cover of a woman and a girl wearing knitted jumpers with farm motifs.front: [printed] Cleckheaton / CLECKHEATON 8 PLY / MERINO 8 PLY / Design 0053 / Lady's Jumper Sizes: 71 - 102 cm / Girl's Jumper Sizes: 61 - 68 cmknitting, pattern, fashion, knitwear, cleckheaton

Four page fold out knitting pattern booklet featuring a colour image on the cover of a young boy wearing a knitted jumper featuring a lion.front: [printed] Cleckheaton / CLECKHEATON 8 PLY / MERINO 8 PLY / Design 0057 / Sizes: 56 - 81 cmknitting, pattern, fashion, knitwear, cleckheaton

Four page fold out knitting pattern booklet featuring a colour image on the cover of two women wearing knitted jumpers and jeans.front: [printed] Cleckheaton / twilight / Design 0106 / Sizes: Jumper 71 - 107 cm / Jacket 76 - 102 cmknitting, pattern, fashion, knitwear, cleckheaton

Six page fold out knitting pattern booklet featuring a colour image on the cover of two women and a man wearing knitted jumpers. One of the women is seated, one woman holds a pair of shoes and the man in holding a basketball.front: [printed] Cleckheaton / twilight / and / HELENE / Design 0153 / Lady/Man Jumper: 76 - 107 cm / Lady's Jumper: 76 - 102 cmknitting, pattern, fashion, knitwear, cleckheaton

Four page knitting pattern booklet featuring black and white printed graphics and text. The colour cover shows a girl patting a dog, the girl is wearing jeans and a pink knitted jumper.front: [printed] 930 / PRICE / CODE / C / VillaWOOL Galaxy / Kwiknit / Designknitting, pattern, fashion, knitwear, women, villawool

This corset cover is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. This corset cover is an excellent example of an everyday clothing item with the decorative trim favoured by women in the late Victorian era. Eliza Towns has added pintucks, embroidered feather stitch and a highly decorative hand crocheted lace trim to the neckline, sleeves and front of the bodice. Corset covers (sometimes called camisoles) began to appear in women's fashion around 1840 and continued through the late Victorian decades into the Edwardian era. The long chemise was considered too bulky to cover the corset and so the corset cover was developed to be short and light and was worn over the corset and under the bodice of the outer garment. A woman would dress into her chemise and drawers first, followed by her corset and finally her corset cover as a final layer under her dress. Corset covers served several purposes. They provided protection against sweat (and the need to regularly wash the corset), helped smooth the lines of the corset and increased a woman's modesty.This item is an example of the needlework skills of women in the late 19th century - combining machine stitching with hand embroidery and crochet to embellish an item of personal underclothing. It is also significant as an example of a practical solution to the difficulty of hand washing a corset in the Victorian era.A short (waist length) corset cover of fine cotton. Short sleeves fall from a square neckline and are gathered into a wide crocheted lace trim with a band of embroidered feather stitch. The same crocheted lace design and feather stitching are also on the square neckline which is finished with a drawstring ribbon. The bodice has a front opening with five buttons and is bordered on each side with four pintucks. It has a drawstring ribbon at the waist and an extra layer of fine cotton lining has been added to strengthen the corset cover under the arms. The back has two bands of three pintucks running vertically from the neckline to the waist.flagstaff hill, flagstaff hill maritime museum & village, warrnambool, great ocean road, shipwreck coast, nhill, wimmera, eliza towns, underclothing, corset cover, camisole, machine sewing, hand sewing, crocheted lace, pintucks, feather stitch, embroidery, underwear, victorian era underclothing, victorian era corset cover

This item of underclothing, called a "combination" is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes as well as clothes for her children - adding her own handmade embroidered or crocheted decorative trim. Combination undergarments combined the chemise and drawers into one garment. The combination is divided, or bifurcated, from the waist to the crutch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. Their primary use was to protect clothing from perspiration and because they were made with cotton or linen, were easy to wash. Although they were worn under the corset, next to the skin (and therefore not meant to be seen), they were often decorated with lace and embroidery. Although these combinations are made with a plain cotton fabric, Eliza Towns has incorporated pin tucks, hand embroidery and crocheted lace to embellish her garment. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear.Women’s white cotton and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has three buttons in the front and a handmade drawstring cord around the square neckline. It is trimmed with crocheted lace (with a floral design) on the neckline, sleeves and pants. It had pintucks and feather stitching on the bodice and the left and right sides are divided from the waist to the crutch. The back of the garment is plain with a gathered section at the lower back.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, victorian era, combination undergarment, all-in-one underwear, combination, ‘combinations’, one-piece underwear, one-piece undergarment, chemise and bloomers, combination chemise and bloomers, divided, bifurcated, split, chemise and drawers, women’s underwear, ladies’ underwear, undergarment, women’s clothing, women’s fashion, lingerie, 19th-century undergarment, handmade clothing, handmade lace, crocheted lace, towns family, nhill, eliza towns

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

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.Pink and white cotton apron highted with blue braid.aprons, protective clothing, handmade clothing, costume accessories, lisa sylvan, 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.Olive green and white pinafore decorated on the bodice with yellow braid. protective 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.One of three single piece commercialy produced pinafores, each in a different size.protective clothing, costume accessories, lisa sylvan, pinafores, fashion design, women's clothing -- 1960s, fashion -- 1960s

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

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.Pinafore using a fabric coverd with an abstract design in bue, pink and yellow. A plain pink cotton fabric is used to decorate the pocket and the shoulders.Label: "Admiration / All Cotton"protective clothing, handmade clothing, costume accessories, lisa sylvan, pinafores, fashion design, women's clothing -- 1950s, fashion -- 1950s

Four page fold out knitting pattern booklet featuring a colour image on the cover of two young girls walking together holding hands. The girls are wearing knitted dresses. There is an inset image in the right bottom corner of one of the girls.front: [printed] Cleckheaton / RIVERINA 5 PLY / CLECKHEATON 8 PLY / Design 0047 / 5 Ply Sizes: 61 & 71 cm / 8 Ply Sizes: 61 - 76 cmknitting, pattern, fashion, knitwear, cleckheaton

Four page fold out knitting pattern booklet featuring a colour image on the cover of a man crouching in the grass with a bow and arrow. The man is wearing a green knitted jumper, blue pants and gum boots.front: [printed] Cleckheaton / 8/12 PLY / Design 0051 / 8 Ply Sizes: 89 - 119 cm / 12 Ply Sizes: 86 - 107 cmknitting, pattern, fashion, knitwear, cleckheaton

Four page fold out knitting pattern booklet featuring a colour image on the cover of two women wearing knitted jumpers, stockings and boots. One woman is wearing legwarmers. There is a neon graphic in the background.front: [printed] Cleckheaton / MOUSSE / RIVERINA 5 PLY / Design 0046 / Sizes: 76 - 97 cmknitting, pattern, fashion, knitwear, cleckheaton

Four page fold out knitting pattern booklet featuring a colour image on the cover of a man and woman walking outdoors with arms linked, the man is also holding a dog on a lead.front: [printed] Cleckheaton / NATURAL 12 PLY/ / NATURAL 8 PLY / Design 0036 / Sizes: Jacket 90 - 120 cm / Jumper 76 - 97 cmknitting, pattern, fashion, knitwear, cleckheaton

Four page fold out knitting pattern booklet featuring a colour image on the cover of a man crouching in the grass with a bow and arrow. The man is wearing a green knitted jumper, blue pants and gum boots.front: [printed] Cleckheaton / 8/12 PLY / Design 0050 / Sizes: 86 - 112 cmknitting, pattern, fashion, knitwear, cleckheaton