Tina Knitwear was a successful made to order knitwear business in Brighton from the mid-1960s to around 2010, run by Assunta and Franco Liburti. Daughter Melissa Persi writes: Our parents Assunta (Mum) and Franco (Dad) Liburti ran a successful made to order knitwear business in Brighton from the mid-1960s to around 2010. Assunta was affectionately known to her family as Assuntina, therefore the business was named "Tina Knitwear" after her. Assunta and Franco were born in the beautiful seaside town of Terracina in Italy in 1933 and 1930 respectively. As was so common in Italy in the 1950s, Assunta who was in her late teens and early twenties learnt the intricate skills of machine knitting, dressmaking and pattern making. Franco on the other hand, learnt the building trade with his 2 brothers and specialised in bricklaying and tiling. As was so common after the war, Assunta and Franco yearned for a better life so they decided that they would get engaged and then migrate to Australia to be married and raise their family in Australia, a land of much opportunity which they no longer felt their beloved Italy held for them. Assunta migrated to Australia first in 1957 and later Franco joined her in 1958 where they were married. For the first few years, Franco (also known as Frank) worked as bricklayer /tiler on buildings such as the Robert Menzies building at Monash University in Clayton and various buildings in the Melbourne CBD. Assunta on the other hand put her machine knitting skills to use working in factories doing piece machine knitting for various knitwear companies. The hours were long, the conditions were difficult, and travel was onerous without a car. After their 2 older children were born, it was decided that dad would leave the building trade and they would start their own made to order knitwear business. That way they could work from home and raise their family together. Mum taught dad everything he needed to know so he could operate the knitwear machinery. They purchased COPPO knitting machines from Italy and a Linking machine from Germany. Initially they had a knitwear shopfront in Bay Street Brighton where a store assistant would take the orders and client’s measurements and Assunta would then make the garments from a small workshop in their home. Unfortunately, the assistants were not skilled dressmakers and often measurements and orders were incorrectly taken. Assunta being the perfectionist and highly skilled machinist that she was, decided that she needed to oversee the entire process from meeting the client, to taking their order, right thru to the fittings and completion of the garment. It therefore made sense that they should close the shop front and run their business from their own home in Brighton and hence “Tina Knitwear” was born. Together, for more than 40 years they ran their very respected and successful business and were well known in the Bayside area. They specialised in made to order knitwear for both men and women using mainly pure wool (from Patons, Wangaratta Mills, Japan and Italy) but also lurex and estacel. Over those years, many of their clients became their close friends. It wasn't unusual for clients to come to order garments and then end up in the kitchen chatting over a cup of Italian espresso coffee and homemade biscuits. Some of their clients were especially memorable and became lifelong friends. Mrs Connell was a dear friend of mum’s, each year she would buy tickets for the “Gown of the Year” fashion show. She would insist on taking Assunta and her 2 daughters so that we could see the latest fashions. Then there was their dear friend Ms Griffiths. She had been a Matron nurse at the Queen Victoria Hospital when she met my parents in the 1970s. She returned to live in New Zealand in the 1980s but came back to Melbourne every year to stay for 2 weeks with the sole purpose of visiting my parents (she adored them) and order garments. For those 2 solid weeks, mum and dad would only knit for Ms Griffiths and she would go back to New Zealand with at least 5 or 6 new outfits. I actually think she enjoyed mum’s homemade pasta almost as much as her new clothes! Over the years, my parents learnt to speak English very well given that majority of their clients were not Italian speaking. Their oldest child John born in 1960 learnt to speak English with the help of those clients who were such a big part of our childhood. Mum and dad always went above and beyond to ensure their clients were satisfied. Mum was an absolute perfectionist and it showed in her attention to detail and the quality of their beautiful work. You only need to look at the garments that have stood the test of time or speak to their clients to know that this is true. Their clients would always comment on how well their clothes would last and much of their clients came via word of mouth and recommendations. Occasionally there would be disagreements because mum had found an error in dad's knitting (either a wrong stitch or a sizing mistake mainly) and would ask him to redo a piece, he would argue back saying that it was fine, but we always knew who would win the argument and that the piece would get remade! Similarly, we recall discussions where mum would ask dad to find a particular colour of wool in the garage where the stock was kept. He would try to convince her that they were out of stock of that colour and that the client should choose a different colour. She would insist they had it and then after hours of searching, he would return into the house sheepishly holding the wool! Our childhood is full of beautiful memories of mum and dad always being present, clients coming and going, mum humming her favourite songs as she worked often late into the night and sometimes, we even fell asleep to the hum of the machinery. They put their heart and soul into "Tina Knitwear" and took pride in providing only the best quality garments for their clients. In Italian there is a saying “lei ha le mani d’oro” which literally translated means “she has hands of gold”. Franco enjoyed his work but for Assunta, it was more than just work and there is no better way to describe her skills, passion and dedication to her machine knitting… she truly did have “hands of gold”. We will forever be grateful that our parents’ life journey gave us the opportunity to live in a home filled with creativity, dedication and passion, amazing work ethic and mutual respect, lifelong friendships and a lifetime of love. Thin paper white label with gold printed text.front: An Original by / Tina Knitwearknitwear, clothing, italy, migrants, brighton, knitting machine, linking machine, garments, business, family, community

This book is a technical book that was originally from the Wendouree Woollen Mills but latterly was part of a collection of books owned by the Warrnambool Woollen Mill. The Wendouree Woollen Mills in Ballarat began in 1870 as a flour mill and became the Doveton Woollen Mill in 1877. In 1918 it became the Myer Woollen Mill (Myer Emporium ownership) and in the 1920s it was a knitting mill. After Myer sold the mill it was known as Wendouree Woollen Mill but it closed in 1975. The Warrnambool Woollen Mill in Harris Street, Warrnambool was established in 1910 on the site of an earlier woollen mill destroyed by fire in 1882. It was a successful business for many years and closed in 2000 after 90 years of operations but by that time it had been bought by successive companies including the multinational company Dunlop. In 1968 the Warrnambool Woollen Mills (Dunlop era) purchased Wendouree Woollen Mills and transferred much of its operations to Warrnambool until the Ballarat mill was closed in 1975. This explains why a Wendouree Woollen Mill book was in the Warrnambool Woollen Mill building when it closed. This book is of some interest as a good example of technical books produced in the early 1920s. It would have been well-used by woollen mills workers and foremen at the time. It is also of interest as it comes from the Warrnambool Woollen Mill and so it is a memento of a most important and influential business in Warrnambool in the 20th century. A great number of local people were employed at this mill over the years and it enjoyed for many years a national reputation for quality products. This is a hard cover book with a dark blue cover and gold lettering on the front cover and the spine. The title of the book is printed in an ornate script and is underlined with two gold lines. The book has 277 pages commencing with page 273 as the book is Volume Two of this title. The book, about wool combing was written by Fred Bradbury. It has a Preface, a Contents page and fifteen chapters commencing with Chapter 21 and ending with Chapter 35, an Index and several pages of advertisements for other technical books. The book has several black and white photographs of machinery and illustrations and sketches demonstrating mechanical and technical processes. The book has some small stains on the front cover.Front Cover: ‘Worsted Preparing and Spinning (Wool Combing) by Fred Bradbury’ Spine: ‘Worsted Preparing and Spinning, Vol11- Bradbury – F.King & Sons Ld., Halifax, England’. Inside in two places: stamp of Wendouree Woollen Mills Pty Ltd wendouree woollen mills, warrnambool woollen mill, history of warrnambool

Knitted by the donor's grandmother, Elsie Hone. Knitted using bicycle spokes as knitting needles. Elsie Hone (nee Stone) was born in 1890 and died in 1987. She had six children and she apparently knitted this vest for her second son (fifth child), Albert George Hone (b.1914) for his 18th birthday. Albert and his wife Grace had four daughters between 1942 and 1951. The donor's mother, Ina Harriet Nilsson, was born in 1925 (fourth daughter, sixth child of Elsie) and as she had a son, the donor's uncle George (Albert?) passed it on to her. Both the donor's elder brothers wore and out-grew the vest and eventually it was passed on to the donor, Ray Nilsson. The vest was worn for many years while the donor worked at VACC Insurance Co Ltd in St Kilda Road, Melbourne and in the North Sydney, Canberra and Dandenong offices and it was a talking point as he recalled the story. (Information provided by the donor)Fair Isle patterned hand-knitted vest in beige, brown, yellow, green and red.vest, hand-knit, fairisle, elsie hone, great depression, albert george hone, ray nilsson

Plans and Report from Fire Engineers and Surveyors:- Green Card has a rectangular box with an ornate border in the centre of the front page. Inside the border is typed in black *Plans, Hanro (Aust) Knitting Mills Limited, Bendigo Victoria Australia. At the bottom:- Mahlstedt's (Vic) Pty Ltd. (est. 1884). Consulting Fire Engineers and Surveyors. Temple Court, 422 Collins Street., Melbourne C.1. Telephone 673069. Inside the folder is the Key to Detail Block Plans & Fire Surveys. Correspondence from Mahlstedt's Pty Ltd to Edward Lumley and Sons, Insurance Brokers regarding a new survey and the changes to the building with respect to fire hazard. Main report recommendations and general information on the building. Blue print of Shirt Factory, Inglewood Road No. 1061 by Welmar Ltd Bendigo. Small blue print of the main buildings showing different work areas. Blue print No.1119 of John Brown Industries Ltd Alley Street Bendigo showing work areas. Box 116AMahlstedt's (Vic) Pty Ltdhanro, clothing, plans and reports, edward lumley & sons pty ltd. hanro knitting mills. mahlstedt's (vic) pty ltd. welmar ltd bendigo. john brown industries ltd.

The Ruyton Reporter (formerly known as Ruyton Reports) captures the essential Ruyton Girls' School experience for the broader school community. It has been produced since 1986.The record has strong historic significance as it pertains to one of the oldest girls' school in Victoria, Australia. Ruyton was founded in 1878 in the Bulleen Road, Kew, home of newly widowed Mrs Charlotte Anderson (now High Street South). Thus, the record can be used as a reference example for research into Victorian school history. It also gives insight into the types of activities and events undertaken at Ruyton Girls' School during the period of its production. The record's significance is further enhanced by its exceptionally well-documented provenance, having remained the property of Ruyton Girls' School since its production.Colour publication printed on paper with staple binding. 12 pages.Front Page: THE R RUYTON / RECTE ET FIDE LITER / Reporter / AUTUMN EDITION 1993 / Yes, Dick Hamer / was a dab hand / at knitting in / 1922. But then, / so too was his / brother, Alan, / (who became / The Managing / Director of ICI / Australia). / PRE-PREP / PROVES / GREAT / SUCCESS / Yes, that's young Rupert, a future Premier / of Victoria, and his brother Alan at Little / Ruyton in 1922. Now Sir Rupert will / return to officially open the new 'Little / Ruyton' in May. Photograph courtesy of / The Herald-Sun. /ruyton girls' school, ruyton, school, students, newsletter, ruyton reports, ruyton news, kew, victoria, melbourne, girls school

BHS CollectionHanro Autumn and Winter Catalogue 1963: Brown background with black print on card. A four star banner with Hanro printed in white on a black back appears on the on the left side. A black sketch of an adult male dressed in white shirt, black tie, light V neck cardigan with three buttons, and light trousers with a weave. The words Swiss Inspired Knitwear appears at the lower right edge of the page. White autumn leaves are scattered over the front cover. The back cover has a four star Hanro banner with a white background and black printing left of centre. Australia Knitting Mills Ltd heads the Information for sales offices for Bendigo and Interstate offices. Autumn leaves in white are scattered over the back cover in white against the tan cover. The words 'The Quality is a Proud Tradition' graces the lower edge of the page. Advertising inside the front cover was a description of the Hanro Autumn and Winter Knitwear line consisting of men's cardigans, pullovers and shirt style. Each item has an item number, a description, colours available and sizes .Box 116ACambridge Press Bendigobook, magazine, catalogue, hanro. catalogue. cambridge press bendigo.

BHS CollectionHanro Autumn-Winter Catalogue 1963: The cover is orange card with black and white print. White Autumn leaves scattered across the page with black four point diamond banner to the left with white Hanro in the centre. A lady sketched in black pencil is modelling a twin set trimmed with a band, down the centre and collar. To the right top side hand written in biro is *R Cooper*. Right side in black print is 1963 Autumn-Winter Catalogue, under that is *Swiss Inspired Knitwear. Inside the cover is advertising the current line Jackets, Twinsets, Pullovers and cardigans. Each item has a number, description, size and colour. On each page a price has been hand written in biro on all items. Back of cover is orange card background with white autumn leaves scattered over the page with a white four point banner with a black *Hanro* printed in the centre next to that is (Aust) Knitting Mills ltd. Also printed are the addresses and phone numbers of the Sales Offices in each State. At the bottom is *The Quality Is A Proud Tradition* Box 116ACambridge Press, Bendigobook, magazine, catalogue, hanro. catalogue. cambridge press bendigo.

I have lived in Box Hill now City of Whitehorse since 1970 I have belonged to Box Hill Spinners and Weavers Inc. since 1990.During the 90s' Box Hill Spinners and Weavers participated in the Annual Sheep and Woolcraft Show, at that time held in the Melbourne Showground. As well as submitting individual entries we always entered the Group Competition, known as the '5 articles' the entry had to have 5 separate articles made by a group and displaying different woolcraft techniques . In 1997 our Box Hill entry focused on 'The Planets' featuring five capes. The red one representing Mars the red planet. It was woven. The dark cape represented Jupiter. It was also woven. the Neptune cape was felted in blue and greens. The Earth cape featured knitting and crochet. My contribution was the Venus cape featuring spinning from raw merino fleece and silk. Once completed this wool/silk yarn was fashioned using hairpin lace. I was adept at spinning by this time but knew nothing about the old technique of hairpin lace. Box Hill Spinners and Weavers won First Prize. Margaret Dimelow.Cream coloured cape spun from raw merino fleece and silk, technique is hairpin lacecostume, female

The Geelong Handweavers and Spinners Guild Inc. entered "The Afternoon Tea Party", designed by Val Ingeme, into the "Five Articles" Section of the Melbourne Sheep and Woolcraft Show c.1992. To qualify, the entry needed to form a group and be able to demonstrate a number of wool crafts in at least five different items. The covering of the cake was woven by Anneli Rickards, the plate woven by Jean Inglis, Mary Donnan and Val Ingeme made and assembled the floral trimmingsagricultural shows handicrafts textile art knitting weaving, geelong handweavers and spinners guild inc., spinning - hand, felting, weaving, ingeme, mrs val inglis, jean - geelong handweavers and spinners guild inc. rickards, anneli - geelong handweavers and spinners guild inc. donnan, mary - geelong handweavers and spinners guild inc., melbourne, victoria, agricultural shows, handicrafts, textile art, knitting

Florence Ada Zull, known as Ada was an illustrator for the 'New Idea for Women" magazine. In 1961 she lived in Brunswick. From 1963 she and her husband Robert built a Alistair Knox designed house at Lot 8. Metery Road, Eltham "... Mum .. worked too during the week.. from the bungalow in Brunswick. The New Idea, a woman's magazine would send her the galley for the week's short story and she would illustrate an appropriate picture." - Sue Bennett (nee Zull), Eltham District Historical Society Newsletter, No 250 February 2020. In this issue Ada Zull has a full page illustration for part one of a story by Georgette Heyer. (page 12 and 13). Ada's son and daughter Susan model jumpers that were knitting competition prize winners at the Royal Agricultural Society of Victoria's Royal Show including Mrs L.M. Fullerton. (page 15) This was the "Special Baby Issue". It includes articles on women in the Armed forces and marriage, Mrs Mary Jane Virtue a pilot, Egg dish recipes and a number of pages relating to baby care. Patterns for making a baby-sac, bonnet, jackets and babycot, advertising, letters, beauty column, patterns and other features. women's royal army corp, women's royal australian navy service, women's auxiliary australian air force, wrans, wrac, wraaf, marriage, mary jane virtue, ada zull, georgette heyer, royal agricultural society of victoria, royal melbourne show, l.m. fullerton, egg dishes, handcrafts, baby-care, magazine, women, 1961, susan zull, susan bennett

Crochet came from the Old French word crochet, meaning ‘small hook.’ This word comes from Croche. Croche comes from the Germanic word croc. Both mean hook and crochetage, which means a single stitch used to join separate pieces of lace together. People used this term in making French lace in the 1600s and the word crochet describes the hook and the craft. Evidence shows the starting point was the mid-1800s but as early as the late 16th and early 17th century, crocheted braiding was used in clothing and other products. Like on a man’s cape at the Victoria and Albert Museum. Crochet evolved in the early 1700s when stitching material on a tambourine reached Europe after going through India, Persia, North America, Turkey, North Africa and other places around the world. People removed the background fabric used for tambouring. The French named the new technique “crochet in the air.” In the early 1800s, shepherd’s knitting came about, along with the shepherd’s hook. It’s thicker than a modern crochet hook but still with a hooked end. By the mid-1800s, it became known as crochet or slip stitch crochet. In the 60s, the granny square and crocheted home ware appeared and became more popular.A significant domestic item used in crochet or craft work and recovered from the wreck of the Schomberg in the 1970s. For more information regard the wrecking of the Schomberg see note sect this document. The Schomberg has historical significance as one of the first luxurious ships built to bring emigrants to Australia. The collection of recovered artefacts from the Schomberg wreck and held at Flagstaff Hill Museum are significant because of their potential to interpret the story of the Schomberg and its passengers.Crochet hook made from Bovine Bone. It has two sections that screw apart. Recovered from the wreck of the Schomberg. Nonewarrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, schomberg, shipwrecked-artefact, clipper ship, black ball line, 1855 shipwreck, aberdeen clipper ship, captain forbes, peterborough shipwreck, ss queen, crochet hook, crocheterage, craft

BHS CollectionHanro (Australia) Knitting Mills Limited Invoice and Packing Slip: White colour paper with black print. A gold oval circle with a fine gold oval circle inside with Hanro Swiss Inspired printed within the oval on the upper left hand side of the invoice. Registered office is 264-175 Hargreaves Street. Cable address: ' Benknit' Bentleys private Telephone 3-0241. In the body of the document is Styles, Description, Quality, Price Extension and Total. The terms of sale is 3 1/4 % seven days from invoice date or 2 1/2% 30 days (unless marked net,) interest 6 1/2% charged on overdue accounts. Goods on objected in 14 days after receipt are considered duly accepted. Two holes at the left side are 5cm x 7.3cm apart for storage. Pink blank sheet followed by orange blank sheet and cream blank sheet to have carbon sheets inserted. A red glue holds the sheets together and bits of glue appear on the top sheet which is also torn in the top left corner. Box 116Adocument, invoice, hanro

This hand-knitted, white double-bed bedspread and matching round cushion were hand-made by Vera Giles. The process took her nine-and-a-half months. She presented it to Flagstaff Hill to be part of the Giles Collection. There are many 19th-century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by Vera and Aurelin Giles. The items are associated with the Giles Family and are known as the “Giles Collection”. These items mostly came from the simple home of Vera’s parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton), whose photos are in the parlour. They married in 1880. Henry Giles was born at Tower Hill in 1858. He was a labourer on the construction of the Breakwater before leaving in 1895 to build bridges in N.S.W. for about seven years. Mary Jane was born in 1860 at Cooramook. She attended Mailor’s Flat State School where she was also a student teacher before, as a family legend has it, she became a governess at “Injemiara” where her grandfather, Francis Freckleton, once owned land. Henry and Mary’s family of six, some of whom were born at Mailor’s Flat and later children at Wangoom, lived with their parents at Wangoom and Purnim west, where Henry died in 1933 and Mary Jane in 1940.The Giles family collection has social significance at a local level because it illustrates the level of material support the Warrnambool community gave to Flagstaff Hill when the Museum was established. The handmade items were knitted in the late 20th century using a craft and design that augment the late-19th to early 20th-century furnishings where they are displayed.Hand knitted white cotton bedspread and cushion with knitted floral pattern. Items are both part of the Giles Collection. flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill-maritime-museum, flagstaff-hill-maritime-village, knitted bedspread, knitting, bedspread, giles collection, henry giles, vera giles, tower hill, cooramook, warrnambool breakwater, mailor’s flat, wangoom, manchester, cushion

Nineteen Hanro Australia Financial Statements and Annual Reports 1926-1933. (Insert Attached List). Contained in light weight pale blue card folders. Some stapled and some loose sheets. Hanro Knitting Mills Pty Ltd (Aust) a). Financial Statements 30th June, 1926 b). First Annual Report 30th November, 1926 c). Financial Statements 30th June, 1927 d). Second Annual Report 30th November, 1927 e). Third Annual Report 25th October, 1928 f). Financial Statements 29th February, 1928 g). Financial Statements 30th June, 1928 h). Financial Statements 30th June, 1928 i). 4th Annual Report 30th October, 1929 j). 30th June 1930. 1 k). 30th June 1930. 2 l). Director's Report 30th June, 1930 m). Financial Statements 31st July, 1931 n). Sixth Director's Report 22nd October, 1931 o). Seventh Annual Report 31st July, 1932 p). Balance Sheet and Financial Statements 31st July, 1932 q). Balance Sheet and Financial Statements 31st July, 1933 r). First Annual report (after Company name changed) 13th November, 1933.Includes, H. Longstaff, Charles Handschin, Geo Lansell.business, retail, hanro financial records

Prestige Limited was formed in 1922 by George Foletta to manufacture fine silken hosiery. The company had acquired the Atlas Knitting and Spinning Mills Pty Ltd which had been established in 1920 and produced "Prestige hosiery" from 1921. Prestige Limited merged with Holeproof Hosiery Company (Australia) Pty Ltd in 1964. Both were taken over by Pacific Dunlop in 1968. The Prestige name was dropped in 1978/79. George Gotardo Foletta (1892-1973), hosiery and knitwear manufacturer, was born on 30 January 1892 at Northcote, Melbourne, eldest son of Victorian-born parents Henry Gotardo Foletta, a stonemason of Swiss extraction, and his wife Gertrude, née Bright. Henry repaired the depression-ravaged fortunes of his family by starting a successful fancy goods commission-agency.....George persuaded the demoralized board to restructure around a quality-first marketing policy. By 1924, when George A. Bond & Co. Ltd ( Sydney) was liquidated, Prestige was back in the black. About this time the company became the first Australian knitter to make fully-fashioned silk stockings, outselling the best imported brands and giving Prestige dominance of the local hosiery market. With the arrival of British-trained Leslie Gough in 1926, Prestige entered its period of greatest expansion. By 1933 it was spinning its own silk yarn, had diversified into lingerie and commenced business in New Zealand; three years later it was spinning imported rayon filament into hosiery yarn.A pair of unworn lady's brown nylon 'service weight' stockings made by 'Prestige' Pty Ltd. in the original boxBox Lid: House of / Prestige / ‘monogram’ / WONDERSOFT / SERVICE WEIGHT “FOOT COMFORT’ NYLONS. Box inside lid : ‘monogram’ / You will have day long comfort when your feet are cushioned / with the softness and the smoothness of ‘Prestige “Foot Comfort” nylons. The secret is in the Nylon soles / …and you will find these “ Foot Comfort” / soles in ultra sheer, sheer, service sheer / and service weight nylons. / by Prestigeclothing, stockings, nylons, prestige hosiery pty ltd, melbourne, bentleigh, cheltenham moorabbin

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This piece is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Ensemble consisting of sleeveless crop top (.1) and full length pants (.2). Bold floral print features blue and white flowers on a navy blue background. Top has a white Peter Pan collar. Swing tag attached.Swing tag: "SIZE 34 / STYLE 186/11 / PRICE $13.00".swimwear, watersun, david waters, ada productions, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Backless lamé one-piece swimsuit (.1) with pattern of silver, blue and bronze circles in various sizes. Waist ties knotted at front for cinched-in waist. Built-in underwire bra. Sleeveless A-line jacket (.2) in same fabric, falling past hips. Front zip and close-fitting hood.Label in bra, blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “32 / Unquestionable Bra”.swimwear, watersun, david waters, ada productions, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Blue and white gingham one-piece swimsuit. Short overskirt. Two rows of white cutwork lace form a frill along neckline and down either side of back straps, which fasten with buttons. Inbuilt bra with label: "Miss Watersun", size T14.Label in bra, blue with yellow sunburst logo containing the words “Miss Watersun” in red, above the text: “T14”swimwear, watersun, david waters, ada productions, miss watersun, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Two-piece swimsuit with navy blue and white horizontal stripes. Cropped top (.1) has inbuilt underwire bra and metal fastening at back. Shorts (.2) are high-waisted with longer legs. Matching top (.3) has diagonal navy and white stripes and an asymmetrical hem. Sleeveless with round neck. Velcro fastening on shoulder and side seam of shorter side. No label.swimwear, watersun, david waters, ada productions, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Two-piece swimsuit with navy blue and white horizontal stripes. Cropped top (.1) has inbuilt underwire bra and metal fastening at back. Shorts (.2) are high-waisted with longer legs. Matching top (.3) has diagonal navy and white stripes and an asymmetrical hem. Sleeveless with round neck. Velcro fastening on shoulder and side seam of shorter side. Labels inside bra and top.Label in bra (.1), blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “Unquestionable Bra / MADE IN AUSTRALIA / 34”. Label in side of bikini top (.1): “BRI NYLON” Label in back collar of top (.3): blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “34”, with words “Unquestionable Bra” truncated. Appears to be a repurposed bra label.swimwear, watersun, david waters, ada productions, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Gold lurex one-piece swimsuit (.1) with v-neck and built-in bra. Matching floor-length gold cape (.2) with high collar and yellow lining. Fastens at collar with hook.Label, blue text on white: “Watersun / SIZE 10 / BUST 32 / Made in Australia”swimwear, watersun, david waters, ada productions, melbourne designers, 1970s

Marina Couture was a luxe swimwear line produced by Watersun in the 1960s. Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Silver lamé swimsuit featuring delicate brocade embellishment, an inbuilt underwire bra, a zippered back and elasticised edging on the legs and back.Label in bra, blue with gold crown logo and text: “MARINA COUTURE / 32”.swimwear, watersun, david waters, ada productions, melbourne designers, marina couture

BHS CollectionHanro Spring Summer Catalogue Lingerie 1963: Black coloured card front cover with four point star Hanro Banner top centre with lime green background and Hanro in black print. Three oval white circles at the lower right hand side have writing Drama Colours in Black, which are listed to the left in white print. A three centimetre white coloured band placed horizontally a third from the top and three lime green bands arise from this white line at right and under the oval white shapes with one reaching the bottom of the page. Inside the front page it is advertising the line of the lingerie with its new Colours. It includes negligee/night set, night dresses, pyjamas, bedjackets, Princess slips and half slip, vests and spencers, briefs, panties and bloomers, and cotton vests. All Items included an item number, description, colour and sizes available. The back cover was white card with black print. The four star banner was lime green with Hanro printed in Black. Australian Knitting Mills Ltd heads the information about addresses and phone numbers of Bendigo and Interstate Offices. A 3 X 8.4cm black vertical stripe is found on the left-hand side from the top of the page. 3mm lime green band extends from the lower right hand side of the page for 17.7 cm. Box 116ACambridge Press Bendigobook, magazine, catalogue, hanro. catalogue. cambridge press bendigo.

This baby's cream silk dress has long sleeves, lacework on centre yoke, cuffs and hemline. Vertical pin tucks beside lacework on yoke and horizontal between lacework on hemline . This dress is an example of the dressmaking and lacework skills of the women of the early settlers families in Moorabbin Shire c1900 Early settlers and market gardeners established their families in Moorabbin Shirec1900 and this item shows the dressmaking and lacework skill of the women of these families This baby's cream silk dress has long sleeves, lacework on centre yoke, cuffs and hemline. Vertical pin tucks beside lacework on yoke and horizontal between lacework on hemline, The dress is fastened at the nape by a small mother of pearl button, clothing, baby clothes, cotton, silk, lacework, needlework, nylon, dressmaking, layette, knitting, craftwork, wool, early settlers, city of moorabbin, bentleigh, ormond, moorabbin, post war settlers, world war 11 1939-40, risstrom l

This striking pool party ensemble from Australian swimwear company Watersun was designed by Carmela DiBernado, nee Savino, for the opening of the Sydney Opera House in 1973. Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Pool party ensemble consisting of a swimsuit (.1) and robe dress (.2), both black with silver trim. Dress has a crossover front, fastening at side waist, with v-neck at front and plunging back. Swimsuit has a v-neck, with silver trim extending forming an X-shape across the body.Label (identical in both items), blue text on white: “Watersun / SIZE 10 / BUST 32 / Made in Australia”swimwear, watersun, david waters, ada productions, melbourne designers, 1970s, carmela savino, carmela dibernardo, sydney opera house

In 2020 during the period of lockdown due to COVID the National Wool Museum asked their volunteers to make and donate blocks made from a variety of materials found in their homes, for an ISO quilt. The NWM reached out to the patchwork and quilter community to find a local quilter to sew the donated blocks together. The quilt is sewn together and quilted by Judith Oke, 2020-2021. Judith is a local patchwork and quilter and a member of Geelong Patchwork & Quilters Guild. Through the process she was inspired by the tradition of wagga quilts, where bits and pieces are stitched together, sometimes lined with whatever the sewer found available, such as clothing and sacking, to provide warmth. In construction of the finished quilt the challenge was combining 10 inch blocks made from a variety of materials, with uneven sizing. The aim was to combine these very different blocks into a harmonious whole. To this end a light and dark pattern was planned, with the blocks to be sewn onto a blanket. The choice to layer the blocks over each other, rather than sew an even seam was aimed at emphasizing the make do nature of these ISO blocks. Due to the weight of the blanket a decision was made to sew the blocks onto a base before the whole was stitched onto the blanket. The blanket was sourced from NWM donations. The rich, red of the blanket provides a bright, warm background for the colourful squares. Some of the light weight blocks were backed with iron-on interfacing to strengthen them for sewing. The edges of two of the woven squares were blanket stitched with knitting wool. The 10 inch donated blocks/squares were machine sewn to a cotton sheet base, with liberal use of blanket stitching, as the blanket was too heavy to sew the blocks directly onto the blanket. The base with squares was then machine sewn onto the red blanket backing.Various multi coloured and designed patchwork squares sewn onto a red woollen blanket. isolation, covid, quilt, wool

c1950 Mrs Gladys Reed made this 1/2 petticoat from white cotton and knitted pink wool which she wore during winter to keep herself warmGladys Reed was a member of the Ormond Choral Society c 1950. who performed plays and musicals in the City of Moorabbin and she was an accomplished dressmaker and knitted this warm winter petticoat for herself.A 1/2 petticoat with a wide cotton waist band, knitted pink wool skirt and elastic waist insertclothing, underwear, petticoats, knitting, dressmaking, theatrical props, craftwork, sequins, beading, early settlers, moorabbin shire, mechanics institute cheltenham, ormond choral society, postworld war 11 settlers, housing estates moorabbin 1950, bentleigh, ormond, moorabbin, cheltenham, drama societies, musical society cheltenham, clark judy, reed gladys, reed george

LIght brown and cream patterned book with a brown cloth tape spine with an index of shareholders at the front of the book. Book dated from 1929 to 1930 with name, address and occupation of shareholder. Columns for particulars, no of transfer, Distinctive Nos From and To, Dr, Cr, Balance of Shares Held, Distinctive Nos Held From and To,Dr date and amount and Cr date and amount. Many blank pages. Names of shareholders are: Eugen Cloch, Mary Anderson, John Raeburn Balmer, Katie Bloch, Consortium Hanro, William Crowley, William Reddish Cook, Favaloro Bros, Favaloro Domeric, Charles Handschin, Catherine HUnter, a. Alex Lewis Robertson Goldie, Mabel Gittins, Handschin Alice, William Dill Hunter, Annie Chambers Hunter, Mary Elizabeth Hunter, Herbert Keck, Harry Francis Longstaff, Geo Victor Lansell, Edith Lansell, Audrey Edith Lansell, Marie Gwendoline Lansell, Patrica Hope Lansell, Lillie Goudie McGregor, William Bowman hanna Neill, Evelyn Adrienne Neill, Elizabeth Neill, William ?all Russell, Ronald Alexander Rankin, William John Stephens, Smalley Balmer & Cook, John Jepson Stanistreet, Kenneth Smalley and William Wright. Pasted in the back of the book is a typed letter from Mrs Edith Lansell, dated 1 May 1931 to The Secretary, Hanro (Aust) Bendigo Knitting Mills Pty Ltd in reference to a new share certificate to replace a lost or destroyed one. She undertakes to indemnify Hanro against any claims or losses if the share certificate is presented for Dividend payments or for capital returned. Signed by Edith Lansell. Witness signature unreadable.hanro, clothing, share register, hanro collection - a & b ordinary share register 1929 - 1030, harry francis longstaff, william ?all russell, charles handschin, consortinum hanro, catherine hunter, favaloro bros, george victor lansell, denderah, edith lansell, fortuna, william wright, advertiser office, william john stephens, audrey edith lansell, marie gwendoline lansell, patrica hope lansell, alexander lewis robertson goldie, llillie goudie mcgregor, herbert keck, smalley balmer & cook, william bowman hanna neill, rosemont, ronald alexander rankin, john jepson stanistreet, eugen bloch, william crowley, william ball russell, mabel gittins, mary anderson, kenneth smalley, john raeburn balmer, william reddish cook, domeric favaloro, katie bloch, evelyn adrienne neill, elizabeth neill, alice handschin, william dill hunter, annie chambers hunter, mary elizabeth hunter

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". It looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. Paragon knitting, crochet and tatting books have been distributed throughout Australia since the 1930's, originally by "Paragon Art Needlework Pty Ltd" of Sydney, N.S.W. From 1946 these books were designed and printed in Australia from patterns provided by British and Australian thread companies. Consequently these patterns may also appear in similar British and American publications. Paragon Book No. 104 is an instruction book designed for the "beginner" whilst Paragon book No. 105 is designed for the more experienced tatter. The layout of these books was typical of the 1940s period when paper was in short supply. Most of the pattern books were approximately 18 cms wide by 24 cms high and some were smaller at about 13cm by 21 cms. The type used was small (about four lines of text per centimetre) which was difficult to read. This item is an excellent example of a needle work pattern book available to women in the 1940's in Australia.A soft covered, 16 page instruction book titled "Tatting Designs". It has black and white photographs and detailed patterns for tatted doilies, a tray mat, a chairback and arm rests, a cheval set, a luncheon set, collars and edgings for an underskirt, gloves and handkerchief. It is published by Paragon Art Needlecraft of Sydney.Front cover - "Paragon's No 105" "PRICE 1/3" "Tatting Designs" "Household Linens * Personal Wear" Plus a stylized drawing of a deerflagstaff hill maritime museum and village, great ocean road, warrnambool, shipwreck coast, tatting book, tatting patterns, craft, handiwork, handcraft, needlework, shuttle

Tatting is a form of knotted lace making using thread and a small shuttle. Twisted threads are tied around or through small, pointed shuttles that can be made of bone, mother of pearl, tortoise shell, steel or plastic. This produces a stable, strong lace using simple knots of two half hitches to make rings and chains embellished with picots. The origins of tatting are not clear but early versions of decorative knotting were used by the Egyptians on their ceremonial dress. Tatting also has elements of fishermen's net making techniques and the decorative knotting that was practiced by aristocratic women from the 15th century. Tatting, as we know it today, emerged in the first half of the 19th century. The new availability of mercerised thread from 1835 encouraged a burgeoning of lace crafts of all sorts. It was known in Italy as "occhi" and in France as "la frivolite". It looks fragile but is both strong and durable. An article in a column named "Wives and Daughters" published in the Star newspaper in May 1910 describes the durability of tatting lace - "there is edging and insertion still in existence that have outworn two sets of pillow slips." In the 19th century and well into the 20th century, tatting was used like crochet and knitted lace for decorative edgings, collars, doylies, tray cloths etc. At first, different tatting patterns were passed along by word of mouth from person to person, however in time, patterns regularly appeared in newspapers and magazines well into the 1950's. Paragon knitting, crochet and tatting books have been distributed throughout Australia since the 1930's, originally by "Paragon Art Needlework Pty Ltd" of Sydney, N.S.W. From 1946 these books were designed and printed in Australia from patterns provided by British and Australian thread companies. Consequently these patterns may also appear in similar British and American publications. Paragon Book No. 104 is an instruction book designed for the "beginner" whilst Paragon book No. 105 is designed for the more experienced tatter. The layout of these books was typical of the 1940s period when paper was in short supply. Most of the pattern books were approximately 18 cms wide by 24 cms high and some were smaller at about 13cm by 21 cms. The type used was small (about four lines of text per centimetre) which was difficult to read.This item is an excellent example of a needle work pattern book available to women in the 1940's in Australia.A soft covered 16 page instruction book with black and white photographs and detailed instructions explaining how to tat and eight tatting projects including how to make a collar and handkerchief edgings, published by Paragon Art Needlecraft of Sydney.Front cover - "PARAGON BOOK NO. 104" "PRICE 1/3" "Learn to/ TAT' Back Cover - "36/D5 E/A DO2" - handwritten in pencil flagstaff hill maritime museum and village, warrnambool, great ocean road, shipwreck coast, tatting, tatting pattern book, tatting instructions, handicraft, needlework, shuttle, tatting shuttle, paragon needlecraft, paragon craft book