Note from collector: Once I had gathered a dozen or so blankets, I started noticing the many different labels; where they were made, by who, the logos and fonts used. Then the labels became a thing, then the blankets had to have a label to join the collection. My favourite labels are by Physician, they had at least 4 different labels over the decades but the best has to be the Lady In Bed logo. Physician, Onkaparinga, Eagley and others matched the colour of the label to the colour of the blanket - a nice touch. Strangely, Castlemaine labels were always sewn on the back of the blanket where all the other mills sewed theirs on the front. To this day I always roll or fold a blanket with its label on display.Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Double sized checked blanket , mint, peach and cream Pure Wool/Embassy/Made Expressly for the Myer Emporium Ltd./"For Value and Friendly Service"/by Invicta Mills/Made in Australiablanket, wool, blanket fever, invicta mills, myer emporium

Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Australia's Most Beautiful Blankets (Lady with Blanket)The Laconia Blanket/Guaranteed All Pure Wool/Australia's Most Beautiful Blankets/Laconia Blankets Make Goodnight a Certainty blanket, blanket fever, wool, laconia, advertisement

CTC dates from 1970- when CTS changed its name.Sleeveless Football Jumper, Collingwood Technical College 1970-, with CTC logo on side, and number 3 in a square on the back. Label inside 'A / RIDER / PRODUCTION / 70% Acrylic / 30% Wool' with a size 36 smaller tagCTC logo on side, and number 3 in a square on the back. Label inside 'A / RIDER / PRODUCTION / 70% Acrylic / 30% Wool' with a size 36 smaller tagcollingwood technical college, football jumper, uniforms, teams, nmit.

P.S Rodney with barges Horace & Nelson laden with wool bales bought into the Port to be unloaded onto rail trucks to go to markets in Melbourne. c.1890 Paddlesteamers travelled the river systems to bring wool from out- lying properties into the Port of Echuca to be transported by rail to Melbourne. This was prior to road & rail transport in the 1800'sOne of thousands of photos taken depicting the transportation of wool from out- lying properties to the rail head at Port of Echuca using paddlesteamers. P.S.Rodney alongside barges Horace & Nelson, tied to historic Echuca Wharf, with Pride of the Murray paddlesteamer & barge in back ground all vessels loaded with wool bales and crew resting on these. Riverbank lined with red gums. Handwritten in pen on lower left back corner "Rodney with barges Horace & Nelson c. 1890"farming, economy, p s rodney, port of echuca, wool bales, wharf, barges, horrace, nelson, paddlesteamer rodney, echuca

Donated by Mrs Robyn Adams, daughter of booklet owner, a wool grower named Victor Clyde. Clyde operated in North-Eastern Victoria.Paper booklet bound with three staples on spine. White/off-white colour with dark blue text. Heading at the top reads -GOLDSBROUGH MORT / AND COMPANY LIMITED-. Text at the bottom of the page reads -WOOL HAND-BOOKS and / WAYBILLS-. Inside front cover and first two pags are notes on how to use the book and how to prepare a wool bale for transport. Booklet is made up of pages with carbon paper copying, removable sheets upon which bale details can be described, coloured yellow and blue. First yellow page has been filled in by owner. Inside back cover has list of things not to do when using booklet. Back cover has an image of the wool warehouse.mrs robyn adams, wool transport, wool auction, wool sales, wool growing, waybills, elder smith goldsbrough mort limited, dalgety and company limited elder smith goldsbrough mort limited, goldsbrough, mort and company limited

1930 AA Ford 1.5 tonne (30cwt) truck. Originally owned by Blakiston & Company, Geelong. Built in 1930, this truck carried wool and general goods in Geelong and the Western District until the early 1940s. It was restored in 1989-1990 by David Malkit Automotive, Belmont, Geelong East Technical School. Specifications: 4 cyclinder side valve engine 201 cu.in. capacity 24 hp (R.A.C.) rating 40 bhp @2200rpm Optional 4 speed non-synchronised gearbox Heavy duty rear axle with torque rod Transverse front springs Cantilever back springs Coach built cab and tray bodyDark green truck with painted lettering on door and tray. The cabin has a black bench seat, and body has a wooden tray.printed: NATIONAL WOOL MUSEUM / GEELONG / BLAKISTON & Co. / Pty. Ltd. / CARRIERS / GEELONG / No 1 Licence plate: WOOL - 30ford, truck, transport, 1930s, vehicles

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced and given away by the magazine "Family Circle" in 1983 and contains knitting patterns designed by Jane Shepherd of New Zealand using Shepherd of New Zealand wools.WOOLLY WINNERS . . . / for beginners and dyed in the wool / knitting buffs / Designed by Jane Shepherdknitting handicrafts - history, shepherd of new zealand family circle, knitting, handicrafts - history

Through improvements in productivity after 1095, Dennys, Lascelles, Austin and Co. determined to expand and engaged the Sydney-based engineer Edward Giles Stone. The resulting Bow Truss Building was claimed as being the largest flat-roof space in the world (almost an acre) without visible support. The Bow Truss Building was demolished amid a blaze of publicity in May 1990.Collage of 15 photographs mounted in a grey/brown cardboard backing depicting various stages of construction of wool & grain stores. Wooden frame.Wording: Dennys Lascelles Austin & Co. 1910-11;Location: Top centre Wording: G.C. Wilmot Photo Geelong;Location: Bottom right cornerdennys, lascelles, austin, construction, grain, wool, building, geelong, architecture

Photograph of a Kettle Decatizing apparatus, as produced by H. Krantz Soehne (manufacturers of finishing machinery) of Aachen, Germany. It was sent to Arthur Heaton & Co. Ltd as part of a price quotation. Decatizing is the process of forcing steam through wool.Photograph, 1931, of a Kettle Decatizing apparatus, as produced by H. Krantz Soehne (manufacturers of finishing machinery) of Aachen, Germany. Decatizing is the process of forcing steam through wool.H. KRANTZ SOEHNE / AACHEN. 231.textile machinery textile finishing, h. krantz s?? arthur heaton and co. ltd, decatizing, textile machinery, textile finishing

Letter, from Robert Fellowes, to Colin Atkins and Rachel Faggetter, conveying Queen Elizabeth II and the Duke of Edinburgh's thanks for their visit to the National Wool Museum 28th April, 1988.Letter, from Robert Fellowes, to Colin Atkins and Rachel Faggetter, conveying Queen Elizabeth II and the Duke of Edinburgh's thanks for their visit to the National Wool Museum 28th April, 1988.Robert Fellowes THE FRAMEWORKS/167 VICTORIA AVE/ALBERT PARK/..

Wooluniform, 1973, army

Wooluniform, 1968, army

Pure wool black and dark green check pattern suit jacket. Single-breasted fastened with three buttons (2.4cm diameter) and two press studs. Buttonholes on a placket, of fabric cut diagonally. Classic collar. Top button at throat. Back of jacket made from four pieces. Front of jacket made of three pieces on each side to form shaping. Pockets inserted to seams at waist level on both sides of the jacket. Long sleeves tapering to wrist. Pure wool. Black and green, woven in a check design A-line skirt, with a long stitched down ''plackett'' effect of fabric cut diagonally, opening to a pleat, just left of centre front.Label inside back neck, ''Hanro tailored by franchise from Handschin and Ronus Ltd Switzerland. 100% wool. 18.costume, female, hanro pure wool jacket

Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." 'So warm, so soft, so everlasting (lambs frolicking on a pile of blankets)So warm, so soft, so everlasting/Laconia Pure Lambs Wool Blankets/Make Goodnight a Certainty blankets, blanket fever, wool, laconia, advertisement, australian women's weekly

Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." 'Treat yourself to the luxury of Australia's best blankets (blanket range): three examplesTreat yourself to the luxury of Australia's best blankets/Laconia 100% Pure Lamb's Wool/Make Goodnight a Certainty blanket, blanket fever, wool, laconia, advertisement, australian women's weekly

Pure wool, tan in colour, fine knit cardigan. Revere collar and five button opening. Two smaller buttons at each wrist. A 10.5cm wide ribbed panel extends from the chest to the lower band. Two rows of this rib also trim the cuffs together with the two small buttons. A flap pocket, also ribbed sits on each rib section on each front. Two cm cuff at wrist and a lower band.John Brown. Made in Australia PURE NEW WOOL M to Fit 38costume, male, cardigan

Part of a collection of books, manuals, photographs, letters and clothing relating to the working life of Stuart Ascough. Stuart's career in the wool industry spanned over 43 years from 1960 to 2003 in various roles including Topmaking Plant Manager at Courtaulds Ltd. in Spennymore, U.K., Operations Manager at Port Phillip Mills in Williamstown Victoria, Marketing Executive, Early Stage Wool Processing at the International Wool Secretariat Melbourne, Australia and General Manager of Victoria Wool Processors Pty. Ltd. in Laverton North, Victoria. Throughout his career Stuart travelled extensively, and in the 1990s worked at many topmaking mills in China on quality improvement projects. He also provided technical advice and training at mills in India, Ukraine, Lithuania, Kyrgyzstan, Russia, Latvia, Byelorussia and other parts of Europe and Asia.8347.1 Blue, yellow, white and teal circular metal calculator with four independently movable discs and black numbered measurements. 8347.2 Green booklet containing working instructions for the Uster Calculator 8347.3 Laminated comparison chart of wool finenessstuart ascough, international wool secretariat, victoria wool processors, port phillip mills pty ltd, topmaking, career, wool industry, training, technical advice, mills

Two CTC School blazers dating from 1970 onwards when Collingwood Technical School changed to Collingwood Technical College. Both have epaulettes on each shoulder with two gold stripes. The first also has two Band badges, one on each lapel, indicating it belonged to a School Band member. It is in very good condition. The second blazer has no badges, is made by 'waldron's SCHOOLWEAR' and has 'The Doctor FLANNEL ...' label and is a size 10.Black Pure Wool school blazer, with two gold stripes on epaulettes on each shoulder, and CTC logo on the pocket. A Band badge on each lapel. Dates from 1970 when Collingwood Technical School changed to Collingwood Technical College. Also a second CTC Black School blazer which was in the collection, also with the same epaulettes made by Waldron's Schoolwear, size 10.1st Blazer: CTC logo on pocket. And Manufacturer's labels inside. First reads 'PURE WOOL / Philip Joseph / TAILORED QUALITY'. Second label reads The FAMOUS / Doctor / FLANNEL / AUSTRALIAN WOOL BUREAU / GOLD MEDAL WINNER / ALL PURE WOOL / MOTHPROOFED' Second Blazer has label 'waldron's / SCHOOLWEAR' and 'The Doctor ...' label as the one above. This is a size 10.collingwood technical college, school blazer, uniforms, nmit.

Scrapbook, contains labelled newspaper cuttings for Godfrey Hirst Pty Ltd, 1948, a list of radio results for the year, and two editions of the "Wool and Textiles" newsletter 1948, the Dec2, 1948 issue mentions the attempt by Godfrey Hirst Pty Ltd to produce a tweed smelling of the Australian bush.Scrapbook, contains labelled newspaper cuttings for Godfrey Hirst Pty Ltd, 1948, a list of radio results for the year, and two editions of the "Wool and Textiles" newsletter.SCRAPBOOK 2textile industry, godfrey hirst and co. pty ltd excelsior woollen and worsted mills

Wool sample book kept by Mr Bruce Scott as part of a Melbourne Technical College wool classing course in the 1930s.Bruce Miller Scott 57 Waltham StreetFlemington W.I. Melbourne Bruce M. Scott 57 Waltham St. Flemington Melb. Bruce M Scott Melbourne Technical College Wool Dep.woolclassing wool processing, woolclassing, wool processing

Photographs were most likely used for promotional purposes. Room filled with wool scouring machines in an unknown textile mill.Sepia photo of a room filled with Scouring Machines in landscape format, located a textile mill.textile machinery, wool manufacture, wool, scouring

Sixteen page knitting pattern book featuring black and white text and images. The cover shows a woman wearing a knitted cardigan.front: [printed] Patons / KNITTING BOOK / NO. 422 / No. 422 / P&B / WOOL / Page 8 / 1'3d.fashion, design, knitwear, home made, wool, pattern book, patons

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced by Patons and Baldwins and contains three knitting patterns and instructions re: knitting and embroidery on knitting. It also contains ads for various different Patons wools, and provides lists and gives the contents of, other Patons knitting books.Let's / Knit / with / Patons / P&B / WOOLS / FOR FASHION WEAR / AND FAMILY WEARknitting handicrafts - history, patons and baldwins (australia) ltd, knitting, handicrafts - history

Part of a collection of books, manuals, photographs, letters and clothing relating to the working life of Stuart Ascough. Stuart's career in the wool industry spanned over 43 years from 1960 to 2003 in various roles including Topmaking Plant Manager at Courtaulds Ltd. in Spennymore, U.K., Operations Manager at Port Phillip Mills in Williamstown Victoria, Marketing Executive, Early Stage Wool Processing at the International Wool Secretariat Melbourne, Australia and General Manager of Victoria Wool Processors Pty. Ltd. in Laverton North, Victoria. Throughout his career Stuart travelled extensively, and in the 1990s worked at many topmaking mills in China on quality improvement projects. He also provided technical advice and training at mills in India, Ukraine, Lithuania, Kyrgyzstan, Russia, Latvia, Byelorussia and other parts of Europe and Asia.Cassette tape featuring image of a woman in black and white clothing.front: Talking Wool / Brought to you by / PURE NEW WOOL / AWRAP / ANZ spine: Talking Wool / August / 1994 / 5 back: Contents / SIDE ONE / AWRAP and IWS Intergrate Activities / by Mac Drysdale, Chairman, AWRAP, / Chairman, IWS / Changes to Quality Arrangements / by John O'Connor, General Manager, / International Market Development, AWARP / Pitti Filati Yarn Fair, Florence / by Terry Hennessey, General Manager, / National Marketing, AWRAP / Menswear in the US / by Judith Pinder, Associate Product Manager, / Menswear, IWS - Americas / SIDE TWO / Review of R & D Functions / by Mac Drysdale, Chairman, AWRAP / China Wool Product / by Bill Jones, Co-ordinator AWRAP/AIDAB / (Australian International Development Assistance / Bureau) China Wool Project / AWRAP in India / by Stuart Ascough, International Market Executive / (Early Stage Processing) / Produced by SG Communications Pty Limited. / ACN 063 021 796 © Copyrightstuart ascough, international wool secretariat, victoria wool processors, port phillip mills pty ltd, topmaking, career, wool industry, training, technical advice, mills, cassette tape, audio

Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." 'Laconia Makes a Bed' blanket range across two pages Laconia Makes a Bed/Softer, warmer, lovelier for years and years to come/Laconia 100% Pure Lambs' Wool Blankets blanket, blanket fever, wool, laconia, advertisement, the australian women's weekly

Part of a collection of books, manuals, photographs, letters and clothing relating to the working life of Stuart Ascough. Stuart's career in the wool industry spanned over 43 years from 1960 to 2003 in various roles including Topmaking Plant Manager at Courtaulds Ltd. in Spennymore, U.K., Operations Manager at Port Phillip Mills in Williamstown Victoria, Marketing Executive, Early Stage Wool Processing at the International Wool Secretariat Melbourne, Australia and General Manager of Victoria Wool Processors Pty. Ltd. in Laverton North, Victoria. Throughout his career Stuart travelled extensively, and in the 1990s worked at many topmaking mills in China on quality improvement projects. He also provided technical advice and training at mills in India, Ukraine, Lithuania, Kyrgyzstan, Russia, Latvia, Byelorussia and other parts of Europe and Asia.Printed booklet bound with plastic black ring binder consisting of approximately 33 pages.front: IWS International Pty. Ltd. / Wool Topmaking Overview / Prepared for - Australian Topmaking / Services, Parkes, New South Wales / August 1997stuart ascough, international wool secretariat, victoria wool processors, port phillip mills pty ltd, topmaking, career, wool industry, training, technical advice, mills

About the 1992 Barcelona Olympic Games donator Doug Pleasance wrote- During the 1980s the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technichian, my role was a low profile newly created position of “Controller, Technical Marketing” where wool was to be marketed on its technical properties, as distinct from the “Product Marketing Group” which exploited trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. 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.Green button up tailored jacket with two faux pockets and a breast pocket on left hand side. Olympic logo on left breast pocket.Label 1 - Barcelona 1992 Official Uniform Supplied by Australian Wool Corporation Label 2 - Fletcher Jones Australia On breast of jacket - Australia Barcelona 19921992 barcelona olympics, uniform, jacket, fletcher jones

This light woollen evening dress is made from Peppinella, a new fabric Norma Tullo introduced into her range in 1973. The fabric was used exclusively by Tullo, and came from the wool of Peppin Merino (first introduced into Australia in 1858 by the Peppin brothers). According to the papers of the day Tullo’s 1973 winter collection featured ‘St. Trinian’s styles to garments dripping lace, in bold plain colours to floral prints.” Shirley Lyle designed the floral fabric. Norma Tullo (1935-2019) was one of the leading fashion designers of her time, establishing her label in 1956. After establishing a business the Old Metropole Arcade in Melbourne in 1956, with three sewing machines, Tullo's ready to wear fashions for young women became sought after, and her business flourished. In 1966 the Japanese department store chain Isetan Co Ltd began to mass-produce her garments for their stores across Japan. Tullo closed her label in 1977, and later worked for Fletcher Jones. Ann Carew, 2020The dress is historically significant as a dress designed by Norma Tullo, a leading fashion designer of the 1960s and 1970s. During this period the Australian Wool Industry strove to promote wool, and to develop light woollen fabrics to compete with new synthetic fibres such as rayon. The garment is historically significant for the use of a merino wool showcasing its versatility for dress fabrics. Full length woman's dress with full skirt and long sleeves, collared with open neck and pleat work on bodice. Material is predominately red with a repeated pattern featuring posie of blue and mauve flowers.Inscribed, black label on back neck left of zip, 'TULLO/IN/PEPPINELLA/AUSTRALIA MERINO WOOL'; Inscribed, white satin label on back neck right of zip, 'DRY CLEAN ONLY'; Inscribed, white satin label underneath above label, 'SIZE 12/To Fit Bust 34"/To Fit Waistwool, rmit design archives, rmit university, woman's dress, textile design, australian fashion