Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 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 T D 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.The bag is small, tanned leather with a panel on the front of the bag made from delicate, tanned barramundi skin. The handle is attached to the bag using a gold loop in the centre, top of the bag and one long adjustable strap, The main clasp of the bag features an image of the Australian emblem above the Olympic rings, the reverse of the bag is unadorned.Clasp on the front of the bag has the image of the Australian emblem over the Olympic rings. On the inside of the bag is a label- "Witney Green" "Made in Australia"1992 barcelona olympics, sport, athletes, fashion, design, uniform

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 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 T D 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.8142.1 - Olive green long wool/nylon blend socks without packaging. 8142.2 - Olive green long wool/nylon blend socks in packaging.8142.2 - On packaging- "Shoe size Kingsize11-14." "Wool Rich Blend." "HOLEPROOF HEROES" "Help put Australia back on its feet." On reverse of packaging- "If every Australian bought just two pairs of Holeproof Heroes we could help save our wool industry and put this country back on its feet." "Made in Australia." "CARE INSTRUCTIONS. warm machine wash. Wash and dry inside out. Wash dark colours separately. Do not bleach. Warm tumble dry. Dry without delay. 60% Wool 40% Nylon." Separate sticker label- "HOLEPROOF HEROES. Summer Winter Wool."1992 barcelona olympics, sport, athletes, fashion, design, uniform

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 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 T D 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.Men's brown leather shoe with a different coloured leather around the upper part of the shoe and laces. Only the right shoe.1992 barcelona olympics, sport, athletes, fashion, design, uniform

Uniforms for the 1992 Barcelona Olympic Games were designed by Wendy Powitt in conjunction with the AWC. Doug Pleasance, donor of these items, worked for the AWC and closely with Wendy Powitt, obtaining these uniform examples. About the Olympic Uniforms Doug wrote- 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 T D 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.A pair of cream coloured crew length socks in their packaging.On label - " Holeproof COTTON RICH 80% Cotton 20% Nylon covered Lycra" Care instructions on reverse.1992 barcelona olympics, sport, athletes, fashion, design, uniform

Depicted are 14 students comprising the the 1952 Ruyton Girls' School hockey team. The photograph is an official school portrait taken outdoors on a patch of grass with a leafy bush visible in the background. The students are all dressed in light coloured shorts with a collared, buttoned blouse, wool blazers, white socks and white sneakers. Six girls are kneeling in the front row, and eight are standing up in the back row. All of the students are holding their own hockey stick. The idea of field hockey for female players was brought to Victoria by two sisters, Lillian and Margaret Irving, who had first seen girls playing it during their travels in England in 1902. By 1903, the Irving sisters were joint headmistresses of Lauriston, a school they had founded two years earlier. Both had deep connections to Ruyton Girls' School through their time as teachers at the older school during the 1880s-1890s. For Lilian Irving, this had included seven years as Ruyton's co-Principal with Miss Eliza Bromby from 1888-1895. With these links it was only natural that Ruyton students would join Lauriston to try out the new game. On a vacant block on the corner of Mercer and Malvern Roads, students from Ruyton and Lauriston Girls' Schools had assembled to play Victoria’s first ever inter-school hockey match for girls. Some students from Melbourne Girls' Grammar School came along to watch the spectacle and assess the new game's potential. Hockey quickly caught on, and friendly games were soon being played amongst a number of Melbourne's girls' schools. An Association was formed in 1905, and the rules formalised. These included arrangements around the competition fixture and the length of games (35 minutes for each half). In celebration of their joint role in bringing field hockey to Victorian school girls, Ruyton and Lauriston have met for friendly re-enactment matches in 2003 and 2018. The photograph also illustrates the shift in hockey uniform and apparatus. In the early 1920s, Ruyton established instructions for playing attire: "skirts must be eight inches off the ground. No white petticoats...", and importantly, least any team get an unfair advantage, "hard-rimmed hats and hatpins must not be worn during play." Ruyton appears to have taken the latter instruction to heart, and adopted the soft tam o’shanter hat as seen in surviving photographs of early teams. The tam o’shanter may have been removed for play, but the blouse and long skirt had to be put up with. According to Lilian Irving they had "a horrid habit of parting company", and she was delighted to see the transition to a more comfortable tunic in later years. Another change she observed was the hockey stick itself, which originally were all of "uniform thickness from handle to head, about the thickness of a stout walking stick" and so very different from the hockey sticks that are used today.The record has strong historic significance as it depicts a former notable student, Helen Gordon (maiden name Cole), pictured third from the right in the front row. Helen started at Little Ruyton in Prep 1940 and finished Year 12 in 1952 as School Captain, Bromby Captain, Form Captain for Matric, Tennis Captain, Hockey Captain, Swimming Vice Captain, and an award for Best All-Round Girl. She also played baseball for Victoria. After finishing school, Helen went on to graduate from the University of Melbourne as a physiotherapist in 1956. Her first position at age 19 involved setting up clinics with the Victorian Health Department Poliomyelitis Rural division. Helen’s strong ties to Ruyton continued when she held the position of President of the Old Ruytonians’ Association from the start of 1966 to the end of 1967. In 2019, Helen received an Order of Australia Medal for service to community health as a physiotherapist. She was also the recipient of the 2022 Victorian Senior Achiever Award at Parliament House. Helen passed away in July 2023 at age 88. The record's significance is further enhanced by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection.Black and white rectangular photographs printed on matte photographic paper.Reverse: gton / Margaret Hanesho (?) / Helen Gordon / 1952 / Mary Macpherson-Smith /ruyton girls' school, kew, victoria, tennis, sport, women's sport, students, school, 1950s, uniform, lauriston, hockey, field hockey, hockey stick

Depicted are 13 students comprising the the 1950 Ruyton Girls' School hockey team. The photograph is an official school portrait taken outdoors on a patch of grass with a leafy bush visible in the background. The students are all dressed in light coloured shorts with a collared, buttoned blouse, wool blazers, white socks and white sneakers. Five girls are kneeling in the front row, and seven are standing up in the back row. All of the students are holding their own hockey stick. The idea of field hockey for female players was brought to Victoria by two sisters, Lillian and Margaret Irving, who had first seen girls playing it during their travels in England in 1902. By 1903, the Irving sisters were joint headmistresses of Lauriston, a school they had founded two years earlier. Both had deep connections to Ruyton Girls' School through their time as teachers at the older school during the 1880s-1890s. For Lilian Irving, this had included seven years as Ruyton's co-Principal with Miss Eliza Bromby from 1888-1895. With these links it was only natural that Ruyton students would join Lauriston to try out the new game. On a vacant block on the corner of Mercer and Malvern Roads, students from Ruyton and Lauriston Girls' Schools had assembled to play Victoria’s first ever inter-school hockey match for girls. Some students from Melbourne Girls' Grammar School came along to watch the spectacle and assess the new game's potential. Hockey quickly caught on, and friendly games were soon being played amongst a number of Melbourne's girls' schools. An Association was formed in 1905, and the rules formalised. These included arrangements around the competition fixture and the length of games (35 minutes for each half). In celebration of their joint role in bringing field hockey to Victorian school girls, Ruyton and Lauriston have met for friendly re-enactment matches in 2003 and 2018. The photograph also illustrates the shift in hockey uniform and apparatus. In the early 1920s, Ruyton established instructions for playing attire: "skirts must be eight inches off the ground. No white petticoats...", and importantly, least any team get an unfair advantage, "hard-rimmed hats and hatpins must not be worn during play." Ruyton appears to have taken the latter instruction to heart, and adopted the soft tam o’shanter hat as seen in surviving photographs of early teams. The tam o’shanter may have been removed for play, but the blouse and long skirt had to be put up with. According to Lilian Irving they had "a horrid habit of parting company", and she was delighted to see the transition to a more comfortable tunic in later years. Another change she observed was the hockey stick itself, which originally were all of "uniform thickness from handle to head, about the thickness of a stout walking stick" and so very different from the hockey sticks that are used today.The record has strong historic significance as it depicts a former notable student, Helen Gordon (maiden name Cole), pictured third from the right in the front row. Helen started at Little Ruyton in Prep 1940 and finished Year 12 in 1952 as School Captain, Bromby Captain, Form Captain for Matric, Tennis Captain, Hockey Captain, Swimming Vice Captain, and an award for Best All-Round Girl. She also played baseball for Victoria. After finishing school, Helen went on to graduate from the University of Melbourne as a physiotherapist in 1956. Her first position at age 19 involved setting up clinics with the Victorian Health Department Poliomyelitis Rural division. Helen’s strong ties to Ruyton continued when she held the position of President of the Old Ruytonians’ Association from the start of 1966 to the end of 1967. In 2019, Helen received an Order of Australia Medal for service to community health as a physiotherapist. She was also the recipient of the 2022 Victorian Senior Achiever Award at Parliament House. Helen passed away in July 2023 at age 88. The record's significance is further enhanced by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection.Black and white rectangular photographs printed on matte photographic paper.Reverse: Ruyton Hockey Team 1950. / 17 Cole / From left to right standing. / Helen Cole. / Left to right kneeling. /ruyton girls' school, kew, victoria, tennis, sport, women's sport, students, school, 1950s, uniform, lauriston, hockey, field hockey, hockey stick

The photograph depicts 12 young women students who were part of the 1951 Ruyton Girls' School hockey team. The students are all dressed in light coloured shorts with a collared, buttoned blouse, wool blazers, white socks and white sneakers. Three girls are kneeling in the front row, and nine are standing up in the back row. All of the students are holding their own hockey stick. The photograph was taken on School grounds, next to a pond which is no longer in existence at Ruyton. The idea of field hockey for female players was brought to Victoria by two sisters, Lillian and Margaret Irving, who had first seen girls playing it during their travels in England in 1902. By 1903, the Irving sisters were joint headmistresses of Lauriston, a school they had founded two years earlier. Both had deep connections to Ruyton Girls' School through their time as teachers at the older school during the 1880s-1890s. For Lilian Irving, this had included seven years as Ruyton's co-Principal with Miss Eliza Bromby from 1888-1895. With these links it was only natural that Ruyton students would join Lauriston to try out the new game. On a vacant block on the corner of Mercer and Malvern Roads, students from Ruyton and Lauriston Girls' Schools had assembled to play Victoria’s first ever inter-school hockey match for girls. Some students from Melbourne Girls' Grammar School came along to watch the spectacle and assess the new game's potential. Hockey quickly caught on, and friendly games were soon being played amongst a number of Melbourne's girls' schools. An Association was formed in 1905, and the rules formalised. These included arrangements around the competition fixture and the length of games (35 minutes for each half). In celebration of their joint role in bringing field hockey to Victorian school girls, Ruyton and Lauriston have met for friendly re-enactment matches in 2003 and 2018. The photograph also illustrates the shift in hockey uniform and apparatus. In the early 1920s, Ruyton established instructions for playing attire: "skirts must be eight inches off the ground. No white petticoats...", and importantly, least any team get an unfair advantage, "hard-rimmed hats and hatpins must not be worn during play." Ruyton appears to have taken the latter instruction to heart, and adopted the soft tam o’shanter hat as seen in surviving photographs of early teams. The tam o’shanter may have been removed for play, but the blouse and long skirt had to be put up with. According to Lilian Irving they had "a horrid habit of parting company", and she was delighted to see the transition to a more comfortable tunic in later years. Another change she observed was the hockey stick itself, which originally were all of "uniform thickness from handle to head, about the thickness of a stout walking stick" and so very different from the hockey sticks that are used today.The record has strong historic significance as it depicts a former notable student, Helen Gordon (maiden name Cole), pictured third from the right in the front row. Helen started at Little Ruyton in Prep 1940 and finished Year 12 in 1952 as School Captain, Bromby Captain, Form Captain for Matric, Tennis Captain, Hockey Captain, Swimming Vice Captain, and an award for Best All-Round Girl. She also played baseball for Victoria. After finishing school, Helen went on to graduate from the University of Melbourne as a physiotherapist in 1956. Her first position at age 19 involved setting up clinics with the Victorian Health Department Poliomyelitis Rural division. Helen’s strong ties to Ruyton continued when she held the position of President of the Old Ruytonians’ Association from the start of 1966 to the end of 1967. In 2019, Helen received an Order of Australia Medal for service to community health as a physiotherapist. She was also the recipient of the 2022 Victorian Senior Achiever Award at Parliament House. Helen passed away in July 2023 at age 88. The record's significance is further enhanced by its strong provenance, having been produced by Ruyton Girls' School and donated to the Archives by a familial connection.Black and white rectangular photograph printed on matte photographic paper.Reverse: Felicity Jacobs / Ann Dickinson / RGS011/1951/0002 /ruyton girls' school, ruyton, hockey, sport, school sport, field hockey, kew, melbourne, girls school, students, school uniform

A baleen whale has hard bristly baleen that hangs from its upper jaw inside its mouth instead of teeth. Baleen is made from a protein called keratin, just like human hair and fingernails, and its colour can vary between species, from black to yellow or white. The whale uses the tough, flexible baleen like a sieve to catch its food, filtering the small sea creatures out of the sea water it releases from its mouth. In the19th Century, whales were hunted for the products that could be made from their bodies, such as oil for lubricating machinery, soap making, lamps, heaters and fuel for the lighthouse lights. The flexible baleen was used for whip handles, carriage springs and umbrella ribs. It was also used for the skirt hoops, hat ribs, and rigid ‘stays’ in tightly fitting bodices to enhance their figures. The Southern Right Whales, as well as Blue Whales and Humpback Whales, are baleen whales. The Southern Rights annually visit the ocean off the southwest coast during the breeding season. In the early 1800s whalers hunted along this coastline in their dangerous pursuit of money for the precious cargoes of whale oil and bones. The population of these large animals dwindled quickly and by the late 1840s the whaling industry dwindled. Whaling recommenced from the 1940s to the 1980s when the whale products were used to make margarine and dog food. The baleen sample has been used to educate people about whaling and about the properties of baleen. The baleen sample is significant for its association with 19th century women's fashion. It helps to understand how garments were supported to shape a woman's figure. The baleen sample represents a period when whales were hunted and killed to provide income and products for for the local settlers and for the export industry.Baleen sample from a whale's jaw. Its black shiny hard yet flexible surface is slightly rippled and textured. One end is fringed and the other and a smooth cut edge. The colour varies in places, with stripy brown colouring. flagstaff hill maritime museum and village, great ocean road, shipwreck coast, baleen, whalebone, baleen whale, keratin, 19th century, whaling industry, women's fashion, stays, bodice, women's figures, fashion, clothing, whale oil, baleen colour, whale hunting, whale products, southern right whale, blue whale, humpback whale, southwest victoria, whalers, whale bones

Diana Jones (1939-2009) was President of the Association for the Blind from 1985 until 1992. In her 8 years as President a great deal was accomplished. New centres were opened or extended throughout Victoria and the Metropolitan area, volunteer services expanded and the Vision Resource Centre at Kooyong was built into which 3RPH radio was relocated. A Vision Information hotline, audiology services and the National Centre for Ageing and Sensory Loss were established, the Braille and Talking Book libraries was incorporated into the Association and the Charlie Bradley Cricket Pavilion opened at Kooyong. In 1990 Diana Jones became a member of the first Board of Directors of the newly incorporated Association for the Blind Ltd which ushered in a new era, requiring strict observance of financial and accounting methods in order to ensure continued Government funding. Mrs Jones was highly regarded by clients, volunteers and staff as a capable hard-working leader. Her services to the Association and over many years to the wider community, were recognised in her appointment as a Member of the Order of Australia in the 1993 Queen's Birthday Honours. In these images she is standing outside Brighton (?) wearing a pleated skirt, a white top with banding on the short sleeve edges, across the neckline and mid-chest with a zig zag pattern between the lines. She has on thick hoop earrings and a long chain with a pendant possibly shaped like a genie bottle.Portrait of Diana Jones in various sizesdiana jones, association for the blind

Dress purchased by Mary Schwerkolt in 1910 on voyage to America via German and the Suez Canal in India. Mary was on the passenger ship Seydlitz. Her future husband Emil Jackschowsky was a crew member. They were married in the Orphan's Court of Allegheny County, Pennsylvania by Minister J.L. Fischer on April 15, 1912. Mary had delayed her departure to travel back on this voyage with Emil.Cream silk wedding dress. High neck with a stand up shaped collar in the Queen Mary style. Collar has cream silk embroidery of flower centre front and leaves either side and edged in crocheted silk finely. Front bodice has 2 pintuck pleats either side of embroidered central panel and pleats are edged by embroidered panels to bustline. Bodice is gathered into high waistband. Skirt is pintucked into waistband. Embroidery is a band around hemline. The embroidery design is Indian "mango" design. The back bodice has pintucks into collar and opened to below waistband with metal hooks & eyes. Box pleat at base of placket opening. 3.4 length sleeve has a panel at hem on front with embroidered 4 petal cross flower & leaves either side. Waistband lined with cotton & neckband lined with cotton. Hem is faced with satined cotton.whalen, rosalie, schwerkolt, mary, jackschowsky, emil, jarosz, bettie, seydlitz, pennsylvania, fischer, j.l., minister, wedding dress, weddings, dress, india

B&W photo children playing under trees. L-R, Joy Hermon, John Hermon, Lynette Hermon, Elaine Martin, Henny and Cisca. Joy is wearing a long-sleeved dress with a collar, and she has a bow or large clip in her hair. John has a dark shirt and lighter overalls. Lynette, who isabout seven months old, is sitting up in a pram. She has a harness on. Elaine is around three months old and is lying in a wicker pram. Henny and Cisca, two Dutch girls, are wearing gingham dresses and cardigans. Henny's dress has two rows of rickrack on the skirt. In a fenced-off paddock behind the children, a corner of a shed can be seen. There is a tyre swing on a large tree. A dark tray truck is parked on slightly higher ground. Dated c. 1950s.

This wedding gown was worn by Mary Ann Lawrence at 8.00am on 5 January 1842 at St John's Church, Launceston, when she married Francis Henty. The couple were to catch the tide on their way to Portland two hours later. Francis Henty was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Mary Ann Lawrence's grey silk wedding gown has a v-line waist and a partly smocked bodice. It is lined with muslin throughout. It has hand-tatted cotton lace and handmade piping around the neck and bodice and pleated short sleeves. There was originally trimming on the skirt which was removed at a later date. Orange blossom made of chamois and tiny coiled springs originally decorated the neckline. The outfit was complemented by a bonnet to which a Limerick lace veil was attached. Measurements (mm): Girth - Neck 914, Chest 812.8, Waist 660.4, Cuff 330.2, Hem circumference 3200.4. Vertical - Front neck to hem 1270, Front waist to hem 1016, Back neck to hem 1320.8, Back waist to hem 1041.4, Sleeve length 114.3. Horizontal - Neck to sleeve head 50.8, Chest back 406.4, Underarm to underarm 406.4.mary ann lawrence, francis henty, wedding dresses, fashion -- 1840s, women's clothing

This bodice was part of the wedding outfit worn by Grace Burland at her marriage to John Henty Hindson in 1912. Her husband's grandfather, Francis Henty, was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living in his retirement at ‘Field Place' in Kew.The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Silk crepe wedding bodice decorated with Mechlin lace, pearls and jet, which was worn by Grace Burland at her marriage to John Henty Hindson in 1912. A report in Punch [12 September 1912] described her outfit as “... white crepe de chene finished with Mechlin lace and pearl trimming; also pearl crescent brooch (gift of the bridegroom' s mother).” Mechlin lace or Point de Malines is an old bobbin lace, one of the best-known Flemish laces, originally produced in Mechelen, Belgium. Used for women's clothing, it was popular until the first decade of the twentieth century. The high silk net neckline is finished with pearls. These are repeated on the loose fitted diagonal ornamentation on the front and back which is finished with pearl and jet beading. Similar ornamentation finishes the elbow length sleeves. [The wedding skirt is not part of the donation]. wedding dresses, women's clothing, fashion -- 1910s, bodices, grace burland

This Guide uniform was worn by Jane Reid when she was a Guide at 6th St Hilary's between 1987 and 1989. The uniform consists of a pale blue blouse, junior navy A-line skirt and navy wool beret with the World Guide badge embroidered on it. The scarf with the Victorian State Badge at the back is a triangle and can be used as a sling or bandage in an emergency. Jane's woggle (a band holding the tie) was made by hand. Some girls made woggles from leather, cord or items from nature such as gumnuts. The leather belt with the Girl Guide buckle bears a metal badge obtained at Britannia Park, the Victorian Guide camping ground at Yarra Junction. Her white lanyard (indicating she was a Patrol Leader) and brown leather pouch are attached to the belt. Metal badges pinned to the collar of the blouse are the World Guide badge on the right and the Guide Trefoil or Promise badge on the left. The tapes on the left sleeve identify the Guide Company, District and Region. Badges on the right sleeve are interest and achievement badges.jane reid, costumes, uniforms, girl guides 6th kew

The Library held books on all aspects of health and nursing, and staff members when undergoing Education had access to information held in the Library. The RDNS Librarian was available to provide access to particular information for many RDNS staff. The Library also holds the RDNS Archives.From its inception in 1885 the Melbourne District Nursing Society (MDNS), Committee recognized that a high standard of knowledge was required to nurse the sick poor in the community, so only Trained nurses (Nurses) were employed to carry out this work. From early times Lady Janet Clarke paid a yearly subscription, for MDNS Nurses, to Mullen’s Select Library, which became Melville & Mullen’s, so the Nurses could increase their knowledge. In 1966 MDNS gained Royal patronage becoming Royal District Nursing Service, (RDNS) which developed its own Library of books on health care subjects and employed a Librarian who also cares for the RDNS Archives.Black and white photograph showing two Royal District Nursing Service (RDNS), staff selecting books from the RDNS Library. The lady on the left hand side of the photograph has her dark hair drawn back and is wearing a floral blouse under a dark top and cardigan, and a dark grey skirt. She is standing with her left arm extended and is selecting a book from the top shelf of the four shelf book stand. The Sister to her right, who has short dark hair and is wearing a dark tunic style frock over a light grey skivvy, is crouched with her left hand in the 2nd bottom shelf and her right arm extended selecting a book from the bottom shelf. Each shelf of the book stand is filled with various sized dark and light covered books.Photographers stamp. Quote No. DR 9mdns, melbourne district nursing society, royal district nursing service, rdns, rdns library

Purchased from Baptist Community Care Shop in Station Street , Mitcham1980s Wedding dress with vee neckline, bodice coming to a point over waistline. Satin bodice with lace motives re-embroidered with pearl and sequins. Tulle yoke and sleeves with embroidered pattern lace motives and sleeve edge also re-embroidered. Satin bow on shoulders with pearl and sequins embroidering. Back of bodice to point over waistline, buttons down back - eleven self covered buttons over zip fasteners. Back waist finished with large bow at waist. Circular skirt gathered at bodice. Three panels inserted in centre front to 67cm high and 60cm wide. Attached underskirt. Train gathered to back waistline, two widths of material with embroidered lace inserts around hemline. Nine arrangements of embroidered lace flowers inserts over the train coming out of satin petal shaped pouches gathered at top to give an impression of a vase.costume, female ceremonial

This gown, one of two similar items in the collection, belonged to one of the daughters of George Ward Cole, Miss Margaret Morison Ward Cole or Miss Agnes Bruce Ward Cole. George Ward Cole was an early member of the Victorian Parliament and the family featured prominently in Melbourne Society in their time. They established a substantial home known as “St Ninians” at 10 Miller Street in 1841. The family reportedly entertained Melbourne’s first Royal visitor the Duke Of Edinburgh, Queen Victoria’s second son, at St Ninians in 1867. In later years St Ninians was subsequently subdivided and later demolished.A black and mint green wool, velvet, lace and silk dress from circa 1882. The bodice features a wired, standing collar, finishing just under the chin and open at the front of the throat. On either side at the front of the throat it features long black lace ties with black jet bead fringe. The centre front of the dress from the neckline to the base of the skirt features an insert panel of mint green corded silk. The silk is gathered and the neckline and waist and overlaid a panel of gathered lacy net. Inserted into the seam at either side of this panel at the waist are two velvet ties. The dress secures closed with eight black buttons and one hook and eye down the right side of the mint panel to mid thigh. The edges of the collar and black front panels are finished with a looped ribbon trim. The remainder of the dress is made of a black wool fabric woven a checkered pattern of larger and looser threads and smaller and tighter threads creating a seersucker like pattern. The bodice features a natural shoulder line and an Amadis sleeve of full cut gathered to the bodice at the shoulder and finishing at the elbow with a large black lace flounce. The front panels of the dress are flat and shaped neatly to the body from neck to hip line and gently out to create the Victorian silhouette. On the back of each shoulder the dress features a leaf like, small jet beaded embellishment with multiple long loops of jet beads falling down the back to the waist. Underneath this embellishment is a pleated black ribbon that runs from the shoulder to the back of the pelvis. Over the pelvis are another two jet beaded embellishments of a floral design with two tassels. The skirt is full and pleated in under this embellishment and fulls to the floor with a small train. The base of the dress is finished with a ruched band of the main dress fabric.st ninians, george ward cole, visiting gown, brighton, miss margaret morison ward cole, miss agnes bruce ward cole, 1880s

A woman stands at the end of a log bridge over a creek looking towards the south along the unsealed roadway. The sun illuminates her back. She is wearing a woollen knit beanie with edges rolled up, dark jacket and skirt, full length dark stockings and slip on dark leather shoes with raised heel, typical of the early 1920s. The creek is possibly feeding into the Karingal Yalloc. The direction of the road based on shadows is northwest as is the Eltham Road to Greensborough (present day Sherbourne, Karingal and St Helena roads). The creek is falling to the foreground so from south west to the north east, possibly feeding into the Karingal Yalloc, somewhere near presenet day Ramptons Road Reserve. This glass plate negative was used to manufacture postcards (1:1 printing) for commercial sale by the Rose Sterograph Company and its subsidiaries. George Rose founded the Rose Stereograph Company in 1880 and was joined by Herbert (Bert) Cutts in the early 20th Century. The pair formed a lifetime working partnership and strong personal friendship. Assisted by George’s two sons, Herbert George and Walter, and later by Neil Cutts, the Rose Stereograph Company continued its operations for more than 140 years. The company was initially built on stereographs, but as cinema took over and stereographs fell out of fashion, the Rose Stereograph Company developed Australia’s first commercially viable photographic postcard business. Specialising in postcards of iconic historical moments and significant landmarks, The Rose Stereograph Company became a staple of the Australian travel industry.This remarkable collection of glass plate negatives, transparencies, and postcards – arguably Australia’s most significant photography collection outside of public hands – has been passed down through the generations, surviving war, relocation, and the harsh Victorian climate. The historic Rose Stereograph collection is the culmination of George Rose’s dream of capturing and preserving precious moments in time and remains the legacy of the Rose and Cutts families. It is with great sadness that the Cutts family says goodbye to a collection that spans five generations and 140 years. The Cutts family understands that for these historically important pieces to rest with one family is to deny others the pleasure of their custodianship.Glass Plate Negative Size: 9.2 x 13.8 cmLog Bridge, Eltham Road, Greensborougheltham, postcard, travel, rose stereograph company, glass plate negative, creek, eltham road, greensborough, karingal road, karingal yallock, log bridge, sherbourne road, st helena road, women's fashion, rampton's road reserve, peter and elizabeth pidgeon collection

The article in the Herald of the day describes the event: "WEDDING AT SEAMEN'S CHAPEL Reception at Hotel Windsor The pretty little chapel at the Seamen's Institute was packed with interested friends this afternoon, when Miss Dora Walker, one of the Mission's most enthusiastic and efficient voluntary helpers, chose it as the setting for her marriage with Mr H. P. Simpson, son of Mr and Mrs J. H. Simpson, of Mornington. A group of her fellow workers decorated the chapel with lovely pink and white gladioli, carnations and roses. The ceremony was performed by the Rev. J. R. Weller, chaplain of the Mission, and the bride was given away by her father, Mr A. W. Walker, of Manning road, East Malvern. She wore a lovely ivory georgette frock, the finely tucked skirt being fashioned with a deep transparent hem of Chantilly lace. Over it fell a beautiful Honiton lace veil mounted on tulle and arranged to give the ef fect of a train. Fragrant white roses composed her bouquet. Two attendants followed her down the aisle — her sister, Miss Molly Walker, and Miss Ella Kendall — both wearing dainty shrimp pink georgette frocks and large crinoline straw hats in the same shade with a dainty edging of tulle. They carried bouquets of pink cactus dahlias nnd delphiniums. Mr Louis Buscombe was best man, and Mr George Thompson grooms man. After the ceremony Mr and Mrs Walker entertained about 50 guests at the Hotel Windsor."In 1928 there were not many stained glass windows in the chapel, giving that bright light inside.2 original prints and a reprinted versionwedding, dora walker, st peter chapel, flinders street, dora simpson, lhlg, amy dora walker, molly walker, elle kendall, reverend j.r. weller, harry simpson, missals, flowers, bookcase

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

Black silk-satin machine stitched dress. Dropped waist with bans 3.5 cm wide across front. Pleat from neckline to dropped waist, 2.5 cm wide and fastened down by four groupings of two one cm diameter buttons, mauve in colour. Four rows of narrow pin tucks each side of centre front and one tuck one cm wide on outer side of pintucks. Six press stud fasteners concealed under left hand tuck. Fold down collar, with two silk embroidered flowers appliquéd at collar fronts. Three quarter length sleeves slit at lower edge, and trimmed with two mauve buttons and two silk flowers appliquéd at each lower edge. Four knife pleats at each side of front skirt/ Back straight through from shoulders.garments from the Executors of the late Frieda Kahland 11400.122,11400.364, 11400.365, 11400.366.. Donated by A.L.Lienhop of Harcourt.costume, female, black silk-satin dress

Series of Black & White Photos Hill Family & Friends Post War Australia 4 in Total. Two males dressed in white trousers and shirts with dark jackets, one holds a parasol, the other two tennis racquets, gable roofed house in left background, lace work edging on the veranda, tree on nature strip, bushes and trees to right background, promenading Point Lonsdale Victoria Australia 1922. Jonah and child. Jonah wears a dark skirt and white blouse with light coloured coat, child wears full length body suit and is holding Jonah hands, garden setting. Doreen reading in garden, she wears dark clothing, sitting in a cane chair, corner of house veranda and garden in background. Herb, dressed in dark suit with white shirt and dark tie, standing on pier, moored yachts and one under full sail in background, St Kilda Pier Victoria Australia.Hilda Hill Personal Collectionaustralia, history, post war life

Alice Henty (1852-1932) was the third daughter of Francis and Mary Ann Henty. her father was the youngest son of Thomas Henty, who with his family, their retainers and property moved to the Australian colonies between 1829 and 1832. In 1834, Francis’ older brother, Edward, sailed from Launceston in Van Diemen’s Land to what was to become Portland in the western part of Port Phillip District [Victoria]. Francis, together with the first flock of Merino sheep [in Victoria], followed some months later. The first and second generations of the Henty family established vast pastoral properties in the Western part of the Port Phillip District. Francis Henty managed ‘Merino Downs’ near Casterton, while also living with his wife following his retirement at ‘Field Place' in Kew. The Henty Collection of nineteenth and twentieth century clothing, including outerwear and underwear, was collected, stored and exhibited over time by female family members descended from Francis and Mary Ann Henty. During the twentieth century, items from the collection were modelled in two fashion parades by various descendants [1937, 1959]. The items in the collection are historically and aesthetically significant, with provenance provided by oral and written tradition within or held by the family. A number of the items in the collection are very rare survivors, and provide researchers with the evidence needed to reconstruct the lives of notable women in the Port Phillip District [later Victoria] during the nineteenth and early twentieth century.Alice Henty’s wedding dress, made in 1876 for her marriage to John Hindson was remodelled in 1943 for the wedding of her granddaughter, Alice Henty Hindson to Norman Lithgow Tait at Holy Trinity, Kew. It was worn again by Margaret Henty Hindson (1918-2000) at her marriage to Dougald Webster Matheson at St Paul's Church, Henty in 1944. The two piece dress has a low décolletage shaped with a collar from which two curved panels drop. The fastenings for the bodice are buttons covered with the same fabric. The bodice is completed with two full length sleeves. The full skirt is slightly flattened at the front with a long train. In contrast, the ivory silk, silk faille and satin bodice with long tails remained unaltered. The front closure of the jacket has handmade embroidered buttonholes and covered buttons. The pleated collar and sleeves are decorated with gathered silk tulle. The jacket features long tails. alice frances (henty) hindson, women's clothing, wedding dresses, margaret henty hindson

A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Women's Village/Travel Uniform designed by Wendy Powitt. On the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- 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 village clothing was designed to be a highly visible garment meaning that it was easy to "Spot the Aussies" and helped to contribute to a good team spirit. Blocks of contrasting colours were a feature of the pure wool shirts. A newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.8118.1- A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic women's Village/Travel Wear Uniform. The main drawing shows the design for a pair of yellow shorts with a yellow and green printed, striped shirt, cinched at the waist by a brown woven belt. At the bottom of the page is a detailed drawing of the weave of the belt with an Australia shaped belt buckle. A small drawing to the right of the main image also details a small bag/pouch that attaches to the belt. 8118.2- A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic women's Village/Travel Wear Uniform. The main drawing shows the design for a pair of yellow shorts paired with a block colour shirt in green, red, white and yellow with a symbol in the shape of Australia on the right side of the shirt. There are small detail images of shorts and a skirt to the left of the main image and a detail drawing of a brown leather shoe to the right.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform