The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.Very fine, lightweight silk two-piece pink and white striped dress comprising a long skirt and a short fitted jacket. The jacket is edged with cream lace at the collar and front. On examination, the lace, while appearing to be in a later style has been judged to be of the period.There is a small faded label on the rear collar of the dress, on which is hand printed the name of the dressmaker. The name has been variously interpreted as reading Miss Gibbens, Miss Gibbons, or Miss Gibbuis. women's clothing, day dresses, australian fashion - 1900s

London : Hodder and Stoughton, 1962 296 pages, 4 unnumbered leaves of plates, 8 unnumbered pages of plates : illustrations (some colour), maps ; 23 cm non-fictionDay-to-day account of the events of the first year; texts taken from historical records & mss; briefly mentions contacts with natives in districts, physical description.sydney (nsw), australian history - sydney 1788

The original postcards in this series (2013.002 to 2013.018) were generously loaned to Williamstown Botanic Gardens by a private collector for copying. The logo in the middle of the words ‘POST CARD’ indicates the card was printed by M. Schulz in Prague. Schulz was a long-established company from Prague and printed postcards for customers from worldwide. Schulz printed in photo-chromolithography. The Curator’s lodge, designed by the Town Surveyor, HV Champion, was constructed in 1907 following the re-organisation of the north-east corner with the demolition of the old curator's cottage and erection of new gates. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day. The card also demonstrates how postcards were used as a method of contact in contrast to the contemporary use as souvenirs. A colour image of a house (the Curators lodge) behind a fence with two children sitting on it. There are two large Cordylines, one in the forefront of the image standing in lawn and surrounded by pink flowers, and one closer to the house. The house is brown timber with two brick chimneys and has a green corrugated iron roof with gables over the windows at the front and side.Front: ‘The Lodge, / Williamstown Gardens’. Reverse: Centre top ‘POST CARD’ with a logo [MS] in the middle of the words; left side vertical ‘O. Rippon Series’; left side ‘This space may be used for communication.’; right side ‘For Address only.’; left side bottom ‘Printed in Germany’. There is a one penny red Tasmanian stamp on the top right hand corner. The card is addressed to ‘Miss E G Holford / 60 Upton St, / Launceston, / Tasmania.’ Top left corner in pencil ‘$10’ (believed to be inserted by the vendor.postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, curator’s lodge, children, cordyline

The original postcards in this series (2013.002 to 2013.018) were generously loaned to Williamstown Botanic Gardens by a private collector for copying. The Curator’s lodge, designed by the Town Surveyor, HV Champion, was constructed in 1907 following the re-organisation of the north-east corner with the demolition of the old curator's cottage and erection of new gates. Both the lodge and lake (1904) were built during the curatorship of Mr Thake. The logo in the middle of the words ‘POST CARD’ indicates the card was printed by M. Schulz in Prague. Schulz was a long-established company from Prague and printed postcards for customers from worldwide. Schulz printed in photo-chromolithography. The postcards are evidence of the interest the gardens held as a subject for postcard publishers. The text and images provide a snapshot into fashions, social interests and concerns of the time. The professionally produced images provide a pictorial history of Gardens including changing planting styles, various structures and features of the Gardens eg the aviary, cannons, the fountain, the second Curator’s Lodge and gates. The images offer an opportunity to compare garden vistas with the present day.A colour image of the ornamental lake and part of the Curator’s Lodge. The lodge has a green roof, tall brick chimney, is brown timber with brick where the fireplace would be. The small island with a succulent is in the centre of the image. The image looks across the top of the lake where the rock edging can be seen. Reflections of the plantings and lodge can be seen.Front: ‘Williamstown Gardens’. Reverse: Reverse: Centre top ‘POST CARD’ with a logo [MS] in the middle of the words; left side vertical ‘O. Rippon Series’; left side ‘This space may be used for communication.’; right side ‘For Address only.’; left side bottom ‘Printed in Germany’. In pencil top right corner ‘1907 / $7’ (believed to be inserted by the vendor.postcard, gardens, post-card, williamstown-botanic-gardens, hobsons-bay-city-council, curator’s lodge, ornamental lake, succulents, 1907

Knitting book produced by the Lincoln Mills, Coburg and containing knitting patterns for women's garments.Knitting book, 16pp. Front cover printed in colour with a photograph of a woman wearing a blue knitted cardigan with a matching blue knitted skirt and blue knitted hair band. Contains photos and patterns for women's knitted garments.Lincoln / BOOK 28 / THREE SHILLINGSknitting, lincoln mills (australia) limited, coburg, patterns, fashion

Thomas Harrison (1897-1981) was a leading Melbourne milliner from the 1930s. He began his millinery career in 1920, and by the late 1930s had a salon and workshop at 163 Collins St. He later moved the business to Toorak Road, South Yarra. He continued millinery work until 1975.Pink floral dome-shaped hat made up of silk and velvet pink hydrangea petals and mauve silk stems attached to a stiffened net base.Label, printed black on white acetate, centre back: THOMAS HARRISONthomas harrison, hats, 1960s fashion, melbourne fashion

This dress belonged to Bernice Overend, a longtime Brighton resident. Bernice Adelaide Emily Lawn was born in Ballarat in 1911. In 1938 she married Acheson Best Overend (1909-1977), an early modernist architect in Melbourne whose notable designs include the heritage-listed Cairo Flats apartment building in Fitzroy. Bernice and Best made a home together in Brighton, raising their family at 80 Were Street. Their son Darren followed in Best's footsteps, becoming an architect, and in 1979 he and his wife Jenny bought a property just down the road from his childhood home - the heritage-listed 1881 Victorian mansion 'Chevy Chase' at 203 Were Street. Bernice lived in the house with with Darren, Jenny and their three children.White cotton high-waisted maxi dress printed with black spots and trimmed with red rickrack. Elbow length sleeves. Fastens with centre back zip.Label, printed black on white acetate, centre back: JILLIAN / OF / MELBOURNE1970s fashion, maxi dress, bernice overend, overend family, chevy chase, brighton, melbourne designers, jillian of melbourne

Shaw family collection. This outfit was Mrs Shaw's 'going away' outfit for her wedding in 1972. Ricki Reed was a Melbourne-based label founded by designer Dorothy Rabinov.Two-piece hot pants outfit made from cream synthetic 'Estacel' (Courtaulds acetate fibre) and rayon with red dots and plain red synthetic fabric. .1 - Blouse: fastens centre front with five red plastic buttons. .2 - Hot pants: fastens centre back with zip.Label woven, metallic gold on white acetate, centre back blouse and shorts: ricki reed / ALL RAYON Label printed, black on beige acetate, centre back blouse and shorts: Estacel and / RAYON / COURTAULDS ACETATE FIBREhot pants, 1970s fashion, going away outfit, dorothy rabinov, ricki reed, melbourne designers

This outfit belonged to Bernice Overend, a longtime Brighton resident. Bernice Adelaide Emily Lawn was born in Ballarat in 1911. In 1938 she married Acheson Best Overend (1909-1977), an early modernist architect in Melbourne whose notable designs include the heritage-listed Cairo Flats apartment building in Fitzroy. Bernice and Best made a home together in Brighton, raising their family at 80 Were Street. Their son Darren followed in Best's footsteps, becoming an architect, and in 1979 he and his wife Jenny bought a property just down the road from his childhood home - the heritage-listed 1881 Victorian mansion 'Chevy Chase' at 203 Were Street. Bernice lived in the house with with Darren, Jenny and their three children.Three-piece woman's outfit comprising double-breasted cape, cropped sleeveless top and skirt; cream wool woven with silver lurex. Top is decorated with a centre front fabric bow and is decoarated with fake pearls. All items lined with cream polyester. .1 - cape .2 - top .3 - skirtLabel printed black on white acetate, centre back cape, top and skirt: DESIGNED AND HANDWOVEN / BY / Robert Maltuswoman's suit, chevy chase, overend family, 1960s fashion, robert maltus, bernice overend, melbourne designers

This jacket was bought in England for Elsie Law (nee Russell) by her husband James Lindsay Gordon "Lin" Law in 1930. Elsie used it as a bridge jacket. Lin was born in Ballarat 1881, the eighth child of Scottish migrants James Nicol Law and Margaret Law (nee Bartholomew). BHS holds an evening dress belonging to Margaret Law in its collection (see T0006.1). After leaving school at the age of 11, Lin began working as a salesman. In 1906, he and business partner James Kerr Pearson (also a Brighton local, who lived at 12 Moule Avenue) established the shirt manufacturing company Pelaco. In 1922 the company established its factory at 23 Goodwood Street on the top of Richmond Hill; the 4.3 metre high neon 'Pelaco' sign, erected in 1939, is today heritage listed. The company was known for its innovative approach to efficiency and labour relations, discontinuing Saturday morning work in 1908 and appointing an industrial relations officer in 1928. Lin married Elsie Russell on 12 January 1915 at St Mary's Catholic Cathedral in Sydney and they lived most of their life in Brighton. In 1920 they moved into 'Blairgowrie', 306 St Kilda Street, The eldest their four children, Pauline Margaret Law (born 15 December 1915) ultimately purchased the house with her husband Hugh McLean in 1956 and lived there until 1965 when the house was demolished.Cream silk jacket block-printed with art deco style pattern in red, blue, black and mustard colours. Lined with soft apricot-coloured satin. Wide stand collar. Front fastens low on hip with four silk covered buttons. Label, woven brown on cream silk, centre back: Eileen / Mulholland / Ltd. / 43, Wigmore St., / LONDON. W1.elsie russell, james lindsay gordon law, brighton, pelaco, bridge jacket, 1930s fashion, eileen mulholland, art deco

This dress and bag belonged to Mrs Edith "Dot" Paroissien (nee Jackson, born 1916), who lived in Brighton with her husband David William Paroissien. The dress was purchased from Croyde, a Melbourne designer who had a small boutique shop in Collins Street near the Block Arcade, and the bag was bought for her in London by David. Dot recalled wearing the dress in the 1950s, in particular to a ball at the Royal Exhibition Buildings for Wesley College. She wore it with suede shoes with a medium heel with straps across the instep and long white kid gloves, and accessorised with a baguette choker and drop earrings.Black silk satin sleeveless full-length evening dress. The attached bodice floats over the top of the under-dress. Asymmetrical opening on bodice which features five large flat self-covered buttons. The black suede bag has chrome fittings and buttery cream coloured satin interior. .1 dress - Label, woven black on white acetate centre back: CROYDE / MELBOURNE .2 - bag - Label, printed, black on cream acetate, interior pocket: Susan / HANDBAGS / LONDON; Label, printed, copper on black metal, interior pocket: MADE IN ITALY / FOR SUSANevening dress, croyde, melbourne fashion, melbourne designers, handbag, royal exhibition building, 1950s, edith violetta paroissien, edith violetta jackson

This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Di wore these novelty car print "Howard Showers" pants to many car rally events in Victoria, Australia and USA between 1990 and 2010, where she would perform the role of navigator and co-driver in a team with her husband David. Di's choice of clothing at the rallies is indicative of her sense of humour and attitude towards clothing. Cream coloured cotton French terry cloth pants with metal zip fly front, branded button closure, feature red stitching and printed cars in black ink. There are several car designs featured with each design appearing c1960s - 1970s. One car design features the name "Howard" on its number plate. Manufacturers label "Howard Showers, Holiday, size 12" Metal button inscription "Howard Showers, Syd (Sydney), Aust (Australia). "Made in Australia". Care label. howard showers, novelty print clothing, 1990s, di reidie

This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Di purchased this in 2012 at an auction of vintage clothing from the private collection of prominent Sydney fashion designer Lisa Ho, part of a wider sale of assets after Ho's business fell into deep debt. Ho began collecting vintage clothing and fabrics at the age of fifteen and her collection featured significant clothing items collected from around the world. For many years she drew on it as a source of design inspiration, particularly for print, in her highly successful fashion business. Di later wished she had purchased more at the auction!A full length slim fitting gown of gold metal thread and black thread self wave design fabric. The dress features a shawl collar, vertical pleat bodice, three panel, peaked front skirt. The dress secures with press studs at the centre front for modesty with a full left side opening secured by press studs. The sleeve features a front and back seam creating a squared shoulder head with fullness that is pleated in centre on the arm. the sleeve length is above the elbow. lisa ho, lisa ho collection, di reidie, vintage clothing, 1930s

This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Di purchased this dress as a vintage item and wore it during the years 2010-18, before donating it to BHS. The Mooney sisters, Nell and Ida, were situated beside the Regent Theatre in Collins Street, Melbourne and were well respected milliners and dressmakers.Short sleeved peach silk dress (.1) featuring beige lace appliqué on neckline, along with original rectangular brown cardboard box (.2).Label: "MF 2900 / Misses Mooney / of Collins Street" Printed on lid of box: "Misses Mooney / 189 Collins Street, Melbourne"di reidie, vintage clothing, misses mooney, melbourne designers

This item is part of the Di Reidie collection. Diane Reidie was a much loved volunteer and President of Brighton Historical Society from 1999 until 2016. Originally from New Zealand, Di and her family lived in Male Street, Brighton for many years. A vibrant and energetic person with a zest for life and a gift for bringing people together, Di was a friend to many in the Bayside community and active in local community organisations. Her tireless work as President of BHS saw her named Bayside Citizen of the Year in 2008. As a seller and collector of vintage clothing, she was passionate about fashion history; one of her many enduring contributions to BHS was her extensive work in preserving, developing and promoting the Society's costume collection. In 2018-19, Di donated more than one hundred items from her personal vintage clothing collection to the Society. The collection, which includes clothing, hats, handbags and shoes from local and international designers, is representative of Di's wide-ranging interests, colourful personality, creativity, humour and love of fashion and travel. Di purchased this dress as a vintage item. Elvie Hill (1917-2018) was a Melbourne fashion designer and a longtime Brighton resident. She established her eponymous label and became well-known for her elegant and feminine designs. She dressed some of Australia's best known women, including Lady Sonia McMahon and Dame Pattie Menzies, and was also known for her boutiques in Melbourne (the last store closed in 1991). She retired in 1999, aged 80.Long-sleeved silk chiffon evening dress with yellow/gold floral print and brown, red and black border at hem. Ruffled neckline and cuffs. Snap fastenings at cuffs and zip at back. Matching silk chiffon sash.Label, inside collar, black on white: "ELVIE HILL / OF MELBOURNE" Label inside seam: "SIZE 10 / TO FIT / Bust 80cm"di reidie, vintage clothing, melbourne designers, elvie hill, 1970s

A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Women's Official Occasions 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 Official Uniform was used for both travel and official functions. This included a tailored blazer and trouser/skirt set (all water repellent) by Fletcher Jones in pure olive green faille fabric by Foster Valley, a cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, a printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy.8116.1 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a green skirt and green woollen vest over a yellow button up shirt with printed neck tie. Three smaller drawings on the left side of the page show the details of the vest, necktie and shirt. 8116.2 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a black skirt and printed scoop neck, button up blouse, cinched at the waist with a black belt. Around the central drawing are smaller drawings showing the details of the skirt, belt and shoes. 8116.3 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a black skirt and black blazer with detailed striping across the right front and right arm. There is a small detailed drawing of the blazer to the right of the main figure which includes the design of a scarf. 8116.4 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Official Occasions Uniform. The main drawing shows the design for a green skirt, a yellow printed, sleeveless shirt, yellow gloves, along with a matching headband and scarf.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform

A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Men's Official Occasions 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 Official Uniform was used for both travel and official functions. This included a tailored blazer and trouser/skirt set (all water repellent) by Fletcher Jones in pure olive green faille fabric by Foster Valley, a cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, a printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy.8117 .1 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occasions Uniform. The main drawing shows the design for black suit pants and blazer, a yellow shirt with a white collar and a floral printed tie. Two detail drawings appear at the top of the page depicting the Australian emblem in detail as well as the suit jacket and shirt. 8117.2 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occasions Uniform. The main drawing shows the design for a pair of black trousers, a yellow button up shirt with a white collar and cuffs and a floral printed tie. Around the main image are three smaller drawings depicting the detail of the trousers, belt clasp and black shoes. 8117.3 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occasions Uniform. The main drawing shows the design for a pair of trousers, a green knit, button up vest, a yellow shirt with a white collar and cuffs and a floral printed tie. On this design there is also a small swatch of yellow fabric attached as well as a small detail drawing of the knit vest behind the right shoulder of the man depicted. 8117.4 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occasions Uniform. The main drawing shows the design for a pair of trousers, a yellow button up shirt and a printed striped tie. 8117.5 - unnumbered - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occassions Uniform. The main drawing shows the design for black suit pants and blazer, a yellow shirt with a white collar and a floral printed tie. Two detail drawings appear at the top of the page depicting the Australian Emblem set on top of stripes in detail as well as the suit jacket and shirt. 8117.6 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occassions Uniform. The main drawing shows the design for black shorts and floral button up shirt, belt, lace up shoes with socks and pocket detail.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform

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

A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Women's Opening/Closing Ceremony 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. Opening Ceremony Uniform included 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.8120.1 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Opening/Closing Ceremony Uniform. The main drawing shows the design for a dark green skirt, a yellow printed sleeveless button up shirt, a matching headband and scarf, yellow gloves and brown leather shoes. To the right of the main image are five detail drawings of the skirt, gloves, shoes and scarf as well as a depiction of a brown leather bag. 8120.2 - unnumbered- mounted on green card this sketchbook page depicts a design for the 1992 Barcelona Olympic Women's Opening/Closing Ceremony Uniform. The main drawing shows the design for a dark green skirt, a yellow printed sleeveless button up shirt and yellow gloves. 8120.3 - unnumbered- A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Women's Opening/Closing Ceremony Uniform. The main drawing shows the design for a dark green skirt, a yellow printed sleeveless button up shirt, a matching headband and scarf, yellow gloves and brown leather shoes. To the right of the main image are five detail drawings of the skirt, gloves, shoes and scarf as well as a depiction of a brown leather bag.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform

A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Women's Opening/Closing Ceremony 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 Official Uniform was used for both travel and official functions. This included a tailored blazer and trouser/skirt set (all water repellent) by Fletcher Jones in pure olive green faille fabric by Foster Valley, a cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, a printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy.8122.1 - A laminated A3 sketchbook page depicting a design for the Men's 1992 Barcelona Olympics Australian Official's Uniform. The main drawing shows the design for blue suit pants and blazer with six gold buttons, a yellow shirt and a red, green, yellow and cream striped tie. To the left of the main image are four smaller detail drawings of the belt buckle, gold bottons, blazer and shoes. 8122.2 - A laminated A3 sketchbook page depicting a design for the Women's 1992 Barcelona Olympics Australian Official's Uniform. The main drawing shows the design for a blue elbow length, square necked blazer with gold buttons on both the front of the jacket and sleeves paired with a blue pencil skirt and a red, green, yellow and cream shirt. To the right of the main drawing are four smaller detail drawings showing the pattern for a scarf, the striped shirt, the blazer and the shoes. 1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform

About the 1992 Barcelona Olympic Games donor 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 technician, my role was a low profile newly created position of Controller, Technical Marketing, where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool's superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.The shirt is sleeveless and in majority cream coloured. Around the hem, buttons and across the front of the shoulders is an appliqued floral design of Australian flowers and leaves inspired by the designs of artist Margaret Preston. The appliqued pattern continues around the bottom hem but not over the shoulders of the shirt.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.8124.1 - The blouse is cream with an Australian floral design inspired by the work of artist Margaret Preston. The blouse has a scoop neck, cream buttons and small triangular cut outs on the sleeves. The shoulder seam runs to the points of the triangle and another across the back of the shoulders to create a rounded design. 8124.2 - Floral print fabric sample, this sample is cut in the shape of the front panel of the blouse but is unsewn. 8124.3 - Floral fabric sample. 8124.4 - Floral fabric sample. 8124.5 - Floral fabric sample.BARCELONA 19921992 barcelona olympics, sport, athletes, fashion, design, uniform

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.A long sleeve cream coloured dress shirt with a detachable printed neck tie. The neck tie is decorated in an Australian floral design inspired by the artist Margaret Preston. The shirt has two breast pockets and double sets of cream buttons. The rear of the shirt is unadorned. 8124.4 - Floral fabric sample. 8124.5 - Floral fabric sample.BARCELONA 19921992 barcelona olympics, sport, athletes, fashion, design, uniform

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to  spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.8129.1 - Yellow woollen tie printed with an Australian floral design inspired by the work of artist Margaret Preston. Half of the tie is unprinted and cream in colour. On the reverse of the tie is a label with the manufacturers name. 8129.2 - Yellow woollen tie printed with an Australian floral design inspired by the work of artist Margaret Preston. Half of the tie is unprinted and cream in colour. On the reverse of the tie is a label with the manufacturers name. 8129.3 - Sample fabric showing the printing layer of tie, uncut.8129.1 - Tag on reverse - WOVEN & MANUFACTURED IN AUSTRALIA BY "Tee - Dee" EXCLUSIVELY FOR THE AUSTRALIAN WOOL CORPORATION 8129.2 - Tag on reverse - WOVEN & MANUFACTURED IN AUSTRALIA BY "Tee - Dee" EXCLUSIVELY FOR THE AUSTRALIAN WOOL CORPORATION 8129.3 - Stapled Label - "PURE WOOL PRINTED TIE"1992 barcelona olympics, sport, athletes, fashion, design, uniform

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to  spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Cream coloured, printed bow tie with Australian floral. The floral design was inspired by the work of artist Margaret Preston. The bow tie has a plastic hook clasp and the size is adjustable.1992 barcelona olympics, sport, athletes, fashion, design, uniform

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to  spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Short, cream coloured scarf printed with an Australian floral design inspired by the artist Margaret Preston. The floral design appears in red, green, white, yellow and black. Interspersed with the flowers are small motifs of Australia created through a curved cross hatching design.Label- Tee - Dee1992 barcelona olympics, sport, athletes, fashion, design, uniform

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to  spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.8135.1 - Straw Akubra style hat with Australian native floral printed band. The left hand side has a small hat pin that features the Australian flag with the Olympic rings underneath. 8135.2 - Straw Akubra style hat with Australian native floral printed band. Around the printed band on the right side of the hat is a tag with the hats details.8135.1 - on the inside - Akubra Olympian Made in Australia 8135.2 - on the inside - Akubra Olympian Made in Australia1992 barcelona olympics, sport, athletes, fashion, design, uniform

Alexander Lau established his business in 1950 in the Nicholas Building, 37 Swanston Street, Melbourne. He designed textiles and commissioned many of his textiles to be spun and woven in Geelong mills. He had a long association with the Returned Soldiers and Sailors Mill and with Mr Schofield, the manager. In 2000, he retired and closed the business.Glossy paper clothing tag with rainbow coloured logo and black printed text.front: CRESTKNIT KNITWEAR & / ALEXANDER LAU FABRICS / TOGHETHER IN / CO-ORDINATING FASHION / (SEE OVER) back: This ticket is your / SYMBOL GUIDE / to help you to / co-ordinate this garment with / a color-matched CRESKNIT lambswool / pullover or cardigan. / Look for the matching ticket on / CRESKNIT LAMBSWOOL KNITWEAR / and you'll find colors created to / give you sophisticated / CO-ORDINATION.

Fold out card brochure containing blanket fabric samples in a range of colours.front: [printed] Eagley / LUXURY / BLANKETS / FASHION / PIECEGOODS / PIECEGOODS front: [handwritten] Range / 1670eagley woollen mills, samples, fabric, brochure

Fold out card brochure containing blanket fabric samples in a range of colours.front: [printed] Eagley / LUXURY / BLANKETS / FASHION / PIECEGOODS / PIECEGOODS front: [handwritten] Range / 1523eagley woollen mills, samples, fabric, brochure