Item issued to Anthony Robert Cornelius. Refer 1874.2 for his service historyArmy issue V neck long sleeved woolen jumper 1968, khaki, knitted fabric jumper long sleeves, V neck, epaulette slotted button holes on shoulder.“Wylmah, Vic,1978 8405 - 66. 024-7645 / size 38 / service no......./name ......”uniform- male/female, jumpers

Native woven souvenir sash from East Timor. Pink, green, brown & gold bands alternating in vertical & horizontal stripes on each side, fringed ends.“East Timor repeated on woven central design”costume accessories-female, memorabilia, handcrafts- embroidery, military history - souvenirs, timor

Uniform belonging to Catherine Winifred Sewell Born 1915, Regt No 96270 F.O Women’s Australian Auxillary Air Force (W.A.A.A.F) .1) Jacket summer dress, cotton khaki, Epaulettes, lower right sleeve has 2 red chevrons denoting years of service .2) Skirt summer dress, cotton Khakifemale, uniforms, wwii, waaf

Awarded to Beryl SCRIMSHAW (MORRELL) who was a gunner in the heavy Ack Ack Royal Artillery in England during WW2. Enlisted 8.9.1941, discharged 9.1.1946 with the rank of L/SgtMedal set, court mounted, set of (2) re B Morell. 1. Defence medal, round silver colour. 2. War medal 1939-45, round silver colour.B MORRELL No W78538military, female, medals

This amber satin evening outfit was worn by Mrs. Isabella Mitchell (nee Russell, 1840 – 1929) at the wedding of her brother Alexander (c.1846–1938) and Eliza (nee Moore c.1854–1939). The jacket and skirt attach to each other at the waist by joining the metal rings that are around the base of the jacket and to the metal hooks that are on the waistband of the skirt. The outfit was donated with its own mannequin and fits it perfectly. In the colonial days, outer clothing was rarely, if ever, washed, due to the expense of fabrics and difficulty in careful laundering. Clever methods were employed to reduce the occurrence of soiling. The mannequin included with the donation would also help keep the outfit in good shape as well as being used for ensuring a flattering fit. FAMILIES’ HISTORY The families connected with this wedding for which this outfit was worn are from Warrnambool’s colonial days. Isabella and Alexander’s parents, Robert Russell and Elizabeth (nee Mitchell) were both born in 1808 and married about 1830. They were from farming families in Northern Ireland where they raised their seven children there before migrating to Australia in the early colonial days, around 1857. Their graves are in the Tower Hill cemetery. Alexander’s wife Eliza (nee Moore, born in 1854) was also from Northern Ireland and migrated to Australia in 1858 with her parents, Thomas and Nancy Moore, in the last voyage of the sailing ship “Chance”. Isabella (Bella) talked with her grand-daughter Ruby Akers about her memories of Alexander and Eliza’s wedding and other events in her life. Ruby recorded these memories in a letter. She says “They were married in the Warrnambool Congregational Church by a pioneer minister, the Reverend Uriah Coombs. The bride wore a pale blue silk wedding gown which was made by herself. Bella was Matron of Honora and Ian McCasker was best man. In those days the transport to the church was usually a carriage – similar to a cab – and a pair of white ponies. They would have the reception at home and then go for a drive afterwards and at night there would be a dance. They did all the catering themselves … Eliza carried on farming in the Dennington, Yarpturk and Purnim districts until they moved to Camperdown around 1905…” Ruby’s letter later mentions “[Isabella] could recall seeing a blackfellows’ corroboree being performed near where the Dennington Bridge now stands. It was rather a terrifying experience, they seemed in a warlike mood and one never knew what they would do next. One lubra came running to granny crying, Hide me, bad man kill me. She was bleeding from a wound in the head. Probably the result of a blow from a waddy. My mother [Margaret Jane McLaughlan nee Mitchell], coming home from school, often met blackfellows walking ahead with spears and boomerang, the two lubras – he usually had two – following in the rear, carrying the children or any burdens they had.“ Margaret would probably have been in primary school in the 1800s when she saw these things. Alexander and Eliza had ten children. One of their daughters, Margaret Jane, was born in Warrnambool in 1879. She married William McCullagh and they had eleven children. Margaret made headlines in the Warrnambool newspapers for celebrating her 100th birthday. She had lived in the district for 60 years before moving to Melbourne. Alexander passed away at the age of 92, and Eliza passed away six months later aged 85. Their graves are in the Colac cemetery. Isabella married Ralph Mitchell and their daughter Margaret Jane married John McLauchlan in 1891. Margaret and John’s daughter, Ruby Elizabeth, Jane married Fredrick Akers in 1938. Fredrick was born in England and was a Boer War veteran and served in the British Army. He migrated to Queensland, Australia, in 1913 and he joined the Australian Army to fight in World War I. In 1935 he moved to Warrnambool where he served in the Volunteer Defence Corps 1938-1945. Both Ruby and Fredrick are buried in the Tower Hill Cemetery.Together, the evening outfit and the mannequin are examples of female fashion of the mid to late 1900s. They are also significant for their association with the colonial pioneer families of Australia, Victoria and Warrnambool. The outfit and mannequin are significant for their connection with a wedding uniting two colonial families from Northern Ireland who immigrated to Australia in the mid-1850s. The families had a significant role in the history of Warrnambool and district. The evening outfit and its mannequin are significant for its connection with colonial families and their contact with the indigenous culture of the district and the contact between the native and European people. This ladies’ evening outfit is made from amber coloured satin fabric. It comprises a short-waisted, long-sleeved jacket and long skirt and it has its own neck-to-floor wooden mannequin on a pedestal. The outfit was worn by Mrs. Isabella Mitchell (nee Russell) as the Matron of Honour at the wedding of her brother Alexander Russell and his fiancé Eliza Moore in Warrnambool, 29th April 1874. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, evening outfit, wedding outfit, bridesmaid’ outfit, matron of honour outfit, clothing female, clothing late 19th century, clothing wedding late 19th century, clothing bridesmaid late 19th century, clothing antique, clothing ladies, women’s clothing, women’s fashion, alexander russell, eliza russell, eliza moore, isabella mitchell, bella mitchell, bella russell, isabella russell, ralph russell, ian mccusker, ruby akers, fredrick william akers, ruby mclauchlan, margaret jane mclaughlan nee mitchell, margaret jane mclaughlan centenarian, william mclaughlan, robert russell, elizabeth russell nee mitchell, irish immigrants, warrnambool volunteer defence corps 1938-1945, antique satin outfit, warrnambool wedding 1874, congregational church warrnambool, reverend uriah coombs, dennington farmer, yarpturk farmer, purnim district farmer, camperdown resident 1905, dennington bridge, indigenous corroboree in dennington, corroboree in warrnambool, 1880s corroboree in warrnambool, lubra and baby, indigenous corroboree in warrnambool

The Manifolds were a significant pioneering pastoral family in Western Victoria. The donated riding skirt originally belonged to Mrs Edward Manifold, formally Beatrice Mary Synnot Anderson. Beatrice was Edward Manifold’s cousin once removed whom he married in 1900. Edward, the son of John Manifold, was born on 15 November 1868 and educated at Geelong and Melbourne Grammar schools and at Trinity Hall, Cambridge (B.A., 1891). He chose the Danedite portion of land at Purrumbete, and on the death of his bachelor brother Thomas Peter (1863-1895), after a hunting accident, he took over his allocation, Wiridgil. He also owned Boortkoi, near Hexham and on these properties, he ran merino sheep, a Lincoln stud which dated back to 1870, and Shorthorn cattle. 3000 acres were also leased to dairy farmers. Edward was a member of Hampden Shire Council in 1909-31 and three times president at Camperdown. The town was largely bordered by Manifold land and partly dependent upon the local pastoral dynasties, which benefited the local area from the families’ various business interests. Though an offer to build public baths to commemorate the Queen Victoria Jubilee in 1897 was not proceeded with, the town acquired a hospital, a reserve on Mount Leura, a clock tower and a cricket pavilion, as well as notable donations from the Manifolds to St Paul's Church and the grammar school. Edward was a keen polo player and racing man. He was also a successful owner of steeplechasers and a committeeman of the Victoria Racing Club for many years. He was also a member of many Western District racing clubs. On the 16 July 1900, Edward had married his sixteen-year-old cousin Beatrice Mary Synnot Anderson by whom he had three sons Thomas Peter, Andrew and Robert Edward Manifold. Edwards's estate at his death was valued for probate at nearly £500,000. Edward died following an operation on 14 February 1931 at a private hospital in Yarra Vale Melbourne. Beatrice passed away in 1954, aged 79 in Ballarat where she was born in 1874. Contextual historic Family background: The Manifold brothers Thomas (1809-1875), John (1811-1877) and Peter (1817-1885) were the fourth, fifth and sixth sons of William Manifold and Mary, nee Barnes, of Courthouse Farm, Bromborough, Cheshire, England. The family had decided to emigrate to Van Diemen's Land. Thomas was sent ahead, arriving in Hobart Town on 23rd January 1828 with £1500 and a letter of recommendation from the Colonial Office. Thomas acquired 1280 acres on the west bank of the Tamar River. John and Peter, with their parents and three sisters, arrived on 8th July 1831. Land grants by then had finished but William brought ninety acres next to his son Thomas’ land and on the combined properties the family built Kelso House. The Manifolds’ properties were comparatively poor and when news of the Port Phillip District, in Victoria reached Thomas, he lost no time in coming to see for himself in February 1836. He was impressed with what he saw and hurried back to Tasmania to buy lambs and ewes. With one of his brothers, on July 9th he landed his stores at Point Henry and proceeded to occupy both sides of the Moorabool River. Thomas, at the end of the year, returned to Tasmania and left Peter and John to run the new property. Thomas, however, returned to Victoria for several visits and on one of these visits he, along with his brothers, examined the country near Ballarat. In December 1838 they managed to penetrate the Stony Rises, and Peter and John reached Lake Purrumbete and the Mount Leura country. During this time, on 4th July 1838, Thomas married Jane Elizabeth, eldest daughter of Captain Walter Synnot, formerly of Ballinate, County Armagh, Ireland, and then of Van Diemen's Land. Thomas joined his brothers, and they occupied the Purrumbete run in January 1839. On the journey to Purrumbete they could not take their stock and drays through the Stony Rises, so went north of Lake Corangamite, to the neck of land between it and Lake Gnarpurt. By April the move from Moorabool area was complete. As yet they had no hut and were working day and night, but their delight in their new run was unbounded. John wrote to his mother: “We are at last got to the land we wished for it is a beautiful place, and cannot be surpassed by any I have ever seen”. The three brothers occupied Purrumbete together, breeding both sheep and cattle until Thomas went to Grassmere run on the Merri River near Warrnambool in 1844. John and Peter soon gave up breeding sheep but retained the well-known '3M' brand for the cattle. These were Shorthorns, derived from four bulls originally imported by the Boldon brothers and later improved by further importations, and were renowned for size and quality. By the time of the gold rush in 1851, John and Peter were breeding over 1000 head a year, as well as fattening stores. The diggings at this time had disorganised Grassmere by drawing away Thomas's men, and his wife decided to take her two sons and two daughters to Europe for their education. Thomas gave up the property next year, went to England to join his family, and eventually brought the family back to live in Melbourne. At Purrumbete things were different. The brothers, John and Peter, preferred black stockmen to white, so the discovery of gold upset them very little while providing the very market they required. John was on his second visit to England when the rush started, and Peter went in his turn soon after John returned. On 2 September 1856 John married Marion Thomson, at Cormiston, Van Diemen's Land. They had four daughters and five sons, from three of whom, William Thomson, James Chester and Edward, the later generations of the family descend. Through the years the brothers had to contend with the scab, fluke and footrot, depression, rabbits, bush fires and pleuro-pneumonia. In 1861 they appointed as manager Henry Manifold Matson, their nephew, who had already been with them for five years. Thomas died in Melbourne on 7 November 1875, John at Purrumbete on 3 January 1877 and Peter at Purrumbete on 31 July 1885. Devout members of the Church of England, John and Peter, during their lives, gave generously towards building St Paul's Church, Camperdown, and guaranteed part of the vicar's stipend. Peter was a member of the Hampden and Heytesbury Roads Board from 1859 and carried on into the Hampden Shire Council when it was formed in 1864. However, it was not for public works that they were known, but for their personal example. In a new land where speculators and adventurers were all too common, the Manifold brothers were among those who intended it to be their home and their children's home. Industrious, unpretentious and hospitable, they were respected in their community as men of the highest integrity. This riding habit is a characteristic example of the type and style of riding clothes that well-dressed ladies wore in the 1920s. It highlights the changes that were beginning in society for women. Prior to 1918 ladies still had to ride side-saddle with skirts over Jodhpurs. Society of the time regarded women riding astride as unseemly and just not done. This riding habit is particularly significant on a number of levels, it shows the beginnings of change in society's attitudes through women's fashion after the First World War. A change that was to bring a start to a more liberating societal attitude towards women after the successful establishment of the Representation of People Act 1918 that gave women the right to vote. This garments provenance is linked to one of Victoria's important pioneering families the Manifolds, one of the first families that came from Van Diemen's land to settle the Western District of Victoria in 1844. Originally the garment belonged to the wife of the great-grandson of pioneer William Manifold, Edward Manifold who married Beatrice May Synnot Anderson, Edwards Cousin in 1900. The garment was made by the Mayfair tailors J. Busvine & Co. in the early to mid-1920s (estimate) who at the turn of the century were tailors to the Courts of Europe. Their clothing is highly collectible today and examples can be found in a number of significant museum collections around the world, notably the Metropolitan Museum of Art in New York and the FIDM in Los Angeles. Safety skirt/apron, part of a three-piece, side saddle riding habit tailored for Mrs Edward Manifold. This side saddle skirt is made from black woolen material fixing at the waist with two metal hooks and three buttons to the front opening. One internal concealed pocket lining to the top part of the apron made of cotton the seat is shaped for side saddle riding and the skirt wraps around the body the longer side draped over the leg that is in the stirrup. flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, side saddle riding habit, side saddle safety skirt, side saddle apron, mrs edward manifold, beatrice manifold, female riding habit 1920s, shipwreck coast, flagstaff hill maritime village, great ocean road

The Beagle Press, 1999.. Lge. 4to; pp. 128; frontispiece, 50 plates, bibliography; stiff illustrated wrapper, a fine copy. With contributions by Roger Butler, Anita Callaway, Jeanette Hoorn, Jacqueline Macnaughtan, Richard Neville, Juliet Peers, Kay Vernon and Liz Ward.non-fictionCatalogue of artworks by Australian female painter, Violet Teague.violet teague, windjammers, jane clark, felicity druce, artist, female artist, c.b. pedersen, carnarvon

Part of Birmingham Collection, donated by the Family of Misses Mary and Edith Maude Graham, of 4 Blair Street, Portland. Bed caps were worn in the 1800s to keep the head warm. However, in the early 1900s silk caps became popular to protect hairstyles . They were though to improve the health of hair.Cream silk cap, edged with cream lace with green embroidery. Gathered at crown.clothing, night cap, 1900s, headwear, women's headwear, women, female clothing

This petticoat is demonstrative of home made infant undergarment clothing in the early 1900. Distance to and from commercial haberdashery store was too far to fit out young girls especially if the are undergarments. Mothers and other family members had the seamstress talent to make clothes that are not in full view of anyoneHistorically these undergarments have no fashion relevance for the younger fashion scene and this garment is an example of the self sufficient supply of home made articles. This was especially so within the Kiewa Valley and surrounds. Fashion in Australia and more so in areas with little or no access to overseas or city merchandise lacked "modern fashionable" clothes e.g. the latest from England and Paris. This region was and still is a rural backdrop of clothes that fit into the type of life and work of the society it holds.Cotton petticoat, white, three buttons on top back, 8mm wide straps of cotton tape. Gathered skirt with triple row of Rick Rack on the bottom edge and three pintucks, 17mm wide, on the lower edge of skirt. Garment is completely hand stitchedchildren's underwear, female underwear, dressmaking, handcraft, costume, clothing

The dress was probably worn at a christening in one of the Kiewa Valley churches (denomination unknown). The importance of the event to family and friends is shown by the quality of the garment. These style Christening dresses were often worn buy several children of the one family , both boys and girls. Other items such as hand made bonnet may have been part of this out fit. "KVHS 0123" The quality of the garment and the fashion style it represents is both historical, not only the time of its manufacture but also of the fashion in that era. It has christian religious implications and values of the time frame of regional life in the early1900s. Girl's white dress (christening event), fine cotton with lace border "broderie anglaise" with a row of lace flowers mid skirt "battenberg".This lace is also inserted in centre front panel and sleeves. Scolloped cotton is also on sleeves, neck and front. Pin tucked skirt. Opening back with drawstring fastening at neck and waist. Short sleeves and machine stitched children clothing, lace-battenberg and broderie anglaise, female clothing, dress, cotton, christening, dressmaking

This dress was possibly manufactured by a local seamstress in the period circa early 1900.The quality of the dress suggests that the lady who wore it was from middle to upper range of the socio-economic structure within the Kiewa ValleyHistorically this item dating in the early 1900s was made by a very competent seamstress (lack of manufacturer's label). It demonstrates that the conditions of relative isolation within the Kiewa Valley was not extreme and that local manufacture of clothing items were available and at a very high level of quality. This item demonstrates that the hand made era was alive and an essential part of community/social adhesion within the valley.Beige knitted dress, sleeveless ladies pin weaved running from waist to bottom. Fine pin weave from bust to waist. Two mother of pearl buttons fastening opening front neck 11cm from neck to upper breastno manufacturer's label suggesting manufacturer was a very talented local seamstress costume, woollen, knitted, dress, female clothing

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis pin has a black plastic tear-drop ball at its head (earth shaped). It has diamond like chiseled profile from a centre band to the apex of both ends. The centre region has a herring bone pattern. Identical to Item KVHS 0356millinery, hat pin, female head wear, hat accessory

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis pin has a black plastic tear-drop ball at its head (earth shaped). It has diamond like chiseled profile from a centre band to the apex of both ends. The centre region has a herring bone pattern. Identical to Item KVHS 0287hat pin, female head apparel, clothing accessories

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsBrass Pin, two 3.5cm cones, gold coloured tapered down to imitation half peal centre piece Cones stamped with small flower petalsmillinery, hat pin, female head wear, hat accessory

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsHead of pin is ball shaped covered blue/silver reflective fastened sequin. Each sequin is attached by a seed bead of dark blue colourmillinery, costume, pin hat accessories, female hair restrainer

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsPin head consists of one eight petaled flower, two seed pods half open and one long leaf connecting leaf with seed pods. pin head and shaft are gold coloured. see KVHS 0351 for a cleaner itemmillinery, costume, pin hat accessories, female hair restrainer

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsElongated pearl on silver coloured pin shaftmillinery, costume, pin hat accessories, female hair restrainer

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoors This item is similar as the one worn by the "Queen Mother" in the film "The Kings' Speech"Silver coloured pin with a thistle shaped head also in silver/chrome colour. Sleek in appearancemillinery, costume, pin hat accessories, female hair restrainer

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsGold coloured pin adorned with two curls. One with fourteen small glass/diamond stones one red/ruby type stone three empty stone clasps gold coloured pin shaftmillinery, costume, pin hat accessories, female hair restrainer

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis hat pin has a turquoise glass ball head with a long needle. It is in the same style as items KVHS 0358 and KVHS 0359.millinery, costume, pin hat accessories, female hair restrainer

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis long hat pin is adorned with a flat, oval-shaped, piece of black plastic. A raised pattern of small distinctively dome shaped molded plastic infill together with three larger shaped domes. Identical to KVHS 0361costume, female head wear, accessories hat pin

Historically this item represents women's fashion in the 1920s to 1950s. As the material used in the construction is not of a high monetary value it can be assumed it was a day to day working woman apparel to keep the hat firmly fastened into the hair. It does indicate that fashion of the time was important within the regionThis item is a reflection of both the fashion mode of the 1920s to 1950s when long hair needed to be controlled by hair pins rather than later manufactured hair sprays. It is also an example of society's mores of tidiness and quasi religious beliefs of covering the hair and head when outdoorsThis long hat pin is adorned with a flat, oval-shaped, piece of black plastic. A raised pattern of small distinctively dome shaped molded plastic infill together with three larger shaped domes. Identical to KVHS 0360costume, female head wear, accessories hat pin