Until suction became available in the 1930s, maintenance of a clear airway during oral and nasal surgery relied on posturing of the patient, mopping with sponges or the temporary placement of swabs or throat guards. Removal of surgical debris such as polyps, blood clots or foreign bodies could only be effected by the finger or devices such as probangs. The Probang is inserted blind (perhaps guided by a finger), the main shaft can then be held in the left hand whilst the right hand withdraws the inner tube. This results in a fanning out of the linear strands which are visible proximal to the tip. Held in this position the instrument is withdrawn and is supposed to scoop out the offending mass. Long flexible metal rod covered in gum resin sheath with a ring grip at the proximal end and a smooth metal rounded edge tip for insertion into the airway for clearing of obstructive matter.Stamped onto gum resin sheath: MADE FOR / CARL ZOELLER BRISBANE / GERMANY Stamped onto gum resin sheath in gold leaf: [indecipherable - presumably manufacturer's label]probang, flexible, oral, airway, horsehair, anaesthesia, obstruction, dr sharkey, lidcombe state hospital

In 1898 a recommendation for a railway of 2 ft 6 in gauge was handed down by the Parliamentary Standing Committee on Railways, to cost $138,000. Construction of the Colac-Beech Forest railway line began in 1900. About 100 men were employed in laying and ballasting the track while others formed the earthworks and the building of culverts and bridges. The earthworks of gravel ballast 150 mm deep were formed by horse and scoop or by shovel. Once the bed had been laid surveyors went along to check the layout, particularly all check rail curves and all 100 metre curves which the surveyors in the picture are doing.B/W. Three men surveying the construction of a curved bed on which track will be laid, near Barongarook, Victoria.colac; beech forest; barongarook; railways;

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.The V&A's history of fashion describes 1930s dresses as characterised by '... a slinky femininity... Parisian couturiers introduced the bias-cut into their designs, which caused the fabric to skim over the body's curves. Long, simple and clinging evening gowns, made of satin were popular. Often the dresses had low scooping backs'.Full length floral crepe evening dress with squared neck and short puffed sleeves.australian fashion - 1930s, women's clothing, evening dresses

Clothing. Grey silk boned bodice, grey silk '' off the shoulder '' scooped neckline. Short cap sleeves finished with 5 tucks- middle tuck of a grey satin fabric. Sleeves set into bodice with a fine piping. Deep V shaping at front and back waist. Metal hook and hand stitched eyelets down front opening. Laced with silk ribbon at centre back. V shaped decorative yoke - 6 cms to peak, at neckline. Bodice fully lined with calico.costume, female, grey silk boned bodice

Clothing. Child's cream coloured silk nightdress. Wide scooped neckline with casing and lace trim. Skirt tightly gathered into casing at waist. Centre back opening (27cm) fastened with cotton tape ties at neckline and waist, (V shaped lace insert on bodice front). Skirt has inverted V shape embroidered insert at centre front from waist to hem. Item finished with decorative stitching. Raglan set short sleeves trimmed with pleated fabric.costume, children's, child's cream coloured silk nightdress

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

This set of photos is from a leather bound album bearing the inscription "HUME RESERVOIR AUSTRALIA" plus 'The Rt. Hon. L. C. M. S. Amery, P. C., M .P.' all inscribed in gold. It was presented to The Rt. Hon. L. C. M. S. Amery, P. C., M. P, Secretary of State for Dominion Affairs on the occasion of his visit to the Hume Reservoir on 2nd November 1927. This album is of local and national significance as it documents the planning and development of the Hume Reservoir up to 1927. It was the largest water reservoir in the British Empire. The album records the pioneering engineering work that went into its construction.DEPARTMENT OF PUBLIC WORKS, N.S.W. RIVER MURRAY WATERS SCHEME. HUME RESERVOIR. 32. Earth Embankment, Victoria. Looking down on the earth embankment and core wall. The earth is conveyed to the bank by rail, tipped out and then put in place by wheeled scoops, the horses and wheels treading and rolling the material into a very compact form while hoses play water on the mass to keep it moist. The concrete pillar with Tail Tower, and North Wing Wall, look very small in the distance. August 1927.hume reservoir australia, river murray waters scheme, hume reservoir construction

Orbost Bowling Club was founded in 1929 and still operates in Orbost today. The Bowling Club was founded by a group of farmers and businessmen. They set about providing a sporting icon for the town. Six rinks were constructed on the current site using horse drawn scoops and drags. The "Back to Orbost” 1937 book, describes the greens as "a bit rough for the first two seasons but now compare favourably with most country greens". Funds for the construction were raised by the issue of debentures at £5 each, and subscriptions were £1/1s/0d ($2.10). (info. Margaret Smith) This menu suggests that dinners for members were held regularly - at least annually and were fairly formal events. This item represents an era when formal dinners were important as a community event. Local clubs were significant in providing recreation and companionship by bringing people together and providing opportunities for social interaction.A green card dinner menu for the Orbost Bowling Club. It is dated 16/6/38 and is black print on a green background. It has 6 courses for choice.orbost-bowling-club recreation bowling

Soft pink, woven lace net sleeveless ladies’ nightgown. Scoop neckline with a pink ribbon bow at centre front neckline. 2cm wide lace edging around neckline, arm holes and hemline. Centre back overlocked seam. Neckline is slightly gathered as is the top of the arm holes, giving a slightly puffed effect. The shoulder, gathered panel is trimmed with the 2cm lace edging. Knee length. Fully lined with pink nylon fabric. Purchased from Fosseys. New label still attached.EMCO LADDERPROOF LINGERIE Made in Australia. Washing Instructions. All included on attached swing tag.costume, female underwear, nightgown

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. The V&A's history of fashion describes 1930s dresses as characterised by '... a slinky femininity... Parisian couturiers introduced the bias-cut into their designs, which caused the fabric to skim over the body's curves. Long, simple and clinging evening gowns, made of satin were popular. Often the dresses had low scooping backs'. This dress was made for an aunt of the donor, who was the daughter and sister of well-known male Melbourne architects in the Smart family. Long floral green crepe georgette dress.women's clothing, dresses, australian fashion - 1930s

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.The V&A's history of fashion describes 1930s dresses as characterised by '... a slinky femininity... Parisian couturiers introduced the bias-cut into their designs, which caused the fabric to skim over the body's curves. Long, simple and clinging evening gowns, made of satin were popular. Often the dresses had low scooping backs'. This dress was made for an aunt of the donor, who was the daughter and sister of well-known male Melbourne architects in the Smart family.Long cream and orange floral crepe georgette evening dresswomen's clothing, australian fashion - 1930s, fashion and textiles collection, rosemary smart

Clothing. Camisole. Cotton lace. Round neck dipping to a V. Tie at neck. Lace edged short, sleeves with two strips of lace 7.5 cm wide. Front fastening with three buttons. Peplum at waist. Shallow scooped wide neckline at back. Neckline edged with 2 cm lace. Three semicircular lace panels form a yoke around neckline at back. Five strips of lace form a semicircular lace yoke at front of bodice. The back is made up of two pieces. Front pieces of bodice gathered into a casing around peplum. .costume, female, underwear

Black & white photograph 20cm x 25cm of the Bendigo Butter Factory in Mundy St., mounted on cardboard. It appears to have been part of a display, with explanatory notes attached to each photograph. See 11011.12. On the reverse of the title photograph is the date 1950-1955 and a blue registration stamp with the words 'Pure creamery, Australia, Victoria regd'. An interior photograph shows a calendar with the date March 1957. This photograph shows the foreman and the manager inspecting a block of butter. On the reverse they are named as Bob Fletcher (Foreman) near scoop of butter, and Fred Oldfield (Manager).bendigo, industry, bendigo butter factory, robert fletcher, bob fletcher, fred oldfield

The Orbost Bowling Club was founded in 1929, by a group of farmers and businessmen. They set about providing a sporting icon for the town. Six rinks were constructed on the current site using horse drawn scoops and drags. The "Back to Orbost” 1937 book, describes the greens as "a bit rough for the first two seasons but now compare favourably with most country greens". Funds for the construction were raised by the issue of debentures at £5 each, and subscriptions were £1/1s/0d ($2.10). ( info. Margaret Smith) Included in the photograph are: Wm Kerr; D. Robinson; Lance Herbert; Fred McCoy; Jacob Perry; Ted Eaton; Jack McKeown; Wm Cumming; Harry Cameron; Dick Pardew; Wm Cowell; John Bird; Paul Spadaro; Carl Dreverman.Lawn bowling” is an outdoor game that has been popular for centuries. Bowling clubs play a significant role in community recreation needs. This is a pictorial record of this recreational activity in the first half of the 20th century.A black / white photograph of a large group of men playing bowls on a bowling green. Some are dressed in whites and others in suits.orbost-bowling-club sport recreation lawn-bowls

Owned by Alexander Cameron who arrived in Australia in 1853. Alexander Cameron ("Big Alex") was an early settler on the Snowy River flats. he worked the paddle steamer Cheviot for a while, having a wharf and sheds on the Snowy River in 1900. Later moved to Cann River. The Bowling Club was founded in 1929, by a group of farmers and businessmen. They set about providing a sporting icon for the town. Six rinks were constructed on the current site using horse drawn scoops and drags. The "Back to Orbost” 1937 book, describes the greens as "a bit rough for the first two seasons but now compare favourably with most country greens". Funds for the construction were raised by the issue of debentures at £5 each, and subscriptions were £1/1s/0d ($2.10). (info. Margaret Smith)Alec Cameron was a prominent early Orbost settler. The Orbost Bowling Club was established in 1929.Wooden lawn bowl with wooden circles on top and bottom. Top- I Bottom - J.R.22recreation sport lawn-bowls cameron-alexander

This bag belonged to Harry Perry and was donated by his son Trevor Perry. Harry Perry was the son of Jacob Perry, Shire Councillor, a farmer and Boer war veteran. Harry Perry's father, Jacob Perry, was a member of the inaugural Orbost Bowling Club. The Bowling Club was founded in 1929, by a group of farmers and businessmen. They set about providing a sporting icon for the town. Six rinks were constructed on the current site using horse drawn scoops and drags. The "Back to Orbost” 1937 book, describes the greens as "a bit rough for the first two seasons but now compare favourably with most country greens". Funds for the construction were raised by the issue of debentures at £5 each, and subscriptions were £1/1s/0d ($2.10). (info. Margaret Smith)Lawn bowling” is an outdoor game that has been popular for centuries. Bowling clubs play a significant role in community recreation needs. Members of the Perry family were inaugural members of the Orbost Bowling Club.A brown leather bowls bag. It has a zipper around the sides and metal studs on the bottom. There are carrying straps at the top.bag personal-effects bowling-bag recreation sport perry-harry

Small book with brown cover and dark blue printing. Printed by Cambridge Press, Bendigo. Contains photos or drawings of scarifiers, points, tynes, disc cultivators, duplicate parts for disc cultivator, spike roller, drag harrows, drag harrows with harrow cart, mould board ploughs, circular coulters, earth scoops, pulley chain yokes, swings and pipe bars, leveller and smoother, delver and crowder, buck scraper, land louvre grader, stock troughs and windmill parts. Description and sizes of are included. Windmill parts and disc cultivator parts have catalogue numbers.john bovaird collection - the golden city implement co, cameron & sutherland, agricultural implements, cambridge press

Clothing. Cream silk woman's bed jacket with cap sleeves trimmed with 2cm cream coloured scalloped lace. Sleeves embroidered with five 7mm flowers of different colours. Low scooped neckline dips to a V at centre front. Front opening and neckline edged with 2cm scalloped cream coloured lace. 6cm peplum front and back with drawstring casing connecting it to the bodice. .5cm ribbon tie through casing. Press-stud at centre front at base of neckline. Floral embroidery of wreath and scattered flowers on both sides of front bodice and at centre back below neck line.costume, female, woman's bed jacket

Clothing. Child's white linen waisted nightdress. Scooped round neckline with casing and lace trim. V shaped broiderie lace insert below neckline with 2 cm fabric trim on each side. open at waist. Skirt tightly gathered into casing at waist. Skirt has inverted V shaped insert at centre front from waist to hem. Overlay on each side with decorative stitching. Item is trimmed with two rows of 1.5cm lace. Double layer cap sleeves of broiderie lace with scalloped edges.Centre back opening (33cm) fastened with cotton tape ties at neckline and waist. Fold over collars at back neckline (12cmX 4cm).costume, children's, child's nightdress

Clothing. White cotton camisole with short sleeves. Round neck edged with lace (4 cm). High round neck at back. Scoop neck at front. Front opening with five 1 cm plastic buttons. It has a covered placket with lace to conceal the button holes. It has a gathered 10 cm peplum. The front bodice on both sides has two vertical lace inserts to the edge of the peplum. There are five rows of pintucks between the lace inserts. There are four rows of pintucks on the left and right sides of the lace inserts. The back has a centre lace insert to 3 cm below the peplum with four rows of vertical pintucks on either side. Short sleeves have 6 cm lace edged.costume, female, underwear

Clothing. Rounded neckline at the back, deeply scooped at front. Back fastens with 12 metal hooks and eyes. Back hemline is slightly shirred to nip in the 67 cm waistline, which is peaked at the cntre front. ''Leg-o-mutton'' type sleeves are gathered at the shoulder, and above the elbow, and finished with an 8 cm band of beading and sequin embroidery and a 4.5 cm black silk frill, and a frill of black lace, with an exquisite fruit and floral woven pattern. The neckline is trimmed with a deep lace and sequined silk overlay. Three velvet ''rosettes'' trim the centre front of the overlay. The silk bodice is shirred from just below the shoulders, to give fullness for the bustline sequins, tiny beads, velvet rosettes, silk chiffon frills.costume, female, black silk boned bodice with lace

Cream coloured long sleeved wedding dress made of crimplene fabric. Fabric has horizontal all-over scallop pattern. Dress is fully lined with white satin fabric. Dress is an empire line shape with A line skirt. Bodice has two side darts and darts from the empire waist line. Below the waist line the skirt has two inverted pleats. The front has a wide scooped neckline with narrow shoulders. The back of the bodice has two darts from the waist line and the skirt has two darts from the waistline. The dress has a back opening from the neckline with a 43cm zipper. Set-in long sleeves are bell shaped to the wrist with a 17cm slash at the front of the sleeve. Inside each shoulder are ribbon strips with press studs to secure underwear straps.costume, female ceremonial, wedding dress

The donor and family of this gown were long-term Brighton residents, and the gowns were held by them as family heirlooms prior to donation to Brighton Historical Society. Originally owned by Elizabeth Emma Adams and Cecilia Elizabeth Adams, it is believed that the dress was brought to Australia by either a half brother, James Smith Adams, or a younger sister, Sophia Charlotte Louisa Adams (later known as Mother Rose Columba Adams). Elizabeth and Cecilia were the daughters of James Smith Adams (a squire, 1780-1860) and Elizabeth Emma McTaggart (1793-1843) of Tower House, Woodchester in Gloucester, a property which Elizabeth later inherited. Originally a monastery, Tower House had been converted into a stately home after the Reformation. According to information originally provided by the donor, the skirt portion of this dress (along with the bodice T0004.3) was made for either Elizabeth or Cecilia to be worn at the young Queen Victoria’s first 'drawing room ball' following the end of court mourning in 1838 for her uncle William IV who died in 1837. In 1838 Cecilia would have been twelve years old and Elizabeth would have been ten years old. It is possible that this dress was worn by one of the girls to this event as it is of appropriate dimensions for a child of that age, although its design is very formal and adult. Elizabeth was born on 30 June 1828 at Tower House and died on 1 May 1909. She created a scandal when she eloped with her first husband, Thomas Charles Gardiner at the age of 18. The validity of the marriage was later formally investigate and, while it was confirmed as valid, a second church wedding was subsequently held. Thomas died in 1878. Elizabeth subsequently remarried Reverend R. E. Blackwell, but was widowed again by 1889. Cecilia was born on 17 December 1826 and died in 1902 a spinster recluse in England. At the inquest into Cecelia's death in 1904 it was revealed that she had clearly come from a family of means as her home was filled to the brim with highly valuable goods, many in boxes. She was buried in the family vault at Woodchester. Elizabeth and Cecilia's sister Sophia converted to Roman Catholicism in 1851 and became a nun, taking the religious name 'Rose Columba'. In 1883 Mother Rose Columba led a group of eight to Australia, answering a call for Dominican sisters to nurse the sick in Adelaide. Upon arrival, she founded St. Dominic's Priory and the Church of Perpetual Adoration in North Adelaide, using her inheritance to build the chapel. Elizabeth's second son, George Henry Somerset, who inherited the Adams family estate dropped the 'i' in Gardiner and added the maiden name of his grandmother. Therefore, the family name has now become Gardner McTaggart. These Adams family entries have been updated with information provided by Dr Herbert Gardner McTaggart, great-grandson of George Henry Somerset in April 2016. Mr McTaggart contacted the society after finding our entries online.A hand and machine sewn cream, pale blue, orange and gold embroidered satin formal dress, the bodice dates from circa 1890. This dress shares a skirt with T0004.3, which dates from circa 1840. The bodice features a high scoop neckline with gathers at the base of the scoop and directly below where the bodice finishes creating fullness over the bust. The bodice front encloses the bust with a right panel over the top of a left panel and securing with two hook and eye closures over the left shoulder. The panels are secured together with 15 hook and eye closures. The sleeves are set neatly on the true shoulder and are elongated full puffs to just above the elbow. The fullness is created by nine pleats from the top of the shoulder over the back of the shoulder. At the base of the sleeve the fullness is gathered just above the elbow. At the centre back of the bodice are four inward facing pleats running from the centre neck to the waist. The bodice is secured around the waist with a tape and four hook and eye closures. The bodice is boned around the sides and back of the torso with eight bones. This bodice is finished at the waist with a pleated cummerbund of the dress fabric that is designed to appear to be a sash with two decorative bows. One front left of centre and one back right of centre. The skirt secures at the waist with an opening to the left of centre at the back. The skirt gathers tightly at the centre back with a dart on either side. The skirt has a front central panel and the skirt falls to floor length. At the back, the skirt is also floor length. The back of the skirt may have been modified at some time and may have originally finished in a train. It would be more appropriate to the period of the bodice, and the believed use of the dress with a train.cecilia elizabeth adams, elizabeth emma adams, queen victoria, tower house, woodchester, james smith adams, elizabeth emma mctaggart, sophia charlotte louisa adams, 1890s fashion

"It was John Wedge, Batman's private surveyor, who named the Yarra Yarra. In September 1835 he was at the Turning Basin with some Kulin and heard them identify the river as it came over the Falls as, he wrote, 'Yarrow Yarrow'. It was only some months later that Wedge discovered they had been referring to the pattern and movement of water over the Falls, not the river itself. And ever since, it has been the Yarra's fate to be misunderstood: maligned for its muddiness, ill-used as sewer and tip; scooped, sculpted, straightened and stressed, 'cleaned up' to the detriment of its natural inhabitants; built-over, under and beside; worked mercilessly and then bridged almost to maritime extinction. In Kristin Otto's superbly entertaining new history, the whole sorry tale is laid bare. From the creation stories of Kulin owners and geologist blow-ins (and Robert Hoddle's bad-tempered expedition to the headwaters) to the twenty-first-century waterside building boom, Otto traces the course of Melbourne's murky river. Erudite, affectionate and witty, with more meanders and diversions than the river itself, Yarra is both a fascinating read and a fitting tribute to the 'noble stream'." -- Publisher's website.Paperback; [viii], 245 p. : illus., maps ; 24 cm.ISBN 1920885781yarra river

This photograph is held in the Ballaarat Mechanics' Institute Audio Visual Collection. Please contact BMI for all print and usage inquiries. Donated by Marilyn Stewart, her father was Jack Conder, owner of the well known Sturt St candy store known as ‘Conder’s.’ Jack started the business in 1941 when he was only 25, and ran it into the mid 80s with his wife Joyce at the counter beside him. Marilyn remembers the delicious banana spilts that would come with three scoops of icecream and plentiful whipped cream and toppings like syrups and nuts, with wafers to complete the dish. Conder’s was a popular meeting place to visit before and after the dances and movies, and would often be full of people. Along with candy and chocolates, the shop also sold sandwiches, pies and pasties, along with cigarettes, papers, & bread from the bakery on weekend. Jack also had the first Espresso coffee machine in Ballarat! He was always up with the latest trends in the shop but also with cars. Marilyn recalls his love of American cars, with the big fins, and he had many over the years. It would have been a familiar sight seeing him drive down Sturt St with his chevrolet or latest stylish model. ballarat, shop, candy, milk bar, sturt st, conder's, sennitts, icecream, horse, cart, car, 1950s

This photograph is held in the Ballaarat Mechanics' Institute Audio Visual Collection. Please contact BMI for all print and usage inquiries. Donated by Marilyn Stewart, her father was Jack Conder, owner of the well known Sturt St candy store known as ‘Conder’s.’ Jack started the business in 1941 when he was only 25, and ran it into the mid 80s with his wife Joyce at the counter beside him. Marilyn remembers the delicious banana spilts that would come with three scoops of icecream and plentiful whipped cream and toppings like syrups and nuts, with wafers to complete the dish. Conder’s was a popular meeting place to visit before and after the dances and movies, and would often be full of people. Along with candy and chocolates, the shop also sold sandwiches, pies and pasties, along with cigarettes, papers, & bread from the bakery on weekend. Jack also had the first Espresso coffee machine in Ballarat! He was always up with the latest trends in the shop but also with cars. Marilyn recalls his love of American cars, with the big fins, and he had many over the years. It would have been a familiar sight seeing him drive down Sturt St with his chevrolet or latest stylish model.ballarat, shop, candy, milk bar, sturt st, conder's, sweets, smokes, counter, jack conder

Clothing. Woman's black waist length long sleeved silk blouse. Wide scooped neckline with fold over collar (10 cm) with rounded corners. Kimono cut sleeves with geometric pattern of black beading at wrist (5 cm wide). Front of bodice has crossover section with fastening across left shoulder. Front section has 30 cm panel of black beading geometric pattern. Waist is gathered by a cotton tape casing 2.5 cm above the hem. The front opening is on the LHS from shoulder to waist with eight metal hooks and cotton loops. Opening across the left shoulder is fastened with four hooks and loops and one press-stud. Back of bodice has matching panel (30cm wide) with a black beading geometric pattern. Garment is unlined. Beading patterns use 1mm black beads.costume, female, woman's black silk blouse.