Part of the "Kevin John Herdman", No. 397661 Collection. See cat No. 5942P or details of his service.Green plastic waterproof coat with belt. Belt has a buckle for adjustment. Mesh vent across back covered with a flap. Two vents at shoulder level on front. Metal vent holes under arms. Front closed with buttons. Two side pockets. Sizing label on inside neck. Manufacturers label on inside left.On sizing label: 40L, CLASS 8405, 66-018-1274, 8305-66-018-0450'. Stamped on sizing label: 'BRK, 70, 70". Handwritten on sizing label: 'K. HERDMAN'. On Manufacturer's label: 'M.PENNISI, CLOTHNG CO. PTY LTD, VICTORIA, 1970 (upwards arrow ^).accessory, waterproof coat, australian army, kevin john herdman

Part of the "Kevin John Herdman" No. 397661 Collection. See cat No. 5942P for details of his service.Khaki wool serge fabric battle dress trousers with five button fly. Plastic buttons. Two side pockets, one fob and one button down hip pocket on RHS. Cotton and polyester fabric lining. Manufacturers label with black print attached to lining of hip pocket. Mending patch attached to label.On Manufacturer's label in black print: "CONWAY BROS PTY LTD, ADELAIDE, ^ , 1969, class 8405-66-025-6183, SIZE WAIST 33R, MATCHING JACKET 37-38R, NAME, ARMY NO.. Stamped in purple on Manufacturer's label: AWM 11".trousers, battle dress, kevin john herdman, army

This football jersey was worm by R. A. Slocombe while a member of the 1st XVIII in 1935. Mr Slocombe was in year 11 at the time. The item was badly damaged while in storage during World War 2. It is the only example of 1930's sport attire held by the schoolThe jersey has social significance because it exemplifies uniform requirements and manufacture during the 1930's. A black sleeveless, knitted, woollen football jersey with red collar. It has an 11cm wide red band on waist and a thin gold line 4cm above the hemline. There is a cotton bound neck opening with 3 buttonholes on left side of garment (buttons missing). The College insignia has been roughly appliqued at left breast. football, football jersey, sport uniform, 1936, r a slocombe

Khaki felt outer covering, flat top with peaked front, tan leather front strap attached at sizes with black buttons. Black "Australian Commonwealth Military Force" badge on front, light tan lining inside with light tan leather inside band, Two ventilation holes each side under top.In gold print on inside band: "Wilkes Todhunter Pty Ltd Military Outfitters Melbourne Victoria" uniforms - army, costume - male - headwear, passchendaele barracks trust, peak cap

V92102 R W Pickford served during WW2 and remained in Australia. His date of birth is 1895 by my calculation R W Pickford would have been approximately 46 years of age on enlistment. However 13336 R W Pickford served during WW1 with Australian Army Medical Corps. The items are original and belonged to Robert William Pickford.Two x Pay Books, oblong, buff/brown colour. Abdulla Cigarette Tin with RAAF Insigna, three Rising Sun Hat Badges, one Rising Sun Collar Badge. A belt with Hat Badges attached. Miscellaneous Collar Badges, Hat Badges and Buttons. Newspaper clippings from the Adelaide Chronicle 1916.Pay Books - V92102 Robert William Pickford.13336 r w pickford, v92102 r w pickford, pay books, badges

This belt was worn with the jacket issued to members of the Warrnambool Fire Brigade in the mid 20th century. The jacket was part of the uniform that served both as a dress uniform and a work uniform. The Warrnambool Fire Brigade was formed in 1863 following unsuccessful attempts to establish a permanent fire service in the town. It was prompted by a fire at the Flying Buck Hotel in Liebig Street. The Warrnambool Fire Brigade, now located on the Mortlake Road, has been successful in Victorian Fire Brigade competitions and demonstrations, particularly in the 19th century. The owner of the belt and uniform was John (Jack) Sizeland, a member of the Warrnambool Fire Brigade for over 37 years. This belt is of interest as it was part of a Warrnambool Fire Brigade uniform during the second half of the 20th century. It also has individual local provenance as it belonged to Jack Sizeland, a member of the Warrnambool Fire Brigade who retired in 1977 after 37 years of service. This is a brown leather belt with a gold metal buckle and nine punched holes on the buckle, two of them hand-punched. It has a leather attachment to keep the belt end in place. It has the name of the owner, John Sizeland, written in biro on the inside of the belt. This belt is meant to be worn with the Warrnambool Fire Brigade jacket with the brass buttons. ‘J. Sizeland, W’bool’warrnambool fire brigade, jack sizeland, history of warrnambool

This Edwardian-era mourning outfit was worn by a wealthy woman from the rural area of Willaura, southeast of the Grampians. It was inherited by the donor from his mother, who had purchased it from a clearing sale in the 1960s. The jacket has a peplum or flounce below the waistline, a fashion that was seen in the 1860s and is still around in the 1900s. The outfit represents the female mourning fashion and wardrobe from the late 19th to early 20th centuries. Such garments were a necessary inclusion as death often occurred to the young, due to illness, accidents and hard work - it was a regular part of life in rural Victoria. Mourning outfits were part of a person’s wardrobe and often passed from one generation to the next. This particular outfit appears to have been adjusted at some stage to allow for a wider waistline. The original skirt may have been replaced by the one that is now part of this outfit; the skirt is all machine-sewn, unlike the jacket and petticoat. The fabric of the skirt may be silk or it could be a synthetic fibre such as artificial silk or rayon; both were available in the 1800s,but nylon wasn’t invented until the 1930s. This skirt has sunray pleating, which was advertised on skirts for sale in the 1890s, and 1909, and was part of a fashionable bridal gown train in the 1930s. The mourning of death was part of both family and community life, particularly in rural and remote areas. People were bonded through work, religion, disasters, tragedy and social activities, supporting one another. They came together from near and far on such an occasion, giving each other the care that was needed and showing respect for the member who had passed away.This three-piece silk Edwardian mourning outfit is significant historically for its connection with rural Victoria and the social and religious customs surrounding the death of a family or community member. The high-quality outfit is also significant for representing the financial management of the times, being tailored by a dressmaker for a person of means and then adjusted to fit at least one different-sized person. Ladies’ Edwardian mourning outfit; three-piece tailored suit comprising of a black silk long sleeve, short-waist fitted and lined Jacket, a long sunray pleated skirt and long, lined petticoat. Items have been machine-sown and hand-sewn by a dressmaker. The skirt has handmade buttons of the same fabric.Handwritten in ballpoint pen “Jenny” and “Mrs Sheila Handscombe, Wallaura, Jenny”flagstaff hill maritime museum and village, warrnambool, shipwreck coast, edwardian era, tailor-made, dressmaker, mourning outfit, handmade garment, mourning dress, death mourning, sunray pleats, western district victoria

This bolster sham is one of several linen and clothing items that were made and belonged to Mrs. Eliza Towns and donated to Flagstaff Hill Maritime Museum and Village. Eliza was born Eliza Gould in 1857 in South Melbourne (Emerald Hill) and in 1879 married Charles Towns. In the early 1880's they moved to Nhill in western Victoria and remained there for the rest of their married life. Charles was a jeweller and later became an accountant and for many years was involved with the Shire Council, the local show committee (A & P Society), the Hospital Committee and the Board of the local newspaper (the Nhill Free Press). They had three children and lived a life that would be regarded as comfortably "middle class". Eliza probably had a treadle sewing machine and would have made many of her own clothes and household linens - adding her own handmade embroidered or crocheted decorative trim. Most beds during the late 19th and early 20th century had a feather, hair or spring mattress covered by a blanket and topped with an under sheet, an upper sheet, several blankets and a bedspread. A flat bolster could be placed either under the pillows or on top of the pillows with a decorative sham. Washing pillows and quilts by hand would have been a very onerous task (involving heating water and handwashing in a tub or using a copper) and so it became the practise of many housewives to cover the pillows and bolsters with an outer slip (or sham) of washable material which could be easily removed and washed when needed. If the bolster was kept under the pillows it wouldn't need to be very decorative but many shams or slips that were "on show" were often highly decorated with embroidery, pintucks, ribbons or lace. This bolster sham is machine made and quite plain with the exception of some pintucking and eyelet lace on each end which suggests that it would mostly be hidden under the top pillows with just the decorative edges on display.This item is an example of the needlework skills of women in the early 20th century - combining machine stitching with hand embroidery to personalise and embellish a practical domestic object. It is also significant as an example of an early 20th century innovation that helped make the working lives of housewives a little bit easier.A long white cotton rectangular bolster sham, machine sewn, with seven ties and two buttons (plus one missing button) to enable it to be folded over lengthwise and closed. It has two pull string ties near each end to enclose a bolster and is finished with a decorative edge of pintucks and handmade eyelet lace and embroidery.flagstaff hill maritime museum and village, eliza towns, sham, bedding, great ocean road, shipwreck coast, warrnambool, household textiles, sewing, bolster sham, housework, pillow sham, charles towns, nhill, haberdashery, needlework, manchester, handmade, household linen

This item of underclothing, called a "combination" is one of several linen and clothing items belonging to the deceased estate of Susan Henry OAM (nee Vedmore 1944 - 2021) that was donated to Flagstaff Hill Maritime Museum and Village. Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up in 2010 to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community. Combination undergarments combined the chemise and drawers into one garment. The combination is divided, or bifurcated, from the waist to the crotch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. Their primary use was to protect clothing from perspiration and because they were made with cotton or linen, were easy to wash. This particular item is made with lawn (a very lightweight fabric) and is sleeveless, making it suitable for hot weather. Although they were worn under the corset next to the skin (and therefore not meant to be seen), they were often decorated with lace or embroidery. This item is an example of the needlework skills of women in the late 19th century - using machine stitching and lace to personalise and embellish a practical item of clothing. It is also significant as an example of a practical solution to the difficulties that women of this era faced with regard to the washing of clothes and household linens.Lady’s white lawn and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has four buttons in the front and is trimmed with lace on the neckline, armholes, bodice (in a diagonal design) and legs. The left and right sides are divided from the waist to the crutch. The back of the garment is plain with a gathered section at the lower back.flagstaff hill maritime museum and village, great ocean road, combinations, lady's combinations, undergarment, lingerie, handsewn, underwear, clothing, victorian era undergarments, lady's garment, susan henry oam, vedmore foundation

Dress, blue/white denim-type weave, button-through. 7 white buttons and hooks-and -eye at the waist. belt of same fabric with 8 lines of oversewing, white button and two buttonholes. Dress has shirt collar, two patch pockets on skirt and long sleeves with buttoned cuffs and two keepers at waist.costume, sunbury asylum, george evans collection

Dress worn by Mary (Molly) Sprunt on marriage to John (Jack) Leith on 12 March 1938 at St Andrews Presbyterian Church, Rushworth. Veil was handmade by mother Madge Brydon in 1912 for her wedding. Dress and veil donated by Molly's daughter. Dress also worn by sister - Lyndsay (Lyn) Sprunt for her marriage to George Hendrie on 10 November 1945 at St John's Church Elsternwick. Gown made by Molly and Lyn's aunt Edith Brydon. Veil (NA3495) worn was made by mother Madge Brydon. Donated by Molly's daughter.Cream damask 1938 satin dress. Long sleeves, cross over neckline to a diamond front panel. Skirt cut on the cross, with front pleat. Back skirt has long train. Self-covered buttons at centre back.|See also NA3495 - Veil. Also worn for 1945 wedding with veil. NA3496 - Shawl.costume, female ceremonial

The bridal coat was part of a wedding ensemble worn by Peg Young in 1939. The final two images in the carousel include a wedding photograph of Peg and her husband. A letter accompanying the donation on file describes the outfit as: "Rosemary [Peg] looked very nice indeed in a simple white satin dress that made her look very tall and slim. It had trimming round the neck, down the front and on the shoulders that looked like quilting, with a little gold in it, and she wore gold slippers and a lovely lace veil, lent by Auntie Nellie. She carried a large sheaf of bright red roses." Mrs Peg Young, a Kew resident was at one stage President of the Children's Book Council of Australia. She was also a member of the Kew Historical Society. The coat was donated by her daughter, Mrs Helen Tutt.Floor-length satin bridal coat with a buttoned full length opening at the front extending the length of the garment. The front of the coat is hand-quilted in an abstract design of arabesques. The buttons are covered with the same satin fabric as the coat. Accompanying the dress there is a photo of the couple on the steps of the unnamed church in London and a letter describing the event, including the coat.Transcript of accompanying letter: Red Cottage Mallory Road Hove 4 Sussex England July 21.39 Dear Faith I have been up to London today to Rosemary's (Peggy) wedding. Though you might like to hear about it. To my mind the one sad part was that your Uncle Bertie and your adopted sister could not be there. Daisy (Margaret) has been simply splendid in all she has done. Rosemary looks very nice indeed in a simple white satin dress that made her look very tall & slim. It had trimming round the neck down the front & on the shoulders that looked like quilting, with a little gold in it, & she wore gold slippers & a lovely lace veil lent by Auntie Nellie. She carried a large sheaf of bright red roses. Her two bridesmaids were Mary & Brenda. They wore the same bridesmaids dresses as they wore at their sister Peggy's wedding a few weeks ago. They were very pale blue satin, simply made, with long skirts & they had lovely little flat bouquets made of the heads of all sorts of flowers out in the gold holder which I am sending you & tied round the handle with gold ribbon. They had wreaths of the same flowers in their hair. Nevil gave Rosemary away."costumes, wedding dresses, wedding coats, peg young, helen tutt, fashion design, fashion -- united kingdom, fashion -- 1930s

Assay is a process of metallurgy and chemical analysis used to determine proportions of precious metals in ores and other metallurgy substances such as silver or gold. The process helps identify pollutants present within a sample and can indicate a high level of pollution in a mining site. Stoneware crucibles are used in the fire assay process due to their ability to withstand high temperatures. Fire assay is a three step process where by samples from the mine are ground in a find powder and then mixed with dry powder chemicals. This mixture is heated in a crucible to extreme temperatures (crucible fusion) until all of the powers fuse into a glass like slag. Once this reaction is complete, the contents are poured into a mold and cooled. In step three (known as cupellation) the mixture is separated in a fire assay cupel and once this is complete the cupel with reveal a small bead of precious metals. Established by George Guthrie in 1857 (about 5km north of its current site) and then again seven years later in 1864 after it initially closed, Bendigo Pottery remains one of the most influential and longest running potteries in Australia. Over the years the Pottery has contributed to the growth and development of the district through both its products including building products, table ware and decorative and commemorative war as well as artistically, being responsible for training and supporting many potters locally. It has partnered with the City on various tourism promotions and the Civic Collection holds a number of important items within its collection.Two stoneware vessels of differing dimensions (0287.1 & .2). Unglazed and porous, showing extensive signs of use. Stamped and marked on the outside. 0287.2 has a shaped pouring lip. Six smaller items, coins, buttons (0287.3,.4,.5,.6,.7,.8) were found with the crucibles but their relationship to the assay items is unknown.0287.1; Large crucible; Bendigo Pottery / E. 0287.2; Small crucible: Pottery / C Icity of greater bendigo commerce, city of greater bendigo mining, making a nation exhibition

Button distributed to and worn amongst Australian Nursing Federation members employed at Western Hospital (now Footscray Hospital). Possibly worn only by delegates/union representatives at this workplace, and/or celebrating 45 years of the Western Hospital (this occurred in 1998). The Western Hospital changed its name to Footscray Hospital in July 2014 and is located at 160 Gordon St, Footscray, Victoria, Australia.Circular orange/red badge with blue writing and logo. Silver metal, plastic-coated, with safety pin fastener adhered to back. Badge printed with 'ANF at the Western Hospital' the number '45' and the ANF [Australian Nursing Federation] logo.nursing, nurses, badges, buttons, pins, western hospital, western health, footscray hospital, melbourne, victoria

Button distributed to and worn by Australian Nursing Federation members. The Royal Australian Nursing Federation became the Australian Nursing Federation (ANF) in 1989, and then became the Australian Nursing and Midwifery Federation in 2013, suggesting this badge is from the 1990s or early 2000s.Circular white and blue plastic badge. Silver metal, plastic-coated, with safety pin fastener adhered to back. Badge printed with 'NURSES Too Good to Lose' and the ANF [Australian Nursing Federation] logo.nurses, unionism, badges, buttons, pins, trade unions, labour history, australian nursing federation, staffing, workforce

Circular black and green plastic badge. Silver metal, plastic-coated, with safety pin fastener adhered to back. Button printed with the green text 'HANDS OFF MEDICARE'.medicare, politics, protest, public protest, political protest, government funding, universal health care, badges, buttons, pins

Circular yellow and blue badge. Silver metal, plastic-coated, with safety pin fastener adhered to back. Badge printed with a blue ANF [Australian Nursing Federation] logo, the blue text 'International Nurses Day', '12 May 2002', and 'Celebrating Nursing'.nursing, nurses, international nurses day, 12 may 2002, badges, buttons, pins, celebration, australian nursing federation, victoria

These collars were worn by Mr Whiteman, Marjorie Burton's father, until he died in 1972. Marjorie Burton ( nee Whiteman), born 12 June, in Birmingham, England came to Orbost in 1995. She came from a middle-class working church-going family. Her father served in Civil Defence during WW11. A detachable collar was a shirt collar separate from the shirt, fastened to it by buttons. The collar was usually made of a different fabric from the shirt and was almost always white and specially starched to a hard cardboard-like consistency. detachable collars were a better way to clean and starch a collar for business or formal wear. As more emphasis started to be placed on comfort in clothing wearing a detachable stiffly starched collar decline in day wear; although it is still often worn by barristers while a full dress shirt may still have a stiff detachable collar. These collars are examples of clothing which was commonly worn by businessmen in the first half of the 20th century.Four men's starched cotton shirt collars. They each have 3 button holes for attaching to a shirt. Two are white with grey stripes and two are plain white.2483.24 and 2483.25 - Trubenised reg trade mark Reg user Do not starch Iron very damp 129 4128 15 2483.26 - Patented and made in England Woven from Egyptian cotton 476035 SECONDS Van Heusen 15/38 2483.27 - Trubenised Patent registered No starch needed 15 Iron very damp collars-detachable men's-clothing accessories burton,-marjorie

Mr JH Quinton of Olinda, Victoria had the unusual hobby of carving coconut shell. Over a 50 year period he carved thousands of curios and household articles. Supplies of coconuts were sent to him by his brother in Singapore. Known in the Dandenong Ranges as "The Coconut King", he carved many series, including Australian animals, likenesses of hundreds of men prominent in public life, tableaux of sporting activities, including a series depicting cricket strokes, a coconut tea set, butterflies, buttons and boxes. Mr Quinton was an engraver and his considerable can be seen in the fine detail and sense of movement he was able to capture in his carvings. A collection of figurines carved from coconut shell, brown in colour including animals, sporting activities, tableaux of everyday life and prominent people. Each figure is attached to a thin, wooden base to enable it to stand.jh quinton, coconut shell, carving

Mr JH Quinton of Olinda, Victoria had the unusual hobby of carving coconut shell. Over a 50 year period he carved thousands of curios and household articles. Supplies of coconuts were sent to him by his brother in Singapore. Known in the Dandenong Ranges as "The Coconut King", he carved many series, including Australian animals, likenesses of hundreds of men prominent in public life, tableaux of sporting activities, including a series depicting cricket strokes, a coconut tea set, butterflies, buttons and boxes. Mr Quinton was an engraver and his considerable can be seen in the fine detail and sense of movement he was able to capture in his carvings.Decorative cube shaped box made from small tiles made from coconut shell. Brown in colour with a hinged lid. Additional carved decoration comprising acorns, flower and butterfly. Inside lid lined with red velvet.jh quinton, coconut shell, carving

Versabraille system is a self-contained braille information system for use with audio cassettes for reading and writing braille. The controls include an eject button, variable audio speed and volume sliders, braille control keys for writing, editing, and audio record/playback, a 20-character braille display with text advance bar, text backup key, text access keys for chapters, pages, paragraphs or words, a place indicator, an "add new chapter" key, and a pair of buttons with unknown function. The unit takes ordinary audio cassette tapes. On the back is a 24-contact IB/P connector, a pair of connectors of unknown function, and a power connector for the included 120V power adapter. Light brown coloured plastic square object with brown covering box and transformer with cord Versa Braille system Tele Sensory Systemsbraille equipment, equipment

"The passing of the Melbourne Cable Tramways", featuring photographs of first cable tram, Fitzroy power house, cable trams in the street, Nicholson St, the No. 1 tram entering the National Museum, some historic notes on the construction of the system, its operations, MMTB takeover, a drawing of the grip and of the badges and buttons used and an image of the cable used. Notes that it was compiled by A. R. Turnbull with co-operation of F. King, K.L.Mackenzie and H. G de Mamiel. Original poster prepared by the MMTB and presented to the State Library or the Museum of Victoria at the time of closure. See Reg Item 6367 for another photograph and 6368 for another poster of the time - Melbourne tramways past and present posterYields information about the Melbourne cable tram system and its history. Frame - wooden outside painted white, glazed with clear glass, off white card backing with brown paper on rear, brass wire hanging wire with small eye hooks the side., containing a photo titled "The passing of the Melbourne Cable Tramways"tramways, cable trams, melbourne, tramcars, closure, museums

"The passing of the Melbourne Cable Tramways", featuring photographs of first cable tram, Fitzroy power house, cable trams in the street, Nicholson St, the No. 1 tram entering the National Museum, some historic notes on the construction of the system, its operations, MMTB takeover, a drawing of the grip and of the badges and buttons used and an image of the cable used. Notes that it was compiled by A. R. Turnbull with co-operation of F. King, K.L.Mackenzie and H. G de Mamiel. Original poster prepared by the MMTB and presented to the State Library or the Museum of Victoria at the time of closure. See Reg Item 2854 for a framed photograph and 6368 for another poster of the time - Melbourne tramways past and present poster Yields information about the Melbourne cable tram system and its history. Photograph - of a MMTB Poster titled - "The passing of the Melbourne Cable Tramways"tramways, trams, cable trams, closure, museums, melbourne

This is a woman's kilt (skirt, shawl and pin). Two of the objects were made by the Fletcher Jones clothing company. The Tartan is the Australian tartan which was designed by John Reid, a Melbourne architect, when he entered a competition run by the Scottish Australian Heritage Council. He chose the colours of the Outback as the basis of his tartan. The tartan is design registered in Australia (No. 97439). (Source: District Tartans, P. Smith and G Teall, 1992). This outfit was possibly made around 1990. David Fletcher Jones who served in World War One had a itinerant drapery business in the Western District before opening a tailoring business in Warrnambool in 1924.He began to specialise in men's clothing and in 1946 opened a shop in Melbourne. In 1948 he opened a clothing factory in Warrnambool and formed a new company Fletcher Jones and Staff. The company expanded to all states of Australia and included the manufacture of both men's and women's clothing making it one of the best known clothing companies in Australia. The company dissolved in 2011 This is a fine example of a Fletcher Jones clothing product and comes from a firm which was a dominant industry in Warrnambool and known Australia wide. It has further cultural significance being in The Australian Tartan..1 An orange/tan checked woollen kilt with a pleated skirt and straight panel at the front with a side fringe and a metal buckle It has an adjustable waist with buttons and metal clips. .2 A triangular shaped shawl in the same material as .1 .3 A metal pin or brooch in the shape of a sword and a circular piece with a swan image and a motto ENDURE FORT..1 Fletcher Jones AUSTRALIA'S FINEST CLOTHING PURE NEW WOOL .2 FLETCHER JONES AUTRALIA'S FINEST CLOTHING MADE IN AUSTRALIA .3 ENDURE FORT fletcher jones clothing company, warrnambool industries, australian tartan, tartan, australian tartan kilt, fletcher jones kilt

Officer peak cap - Black felt cap with red edge trim and red wool felt hat band and black leather chin strap. Secured by gilt Australian Military Forces metal buttons. Inside of cap lined with red coloured silk and plastic. Sweatband - light brown leather. Makers label and size label.Makers label in gold print - "BY APPOINTMENT/ J.COMPTON SONS & WEBB/LTD/LONDON Size label in black print 'J. COMPTON SON & WEBB LTD LONDON/ 6 7/8"unifomr, military

E, HAYWARD OAM1. Jacket - Polyester, Blue, Yellow metal buttons. Service insignia, embroidered Coat of Arms on lower sleeves. 2. Trousers, polyester, Blue. 3. Shirt - polyester, light blue. 4. Tie - polyester, Navy blue. 5. Cap - Polyester, blue, black band, Badge - red crown over Eagle and Ferns."Australia" embroidered flash badge on upper shoulders. Coat of Arms on lower sleeves.uniform, hat

UK manufacture RAA cap for 1950s. Personal purchase?? Khaki cloth peaked cap with Royal Regiment of Australian Artillery gilt cap badge (Queen's crown) with brown leather chin strap and gilt AMF 12mm diameter buttons. Brown leather sweat band and tan plastic crown liner and khaki cloth liner. Manufacturer's, size and D^D stamp under crown. "Herbert Johnson (Bond Street) Ltd., 38 New Bond Street, London" "1951" "Size 6 7/8" "Made in England" "D^D" No personal I.D.headgear, cap

Standard issue peaked cap for 1988.Peaked khaki cloth cap with brown 18mm leather chin strap with two 13mm AMF gilt buttons (crown and map only). Khaki cloth covered peak. Royal Aust. Signals cap badge. Brown leather sweat band. Plastic covered, grey cloth liner with black stamped manufacturer's, etc. details. Australian Government Clothing Factory and logo Size /|\ 56 VIC 1988 (Note - no personal markings) headgear, cap