Bendigo Advertiser "The way we were" from Tuesday, Octorber 19, 2004. Victorious: the 1950 Bendigo Football League champiions, South Bendigo. The team defeated Echuca in the gand final. Back row: K. Connaughton, J. Elvey, L. Jones, R. Robertson, R. Dryburgh, K. Swatton, D. Evans, T. Harrington and F. Kyne. Middle row: T. Bull, N. Cowling, A. McDonald (captain), I. Mclean, W. Hill and L. Conolan. Front row: T. Salter, K. Walsh, A. Stewart, Hadyn McDonald, G. Ellis and F. Lenaghan.newspaper, bendigo advertiser, the way we were

Black and White print contained within the Wal Jack Bendigo and Geelong Album, see Reg Item 5003 for more details. Photo, commercially produced?, of Bogie tram No. 1 and single trucker No. 12 at Charing Cross 12-1-1960, with the details of the photo written onto the negative and printed. Tram 1 has the destination of Quarry Hill and has a Cohn's drink advertisement on the rear panel. In the background are: The Beehive, Ezywalkin, Wm Jones Chemist, A. G. Relearn Optician, .Mobilgas. Note the advertisement Plume? over the Ezywalkin store has been blanked out. trams, tramways, bendigo, charing cross, secv, pall mall, tram 1, tram 12

The Kew Light Opera Company was formed in 1952, and mounted a number of musical and variety productions each year until it was subsumed in the "Q" Theatre Guild in 1957. A partial record of performances by the company includes: 1952 Florodora, 1953 The Cingalee - San Toy or The Emperor's Own, 1954 While the Sun Shines - A Country Girl - Our Miss Gibbs, 1955 The Toreador - The Arcadians, 1956 The Maid of the Mountains - Whiteoaks - Goodnight Vienna!, 1957 A Country Girl. Most of the Company's performances took place in the Kew Recreation Hall in Wellington Street, Kew. The scrapbook of annotated photographs, programmes, and newspaper reviews of which this item is a part was assembled by Marion Tilley, wardrobe mistress for, and performer in, productions by the Kew Light Opera Company and the "Q" Theatre Guild. It is significant as a remarkably complete document of theatre performances in Kew, Victoria during the 1950s and 1960s. The scrapbook, and the items individually catalogued within it, have artistic and aesthetic significance within the history of performing arts in Victoria in the middle of the 20th Century. They have social significance in that they reveal socio-cultural values and preoccupations during the period. The records also act as a history of arts activities in the Kew Recreation Hall and later in the Kew City Hall as entertainment and community arts and music precincts.Black and white photograph of performers in San Toy OR The Emperor's Own. San Toy was a "Chinese" musical comedy in two acts, first performed at Daly's Theatre, London, on 21 October 1899. The book was written by Edward Morton, and the musical score was written by Sidney Jones with lyrics by Harry Greenbank and Adrian Ross. Additional songs were written by Lionel Monckton. The photograph of the cast on stage includes 'Betty', far right. This may have been Betty Eames, Betty Wilson or Betty Crowe. The scenery was by Alexander and Day and the production directed by Lance Nicholls in the Kew Recreation Hall.Arrow and name 'Betty' beside right of photo.performing arts -- kew (vic.), scrapbooks, marion tilley collection, kew light opera company, kew recreation hall, musical comedy -- melbourne -- victoria

Petrol rationing was gazetted in May 1941. Australia's lack of fuel storage options and the diversion of tankers bringing fuel here forced the government to begin rationing. Initially it was proposed that consumption should be reduced by 50% but this was modified to 1/3 reduction. People had to apply for a petrol licence and this was then used to obtain ration coupons. Initially coupons were issued on a 6 monthly basis but this was reduced to 2 monthly and allowed people roughly 2000 gallons per year. Coupons allowed for 1, 2, 5, 10, 44 and 100 gallon amounts depending on need. eg. private, commercial, farm use. Rationing was strictly enforced until 1942 but remained in effect until 1950.WWII Fuel 1 Gallon Ration Tickets: WWII One Gallon Fuel Tickets: 2 x cream cards with blue flecks, perforated edges and red print. At the top in the centre is the Commonwealth Emblem and Motor Spirit Ration Ticket. Commonwealth Of Australia. Underneath is 1 One Gallon and Valid only until 31st May 1948. Not Transferable. This ticket must be endorsed in ink by consumer with name, licence number and vehicle registration number. The back ground is circle shapes with Department of Supply and Shipping. On the back hand printed is "2(e)/4652, Car 153772, G. Alice Jones".Commonwealth of Australiagovernment, federal, fuel ration ticket, ww11. miss g. alice jones

Petrol rationing was gazetted in May 1941. Australia's lack of fuel storage options and the diversion of tankers bringing fuel here forced the government to begin rationing. Initially it was proposed that consumption should be reduced by 50% but this was modified to 1/3 reduction. People had to apply for a petrol licence and this was then used to obtain ration coupons. Initially coupons were issued on a 6 monthly basis but this was reduced to 2 monthly and allowed people roughly 2000 gallons per year. Coupons allowed for 1, 2, 5, 10, 44 and 100 gallon amounts depending on need. eg. private, commercial, farm use. Rationing was strictly enforced until 1942 but remained in effect until 1950.WWII One Gallon Fuel Ration Ticket: 7 x tickets attached, cream with blue and red print and perforated edges. At the top is "Motor Spirit with the Commonwealth Emblem" in the middle and "Ration Ticket". Commonwealth Control board Liquid Fuel issued under national security (Liquid Fuel) Regulations. 1 Gallon This ticket must be endorsed by consumer with Name and Licence number. Valid only until 31st Jan 1942 Not Transferable, on a red background of circle shapes with "Department of Supply and Development" printed. On the back hand printed in black ink is "G. Alice Jones 2(e)/4652".government, federal, fuel ration ticket, ww11. g. alice jones

Petrol rationing was gazetted in May 1941. Australia's lack of fuel storage options and the diversion of tankers bringing fuel here forced the government to begin rationing. Initially it was proposed that consumption should be reduced by 50% but this was modified to 1/3 reduction. People had to apply for a petrol licence and this was then used to obtain ration coupons. Initially coupons were issued on a 6 monthly basis but this was reduced to 2 monthly and allowed people roughly 2000 gallons per year. Coupons allowed for 1, 2, 5, 10, 44 and 100 gallon amounts depending on need. eg. private, commercial, farm use. Rationing was strictly enforced until 1942 but remained in effect until 1950.WWII Fuel Ration Cards of 2 x tickets with perforations for individual use. Cream back ground with pink print. The top has a leaf design with "Commonwealth of Australia" written across the top. Underneath is "Motor Spirit Ration Ticket" with the Commonwealth emblem in the middle. The ticket is for 1 One Gallon Valid only until 31st July 1947 and is not transferable. At the bottom is "This ticket must be endorsed in Ink by consumer with name, licence number and vehicle registration". On the back is hand written on both tickets in blue ink is "2(e)/4652, Car No. 153772, G. Alice Jones".Printed by the Authority of the Government of the Commonwealth of Australiagovernment, federal, fuel ration ticket

Memorandum - three typed sheets (8"x10.5") - titled "Physical Culture Display by State School Children at Melbourne C. Ground - Friday 19 October, 1934" from DJ Davidson, District Traffic Superintendent S.S. to Mr Davis, Hawthorn, Mr Bradley, Glenhuntly and Mr Jones, Malvern. Memo dated 16 October and specifies trams required for event at MCG. Also paper pinned to front with inscription: "Physical Culture Display MCG, Friday 19/10/34" written in red pencil and "Repeat for Mon 22/10/34" written in black pencil."Physical Culture Display MCG, Friday 19/10/34" written in red pencil and "Repeat for Mon 22/10/34" written in black pencil on attached note, "Copy to Haw & Hanna Insp" written in black pencil on Hawthorn memo, "Copy to Ghtly Insp" written in black pencil on Glenhuntly memo, "Copy to Malv Insp" written in black pencil on Malvern memotrams, tramways, instructions, events

Memorandum - four typed sheets (8"x10.5") - titled "Physical Culture Display by State School Children at Melbourne C. Ground - Tuesday 16 October, 1934" from DJ Davidson, District Traffic Superintendent S.S. to Mr Davis, Hawthorn, Mr Bradley, Glenhuntly and Mr Jones, Malvern. Memo dated 13 October and specifies trams required for event at MCG. Also paper pinned to front with inscription: "Physical Culture Display MCG, Tuesday 16/10/34" written in red pencil and "Repeat for Fri 19th Oct? Hanna" written in black pencil."Physical Culture Display MCG, Friday 19/10/34" written in red pencil and "Repeat for Mon 22/10/34" written in black pencil on attached note, "Copy to Haw & Hanna Insps" written in black pencil on Hawthorn memo. "Cancelled on ??" written in red pencil., "Copy to Senior Insp Riddell" written in black pencil on 2nd Hawthorn memo., "Copy to Insp Rhodes" written in black pencil on Glenhuntly memo, "Copy to Senior Insp Downie" written in black pencil on Malvern memotrams, tramways, instructions, events

Pink paper, Central Red White & Blue G.M. Co. N.L. to Miss G. Alice Jones, dated April 2 to Sept 1, 1928, May 16 to Aug. 8 and 10/9/1928. Re Sale to Bentley, for Instructions, perusing titles, transfers, correspondence, obtaining Discharge of Mortgage and Land Tax. Cost £2.12.6 Re Sale to Lawson, dated May 16 to Aug 8, Instructions, transfers, attending bank for obtaining Discharge of Mortgage, and Land Tax. Cost £5.5.0. Signed at the end Pd by Deduction. R479D?23/11/1928.the miss g.alice jones collection - account, central red white & blue g.m. co. n.l., bentley, bank of victoria

New Red White & Blue Consolidated Co. N. L. to Miss G. Alice Jones. Pink paper dated Dec. 14, 1939, Jan. 11, Feb. 20, 24, 27, 28, Mar. 4, May 1, July 12, 15,16, 22, Aug. 8, 9, 12, Sept. 2, 3, Nov. 26, Dec. 3, 9 and 21st December 1940. Itemized account re searching for a Lost Tailings Lease and instructions to obtain a new title. Total cost £11.3.7. R696 del 23/12/40 written in the top left corner.the miss g alice jones collection - account, new red white & blue consolidated co n l, lost tailings lease, mr palmer, titles office, g g birch, mr saunders, bendigo advertiser

Black and white photograph - Grade 4B, 1970."Attached to photograph" Back Row- L to R: No names 2nd Row- L to R: No names 3rd Row- L to R: ?, Leanne Jones, Lois Kelly, Cheryl Pendegast, ?, Theresa Hurley, Jeanette Trotter, ?, ?, ?. Front Row- L to R: Jenni Haggar, ?, Hayley Brownrigg, Louise Roth, Alison Craig, ?, Christine Allender, ?, ?. Teacher: Miss A. Douglas

Black and white photograph - Staff, 1981"Attached to photograph" Back Row- L to R: Anne Orchard, Marj Smith, Dawn Colville, Tom Exon, Dianne Jones, John Duffy, Isobel Marshall, Mandy Irvine. Front Row- L to R: Jan Burne (T.C), Stephen Gough, Maureen Gray, Baden Chadwick (Pr), Lindsay Bolden, Pam Wilson, Margaret Beuthan.

Black and white photograph of firemen in fire truck outside fire station. (3 copies)Caption below photograph reads, "Ringwood Fire Brigade - Old Station at rear of Old Town Hall in Melbourne Street - 1929" Written on backing sheet, "1. George Burns, 2. Sam Brown, 3. David Anderson, 4. Les Jones (Driver), 5. Clarence Burns, 6. Roy Sedgman, 7. Jack Wilkins. 1912 Hotchkiss".

Black and white photograph of firemen on cart outside brick building. (2 copies)Written on backing sheet, "Ringwood Fire Brigade New Station. 1. Sam Brown, 2. Les Jones, 3 Clarance Burns, 4. Jack Wilkins, 5. Frank King (Station Officer), 6. Dave Anderson, 7. George Burns, 8. Percy Griffen". Writing on backing sheet of second photo states photo taken in 1930s.

B/W: 2 rows of team members below stand at Central ParkThe Standards Stawell1904 W. Wilcox, B. Walker, G. Arnott, F. Quinn, F. Brown, E. Dunn, W. Anyon, B. Chadwick, A Miller, G. Hampton, J. Brown, H. Dalziel, G. Bates, ????, T. Ellis, E. Monument, N. Bates, W. Jones, D. Powell, A. martin, H. Miller, Sam ross (Boy).sport, football

R.S.L. is the Returned and Services League of Australia, a member based charity founded in 1916, and the largest veterans' charity in Australia. It provides a support network and community for veterans and their families. They have a commemorative service each year on 25th April, ANZAC Day.The Mt Beauty RSL committee members in 1949 is a list of people living in Mt Beauty at the time and who were working as a support team for veterans and their families. The ANZAC crowd at the temporary memorial indicate the interest in the town for a commemoration and the need for a more permanent structure.Both Black & White large photos. 1. Group of men - Mt Beauty R.S.L. Committee with names on reverse. 2. Anzac Day at Mt Beauty. Early 1950s. People including school children, gathered around a temporary war memorial structure near the current (2023) roundabout. In the background is the main workshop. The Tail race channel hasn't been constructed. On the back in pen of RSL photo: Mt Beauty R S L Committee 1949 -50 / Standing Fred De Little, Roy Cobby, WaJ. Jones/ Joe Lang, Ian Bennett, Stan Leanard, Ted White/ Seated / Harry Edney, Jack Chapman (Tres), Harold Boon (Pres), R Webster (Sec), /Joe Breen returned services league, anzac day, rsl 1949

The Loch Ard had left England in March 1878 and 90 days later on June 1st it was approaching the coast of Victoria when it wrecked off the coast near Port Campbell at what was to become known as Loch Ard Gorge. Two people survived, Eva Carmichael and Tom Pearce. While much has been recorded about the survivors, this is the first publication which looks at the other 51 people on board. This book lists where they came from, family histories and lists internet references for further information. Some of the names listed are Yates, Stuckey, Jones, Rolleston, Godby, Mitchell, Fax, Hunt and Giles.An interesting insight into an aspect of the Wreck of the Loch Ard which has been previously unknown. Written by local authors.Soft card cover with coloured aerial photograph of Loch Ard Gorge Title in brown with sub title in white. Authors name in white on brown strip at bottom of cover. The back cover has blurb written in panel imposed over photo of Loch Ard Gorge looking seaward. 160 pages.Authors Carlyn and Ron Sproston.warrnambool, loch ard, lost of the loch ard, loch ard gorge,

Red cloth hard covered book of 112 plates bookplatenon-fictionBook featuring coloured plates of examples of historic ornamentornament, grammar, plates

A black and white film about Legacy camps, that was first shown at Legacy Club Night, 24th June 1965, with 200 people present. Last shown at Legacy Somers Camp, 14th April 1967, with 120 present. It is 23 min long and documents the routine and activities of a typical weekend at Somers, ending with a speech by Melbourne Legacy President I.W Anderson, who was President in 1964. Commentary Geoff McComas, Photography Garry Jones. This film has been digitised to preserve its content. Melbourne Legacy gratefully acknowledges the support of the Victorian Government and Public Record Office Victoria for making this possible.Rare footage of activities run by Melbourne Legacy for boys post WWII which indicates how many children Legacy cared for both in Victoria and nationally and shows the dedication of Legatees in providing this careGreen circular tin containing 10 inch reel in regular 8 mm film. B/W and sound. Tin has cover with details of film inside, including title, running time, and some credits. Inside the tin cover there is a place of showing list, starting at 24th of June 1965 at Legacy House Club Night.Top of tin has cover with the following: MELBOURNE LEGACY / “LEGACY HOUSE” / 293 Swanston Street, Melbourne, C.1 FILM / “A WEEKEND AT SOMERS” / Black and White - Running Time 20 mins. Commentary by Geoff. McComas / Produced by B.C.J.P Return to Executive Officer “Service to Widows of Ex-Servicemen and their Children”somers camp, junior legatees

Picture of Carlton's Premiership Team & Coach Ron Barassi. Back row: Gordon Casey, Barry Gill, Neil Chandler, Bill Bennett, Adrian Gallagher, Denis Munari. 2nd row: Ron Auchettl, Ian Robertson, Bryan Quirk, Peter Smith, Bob Edmond, Brian Kekovich, Brent Crosswell. 3rd Row: Gary Crane, Ron Stone, Vin Waite, Peter Jones, Robert Walls, Peter McLean, Alex Jesaulenko, Ian Nicoll. Seated: Ian Collins, John Goold, John Nicholls (captain), Ron Barassi (coach), Wes Lofts, Sergio Silvagni, Kevin Hall. Carlton FC's first premiership after 21 years, at the time the longest drought premiership in the club's history. The win was the culmination of recruiting Ron Barassi from Melbourne FC in 1965. Ron Barassi leaving Melbourne at the end of the 1964 season was one of the most sensational stories in VFL history. Carlton defeated Essendon 7.14 (56) to 8.5 (53) Att 115828. The game was marred by a blustery wind. Brian Kekovich kicked 4 goals for Carlton and Gary Crane was Carlton's best player.Postcard size Black & White photo

Hardcover book made in 1990 made to keep original copies of “The Football Record”. This book contains all Football Records relating to Carlton games for the home and away season of 1990. President: JD Elliott Treasurer: J Perriam General Manager: IS Collins Coach: Alex Jesaulenko Captain: Stephen Kernahan Vice-captain: Craig Bradley Deputy Vice-captain: David Rhys-Jones Best & Fairest: Stephen Silvagni Brownlow highest: Stephen Silvagni - (16 votes) Leading Goalkicker: Stephen Kernahan (69 goals) State of Origin representatives: S Silvagni, A Gleeson (Vic) S Da Rui (WA)Hardcover book, blue

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.Olive green knit vest with gold buttons. On the left breast is the Australian emblem with the Olympic rings and "Barcelona 1992" underneath it.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.Olive green knit vest with gold toned buttons. On the left breast is the Australian emblem with the Olympic rings and "Barcelona 1992" underneath it. The buttons are textured with lines.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.Olive green vest with two pocket decorations on the lower front of the vest. Underneath the pocket is the Australian emblem, below which are the Olympic rings and the inscription "BARCELONA 1992."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