Showing 2779 items
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Bendigo Historical Society Inc.
Clothing - AILEEN AND JOHN ELLISON COLLECTION: BENDIGO HIGH SCHOOL TIE BY AUSTICO
Bendigo High School tie with shell fabric with diagonal stripes of yellow and light blue. Self tipped. Diagonal seam across neck of tie where a piece has been removed. Tie has been shortened by half its original length. Worn by Merryn Ellison.Label on back of tip. 90% wool,10% Rayon, ''AUSTICO'' Name.costume accessories, female, bendigo high school tie -
Bendigo Historical Society Inc.
Textile - PALE PINK BEADED PURSE, Early 1900s
Textiles. Pale pink beaded purse. Diamond pattern at top and bottom of clear glass beads. Floral pattern across centre of silver coloured beads. Beaded on both sides. Lined with cream coloured cotton fabric. Brass frame and clasp with brass chain carrying handle.textiles, domestic, pale pink beaded purse. -
Uniting Church Archives - Synod of Victoria
Book - Handbook, Court Loyal Crusader, Methodist Order of Knights passing the 3rd Class merit badge
Prerequisite for attaining 3rd Class Merit badge; 4th Class Merit badge. The Methodist Order of Knights was the official youth organisation of the Methodist Church of Australasia. It originated in Hurstville, NSW, on the 4th October 1914 by the then Mr and later Rev Alex Bray. Alex Bray was a Sunday School teacher and spoke to his class of the Knights of the Round Table. In 1917 the Order of Knights was officially recognised by the Sunday School Dept of the NSW Methodist Conference. Courts spread thoroughout Australia. In 1927 the High Court of NSW called for designs for a badge and in 1929 the General Conference of the Methodist Church of Australasia recognised the Order as an approved Organisation. In 1938 the Senior Section was organised into Degrees of Sincerity, Service and Sacrifice; the Junior Section into Pages' Degree with advancement to Esquire. In 1954 the Junior Section was reorganised into two groups: Pages 8 to 11 years and Esquires 12 to 15 years. The Knight's Motto: "Live Pure, Speak True, Right Wrong, Follow Christ the King, else wherefore born?" Courts of the Order: General Conference Department of the Christian Education - General Court - Provincial High Court - District Court - Local Court - Senior Court - Intermediate Court - Junior Court . Regalia: All members of the Intermediate and Senior Courts wore regalia consisting of a cloth shield superimposed by a cross of light and dark blue ribbons, and supported by a cloth collar. Esquire and Degree of Sincerity regalia: White collar and white shield. Degree of Service regalia: Green collar and shield. Degree of Sacrifice: Scarlet collar and shield. District Court regalia: Blue collar and gold shield. High Court regalia: Gold collar and purple sheild. General Court regalia: Purple collar and shield. Officers of the local courts wore their symbols as part of their regalia.MOK247.1 - MOK247.3 Pale blue coloured cover Methodist Order of Knights efficiency awards handbook for passing the 3rd Class merit badge. The book has typed, unnumbered pages and a sketch of a jousting knight on the cover. The book is held together with three staples and the binding is of adhesive fabric.methodist order of knights -
Villa Alba Museum
Photograph - Exterior wall, entrance to vestibule and fire escape, c.1987
Built for William and Anna-Maria Greenlaw in the early 1880s, and with interiors decorated by the Paterson Bros, Villa Alba remained in private ownership until 1949. From 1950, the house was owned by a number of institutions. By 1984, the Villa Alba Preservation Society had been formed, and three years later, the Mount Royal Hospital granted a 25-year lease to Kew Council. In 2004, the title to Villa Alba was passed by the Victorian Government to The Villa Alba Museum Incorporated. The Museum, at 44 Walmer Street, Kew, is now a cultural institution committed to the collection, study and display of 19th century interior decorative finishes, and the components of 19th and 20th century interior decoration. This is one of a number of historically and aesthetically significant photos of the interiors and exterior of Villa Alba when it was still owned by the Mount Royal Hospital, showing twentieth century accretions and deterioration of the historic fabric of the building. This was a benchmark survey against which future conservation and restoration activities can be measured.In December 1987, Mockridge Stahle & Mitchell Pty Ltd Architects prepared ‘Villa Alba Survey: A Report on the fabric for Mount Royal Hospital’ of which this photograph is a part. The photo is of the Exterior (east) wall (east), the entrance to vestibule and an external fire escape. [The fire escape was later removed.]villa alba museum, conservation photographs, victorian architecture, fire escapes -
Uniting Church Archives - Synod of Victoria
Badge
B007.1, B007.2 - Round fabric badge mounted on card. The badge is black with blue white and grey detail. It has a St Andrew's cross in the centre beneath the letters PFA. Because of the materials and colours B007.1 appears to be the older badge. Both badges are probably blazer pocket badges."PFA"presbyterian fellowship association -
Brighton Historical Society
Stole, Buckley & Nunn, Mink fur stole
Fur stole consisting of two black mink pelts with heads at one end and tails at the other. Heads contain plastic eyes and noses. Black satin lining. Decorative front fastening consisting of a fabric-covered chain secured to a clip at one side and a hook fastening at the other.Label: "FURRIERS / Buckley & Nunn LTD/ MELBOURNE".fur, fur stole, mink, buckley & nunn, department stores -
Lakes Entrance Regional Historical Society (operating as Lakes Entrance History Centre & Museum)
Photograph, Lakes Post Newspaper, 1988c
Black and white photograph of the Bi-Centennial Clock on Esplanade. The clock support of steel and fabric appears to represent ships sails, the clock is missing. Situated on approach to Western Wharf or Post Office Jetty. In background brick public toilet. Also telephone box. Lakes Entrance Victoriajetties, public utilities -
Bendigo Historical Society Inc.
Costume - Ladies' hat
Lady's hat made from light pink straw like synthetic fabric with a matching pink ribbon around the crown. The band is tied in a bow with a decorative silver clasp stitched onto the band. Hand stitching presents as the hat being hand made. Black chin elasticattached.hat, millinery -
Kew Historical Society Inc
Headwear - Maroon Velvet Hat, Anne Harrison of Kew, 1960s
Marion “Annie” (Cooper) Harrison, a milliner by trade, designed and made women’s hats, initially in the 1940s in High Street, and later in the 1950s and 60s at 5 Princess Street. The hats were constructed upstairs in her shop in Princes Street while the ground floor was reserved for sales and display. She employed other milliners to assist but always ran the showroom herself. Hectic periods were in the weeks before the big racing carnivals when the many wealthy race-goers of Kew kept her busy. She typically walked to her business as she and her husband, Fred Harrison, lived locally. Annie died in April 2016, at the great age of 107 years. Her hats are held in local and national collections. This hat was worn by Kathleen Gervasoni, long term resident and former Mayoress of Kew, who purchased it from Anne Harrison.The Kew Historical Society’s fashion and design collection is comprised of costumes, hats, shoes and personal accessories. Many of these items were purchased or handmade in Victoria; some locally in Kew. The extensive hat collection comprises items dating from the 1860s to the 1970s. While most of the hats in the collection were created by milliners for women, there are a number of early and important men’s hats in the collection. The headwear collection is particularly significant in that it includes the work of notable Australian and international milliners.High crowned, taffeta lined, maroon velvet hat, designed and made by Anne Harrison of Kew. The hat features a narrow stiffened peak of the same fabric at the front and highlighting at the rear of the peak and on the crown in pale pink grosgrain braid. The back of the hat features grosgrain pink braid. Label, inside centre crown, woven in black on white polyester: *WM 9906 /Anne linHarrison OF KEW"anne harrison of kew, kathleen gervasoni, milliners - kew (vic), women's clothing, costume accessories - hats, cloche hats -
Kew Historical Society Inc
Clothing, Margeaux of Melbourne, Grey Silk & Lace Cocktail Dress, 1950s
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.This garment was created by Margeaux (Melbourne) which specialised in the production of "high-class cocktail and evening wear" (The Age, 17 March 1956).Knee length short sleeved grey silk and grey tulle cocktail dress with an attached outer covering of patterned lace of a lighter grey colour. The garment has the label of ‘Margeaux Regd. Imported fabric’. There is a zip at the back. There is some discoloration (due to sun damage?) to the lace at the shoulders. australian fashion - 1950s, margaux of melbourne, cocktail dresses, women's clothing -
Kew Historical Society Inc
Ceremonial object - President's Collar, Kew Bowling Club, 1970-1998
Sports Clubs in Kew in the final decades of the 19th century and in the early 20th century were often umbrella organisations with facilities for a number of sports. Typically in Kew, this included teams in lawn bowls, tennis and croquet. The Kew Bowling Club was formed in 1880 while the privately owned Auburn Heights Recreation Club was opened in 1904. By 1998, the two Clubs decided to amalgamate at the Auburn Heights site in Barkers Road, forming the Kew Heights Sports Club. The combined club was itself taken over by the Melbourne Cricket Club in 2012 becoming MCC Kew Sports Club. In 2017 MCC Kew closed and its landholding was subsequently sold to Carey Baptist Grammar School. Both the Kew and Auburn Heights Clubs assembled important collections. These historically significant and large collections were donated to the Society in 2020. The collections include manuscripts, pictures, trophies, plans, honour boards etc. References Barnard FGA 1910, 'Sports and Pastimes' in Jubilee History of Kew Victoria: Its origin & progress 1803-1910. Nixon NV 1980, The History of the Kew Bowling Club 1880-1980. Reeve S 2012, City of Boroondara: Thematic Environmental History, p.216.The combined collections of the four sporting clubs making up the collection number hundreds of items that are historically significant locally. They are also significant to the sporting history of the greater Melbourne area and to the sports of lawn bowls and tennis in Australia in the 19th and 20th centuries. The collection illuminates two of the Victorian historic themes - 'Building community life' through forming community organisations and 'Shaping cultural and creative life' by participating in sport and recreation.President's Collar used as an insignia of office, comprised of a fabric band in the colours of the Kew Bowling Club, covered with club badges and with a decorative bowling ball attached. [The item is part of the large historic Kew Bowling Club collection (1880-1988) gifted to the Kew Historical Society in 2020].kew bowling club - wellington street - kew (vic), clubs - lawn bowls - kew (vic), insignia of office -
Mont De Lancey
Book, Emma Jane Worboise et al, Married Life or, The Story of Philip and Edith, 1885
A young married couple navigate the ups and downs of wedded life, their growing family and developing their business. Strong religious themes throughout.Brown fabric covered hardcover novel with black floral and patterned design on front cover with title and author in ornate gold lettering - Married Life by Emma Jane Worboise. Spine has title, author and sun design at bottom with Christian World Library written in gold lettering.fictionA young married couple navigate the ups and downs of wedded life, their growing family and developing their business. Strong religious themes throughout.marriage fiction, family life fiction, religion fiction -
Mont De Lancey
Book, James Bonwick, F.R.G.S, Astronomy for Young Australians, July 14th, 1866
A cheap edition for teachers of Astronomy for Young Australians having been desired to meet the requirements of Public Schools of the colonies. It is written in a captivating narrative style that was well received at the time for assisting young students to understand the solar system.Small dark green fabric softcover cheap edition of Astronomy for Young Australians by James Bonwick, F.R.G.S., for use by teachers in Australian Public Schools. The front cover is blank with the title printed on the inside title page. At the back is list of Reviews of Mr Bonwick's Colonial Works. 13p.non-fictionA cheap edition for teachers of Astronomy for Young Australians having been desired to meet the requirements of Public Schools of the colonies. It is written in a captivating narrative style that was well received at the time for assisting young students to understand the solar system.astronomy, solar system, planets -
Robin Boyd Foundation
Furniture - Chair
These are reproductions of four Maruni60 chairs (item F032) The originals are Japanese kit form self-assemble furniture (1961) and were quite fragile and broke several times and needed repair. The originals were purchased from Anderson's furniture store in Chapel St Prahran, the store's back room was considered the coolest furniture showroom in Melbourne. Patricia Boyd had the cushions reupholstered to this purple fabric. These reproductions cannot be dismantled.Set of four timber frame with two purple upholstered cushions for back and seatwalsh st furnishings, robin boyd, maruni -
National Wool Museum
Quilt, Suitings quilt
The apparently haphazard arrangement of fabric pieces in a quilt made of scraps doesn't always preclude a conscious sense of design. The pieces in this quilt have been carefully arranged according to size and colour, possibly indicating that it was intended to go on a bed as a spread without a cover. Placed in a room that may not have been adorned with many other decorative items, this quilt would have been a colourful and inexpensive home furnishing solution.Patchwork quilt made from large pieces of wool suitings, colourful clothing off cuts and woollen blankets. The quilt has been hand stitched together with stitches that hold the front and back sides together. Either a large single bed size or small double bed size.quilting history, patchwork history, running stitch group, running stitch collection, quilting - history, patchwork - history -
National Wool Museum
Quilt, Silver Medallists' Signature Quilt
This quilt was produced by Wooltara (Australia) Pty Ltd for the Sydney Olympic and Paralympic Games in 2000. Over 24,000 similar quilts were distributed throughout the athletes village and given away to athletes, international media and officials. This quilt was donated by The Woolmark Company who had a display shed at the Olympic Games. It has been signed by Australian silver medal winning athletes and was displayed with the associated small fabric Woolmark panel.SYDNEY 2000 / WOOLMARKwoolmark company wooltara (australia) pty ltd, sport, the woolmark company 2000 australian olympic display - exhibition (21/12/2001 - 24/05/2002) -
Whitehorse Historical Society Inc.
Decorative object - Sampler, 1847
When removed from the frame, in Sept 1999, for conservation work it was found that probably on three previous re-framings the work had been tacked as the tack heads are clearly visible around the edge and staple marks are also present. The conservator was able to remove some rust but not the staple marks. She feels the 'browning' of the material was caused by the wooden board which the sampler was mounted on.|The conservator stated that the material was cotton 'Tiffany' fabric.Framed sampler of cross stitch headed 'Prudence' 'Hear the Words of Prudence, give heed unto her councils and shore them in your heart. Her maxims are universal and all her virtues lean apon her. She is the guide and mistress of human life. Put a bridle on thy tongue , set a guard before thy lips lest the words of thine own mouth destroy thy peace. Let him that scoffed at the lame take care that he hurt not himself. Whosoever speaketh of anothers failings with pleasure shall hear of his own with bitterness of heart. of much speaking cometh repentance but in silence is safety'|Embroidered trees and buds, flowers, baskets all stylized. 'To labour and to be content with that a man hath. is a sweet life' Mary Baker 1803 18 M.A.G. 47handcrafts, needlework -
Bendigo Military Museum
Uniform - GREAT COAT, ARMY, 1965
Coat - Khaki colour wool fabric uniform great coat. Double breasted with six buttons. Collar which fastens with buttons and metal hook and eye fastener. Shoulder epaulettes with buttons. Back has full length inverted pleat with lower vent with two buttons (missing) concealed closure - double half belt with two buttons back at waist. Buttons - brown colour plastic. Two inset front pockets with flap. light brown colour cotton half lining and sleeve and pocket lining. three white colour cotton fabric manufacturers label, two inside back below, one inside lower edge left side.Manufacturers information - black ink stamp. Top - "CGCF/Victoria/SIZE 7/ 1965/ ^". Middle - "REGIMENTAL NO./ NAME" Lower - attached only at top - print illegible.uniform, army, great coat, post ww2 -
Bendigo Military Museum
Uniform - SERVICE DRESS, ARMY, 2) Pytchley
Part of the Leo Reoch Cohn Collection. Leo Reoch Cohn served in both World War 0ne and World War Two. He enlisted in the 1st AIF on 23.9. on 6.5.1915, initially in the 22nd battalion (No. 1039), aged 18. Shortly after, on 11.9.1915, he transferred to the 8th LHR and embarked for Egypt on 23.9.1915, serving in both Egypt and Palestine. During that period of service, he transferred to the 1st Australian Light Car Patrol on 8.9.1917. This unit later became the 1st Australian Armoured Car Section. Leo began his return journey to Australia on 16.5.1919. Shortly after his RTA, he was discharged. While on active service overseas, he was hospitalized on a number of occasions due to illness. During World War Two, Leo enlisted in the 21st Battalion VDC (No. V360272) on 18.5.1942 at the age of 44. He was appointed Lieutenant on 25.6.1942. Leo's VDC service was terminated on 31.10. 1945 following the end of World War Two. .1) Tailored khaki woollen officer's dress jacket with silk like fabric lining. Two button-down breast pockets and two button down-side pockets. All buttons are military issue. Unit colour patch on each shoulder (8th ALH). Above the left breast pocket is a World War One trio of medal ribbons. An attached fabric belt has a metal buckle. .2) Light brown cotton drill jodhpurs with button fly. Knee reinforcement pad sewn on the inside of each leg. Button down hip pocket and two side pockets. Belt loops and buttons for braces on the waist band..2) On manufacturer's label: 'Pytchley, MADE IN ENGLAND'. Handwritten in black ink on waistband: 'COHN'.uniform, 8th light horse regiment, leo reoch cohn -
Bendigo Military Museum
Uniform - TROUSERS, BATTLE DRESS, 1989
Part of the Reverend Chaplain Major Thomas Bruce Williams, No 556101, Collection.Khaki battle dress trousers in wool fabric with pleated front. Waistband and pockets lined with light khaki cotton drill fabric. Wide waistband secured with three brown bakelite buttons Inside the waistband are six brown bakelite buttons used to secure braces. On each outer side of the waistband are two tabs with metal fasteners used to adjust the waistband. Extra buttons are sewn onto the outside of the waistband. A zipper fly is on the front of the trousers. Pockets consist of two hip with button down flaps, two lined side and one left leg cargo with button down flap. A light khaki heel protector is sewn into the hem of each trouser leg.On white calico manufacturer's label - handwritten in black ink: '556101, PADRE Tom'.uniform, army chaplain, battle dress, major thomas b. williams -
Shepparton RSL Sub Branch
Uniform, Dress Jacket, 1943
This jacket belonged to Dorothy May Mortlock (VF518245) who was part of the Australian Womens Army Service (AWAS). Dorothy Mortlock was born in Swan Hill and enlisted with the 3rd AUST AWS REC DEPOT.Khaki-coloured woollen jacket which fastens along the centre via four metal buttons. Two hip-height pockets with external flap; two chest pockets with pleat in centre fastened via a metal button. Fabric belt around waist held in place by two fabric loops on back and fastened through metal buckle and loop. Collar carries two metal rising sun badges on the left and right side. Two epaulettes on either shoulder are held in place by a button and carries a badge reading "AWAS". Colour patch on both left and right side is square, half green and half black. Interior label on base of neck.Label reads "V 579/1943/SIZE/MADE IN/AUSTRALIA/D. MORTLOCK/VF518245". Rising sun badge reads "AUSTRALIAN COMMONWEALTH/MILITARY FORCES." Buttons read "AUSTRALIAN MILITARY FORCES."world war ii, second world war, wwii, women, australian women's army service -
Bendigo Historical Society Inc.
Clothing - HANRO COLLECTION: PURE WOOL JACKET AND SKIRT
Pure wool black and dark green check pattern suit jacket. Single-breasted fastened with three buttons (2.4cm diameter) and two press studs. Buttonholes on a placket, of fabric cut diagonally. Classic collar. Top button at throat. Back of jacket made from four pieces. Front of jacket made of three pieces on each side to form shaping. Pockets inserted to seams at waist level on both sides of the jacket. Long sleeves tapering to wrist. Pure wool. Black and green, woven in a check design A-line skirt, with a long stitched down ''plackett'' effect of fabric cut diagonally, opening to a pleat, just left of centre front.Label inside back neck, ''Hanro tailored by franchise from Handschin and Ronus Ltd Switzerland. 100% wool. 18.costume, female, hanro pure wool jacket -
Bendigo Historical Society Inc.
Clothing - WOMEN'S LONG SLEEVED SMOCK STYLE BLOUSE
Clothing. Women's long sleeved smock style blouse of black, grey and cream cotton patterned fabric. High round neckline with folded over collar with rounded corners (8 cm) edged with 2.5 cm frill of cream coloured lace. Vertical pin tucks across back and front from shoulder line (14 - 16 cms). Full length centre front opening placket fastened with five press-studs. Horizontal fabric band (9 cm) around hemline. Long straight sleeves gathered into one cm casing above wrist. End of sleeve trimmed with pin tucks and frill of 2.5 cm cream coloured lace.costume, female, women's long sleeved smock style blouse -
Bendigo Historical Society Inc.
Textile - FAVALORO COLLECTION: PIECE OF SILK FABRIC WITH LACE AND EMBROIDERED INSERT, 1920-30's
Textiles. This is a beautiful remnant of fine cream silk fabric, with a 3.5 cm deep band of cotton lace, woven with a floral design, stitched around the lower edge. A triangular shape above the lower edge, is formed by the insertion of a piece of 2 cm wide cotton lace, also with a floral design, folded and machine stitched as an insertion. The same lace is also inserted in a 9.5 cm high "frame" over an embroidered panel 7.5 cms x 6 cms wide, and featuring a delicate circular embroidered and cut-work floral design. (Perhaps this remnant of beautiful fabric was cut from the lower edge of a camisole, or a babies gown).textiles, domestic, piece of silk fabric with lace -
Bendigo Historical Society Inc.
Clothing - AILEEN AND JOHN ELLISON COLLECTION: IVORY CORDED LACE WEDDING GOWN, 24 September 1949
Clothing. Long pointed sleeves, fastened with one press-stud at the wrist. Full circular skirt, lined with cream, synthetic lace type fabric. Fabric of the gown is a small floral type design,in a corded style, on a fine net backing. Sleeves are not lined. Back upper bodice has a lining in a double thread net. The sweetheart neckline is edged with a fine tulle frill. Bustline panels gathered top and bottom, and joins a peaked midriff panel, 15.5 cm deep at the centre bustline. Skirt is highly gathered to this panel, at the waistline, is a full circle and extends into a small train at the back. A small 23 cm zip on the left side seam.A KEAM Creation, Regd. Melbourne.costume, female ceremonial, ivory corded lace wedding gown -
Beechworth RSL Sub-Branch
Dress
Mid-length shift dress in light grey-blue. Dress consists of two breast pockets, each with rounded flap closure held in place by two press studs. Dress is fastened down centre with three silver buttons held in place with a metal ring (only two buttons remain). From waist line down, dress is fastened by a hidden zipper and hook and eye. Waist line is pleated and carries two loops on the back, through which a fabric belt (0030.2) is threaded. Two fabric loops on each shoulder may have been used to hold epaulettes or similar. Dress sleeves are rolled up by 40 mm. Collar is notched. Interior label on left side at waist height reads "IYD CLO CO/VIC./8410-66-000-000/SIZE 18/ARMY NO........../NAME............" -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Women's Official Occasions Floral Print Gilet Shirt, Wendy Powitt, c. 1992
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 -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Official Occasions Vest with Gold Buttons, Wendy Powitt, c. 1992
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 -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Official Occasions Vest with Buttons, Wendy Powitt, c. 1992
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 -
National Wool Museum
Uniform - 1992 Barcelona Olympic Games Official Occasions Vest, Wendy Powitt, c. 1992
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