Sketchbook containing designs for fabricink, paint, paper

Cardboard and paper. Green fabricAustralian army AAB-64 Reprinted may 76. Field message and note book

Fabric AMF Penalties Posterdocuments, 1950, army

Heather SHIMMEN (1957- ) Born Melbourne, Victoria Heather Shimmen is a painter and printmaker who ises etching, lithographic and linocut techniques. She often uses mixed media and collage. Throughout her prints Heather Shimmen interleaves personal histories. Between 1976 and 1978 Heather Shimmen studied Fine Art Painting at RMIT in Melbourne. During that time she was taught for one year by George Baldessin This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007. Framed linocut with fabric overlayart, artwork, heather shimmen, shimmen, linocut, printmaking, edition, bird, hand, tree branch, bee, moth, princt council australia, pca, available

Sample of craft work created by students of Korowa in the 1960s

Reversible ski jacket made by Rosalie Kiessling, 1970s. Used by Rosalie's son and daughter-in-law, from the 1970s through to the 1990s. The Kiessling family skied at Mt Buller and are members of Omega Ski Lodge. German by birth Rosalie, grew up skiing and ice skating, studied fashion design in Munich and worked designing women’s ski wear and lingerie before migrating to Australia via New Zealand in 1939 with her husband. As skiing increased in popularity following the end of WWII, Rosalie’s business grew reaching its peak during the 1960s. Though it was never large; at most she employed three staff. Rosalie continued to design and manufacture fashionable but functional ski wear until the late 1970s, although increasing imports from large overseas manufactures and constant new innovations in fabric technology made it difficult for her to compete in a relatively small industry. Reversible ski jacket with side zip pockets and full zip front. One side of the jacket is black fabric, while the other is black checked with a yellow and red weave. Rosalie Kiessling sportswear Melbourne / All cottonskiing, ski clothing, fashion design

The jug cover was made by overlapping two squares of net fabric and joining them together. The beads on the cover’s border are used to weigh the cover down and keep it on the jug. In the Words of donor, Betty Stone, … “These crocheted and embroidered articles cover a period of three generations- ie. Sarah (nee Chamberlain) Lees, Ann (nee Lees) Dale, and Daisy Elvena (nee Dale) Welsh. All three were accomplished needlewomen; also, both Sarah Lees (born 1844) and her daughter, Ann (b 1865) crocheted a wide variety of articles for use in their homes. A few examples of these items have survived the years.” It was a tradition for brides to have a 'glory box' containing linen and embroidered articles to take to their new home. Many of the items were made by Daisy, a skilled dressmaker. Daisy began her apprenticeship at two shillings and sixpence per week at Miss A. E. Emery's dressmaking establishment at 150-152 Liebig Street, Warrnambool. Considered to be the leading house of fashion in Warrnambool, Miss Emery employed about eight young women who worked long hours to sew elaborate gowns for clients, including wives of graziers who would attend the race carnivals and social functions in Warrnambool. (NOTE: For additional information please refer to my book Pioneer and Places- A History of Three Warrnambool Pioneering Families ie. Chamberlain, Dale and Lees families)This item is associated with the Warrnambool pioneer families of Chamberlain, Dale and Lees. These families are listed in the Pioneers' Register for Warrnambool Township and Shire, 1835-1900, published by A.I.G.S. Warrnambool Branch. The item is significant for its association with a ‘glory box’ or hope chest’, a tradition of single ladies making and collecting a range of linen and other domestic items in preparation for their future marriage. The item is a fine example of early 20th-century needlework and handmade domestic items.Jug cover, square shape, net fabric with blue beads along the crocheted edge. Part of the Chamberlain Dale Lees Collection.flagstaff hill, warrnambool, flagstaff hill maritime museum and village, great ocean road, chamberlain family, dale family, lees family, betty stone, warrnambool pioneer, warrnambool genealogy, wangoom, chamberlain dale lees collection, glory box, handmade, craft, manchester, linen, haberdashery, needlework, crochet, jug cover

Part of the Leo Reoch Cohn Collection. See Catalogue No. 5527.2 for his service record.Khaki coloured cotton fabric belt with keeper and pull through metal buckle. Fabric is double thickness with hemmed edges.clothing, belt

Part of a jacket worn by Sister Danson (VFX151507) during the British presence in Japan following the end of the Second World War. About 16,000 Australians served in the British Commonwealth Occupation Forces, including 130 from the Australian General Hospital with whom Sister Danson presumably served. Sister Danson was born in Numurkah and served as Leiutentant with the Heidelberg Military Hospital before embarking for Japan in 1947.This belt is part of a complete uniform set held by the Shepparton RSL. The uniform has representative and historic significance as an example of the style of uniform worn by nursing staff of the Australian General Hospital during the 1940s and into the 1950s. The uniform set has social significance to the Shepparton area, being owned and worn by a serving community member who was born in Numurkah, enlisted in Shepparton and returned to the community in later life.Grey fabric belt fastened with a metal buckle; belt is held in place with two fabric loops on either side of the waist.second world war, world war ii, medical, wwii, nurse, women

Red fabric covered board with 7 Rising Sun badges and 2 metal and 3 fabric 'Australia' shoulder titles. rising sun, australia, badge, title

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. This quilt sampler was made before 1900 by Rosina Ellwood. Crazy quilts were fashionable in the late Victorian era. The rise of the trend is attributed to the display of Japanese art and ceramics at the 1876 Philadelphia Centennial Exposition (U.S.A.) that featured asymmetrical designs. Inspired, quilters began sewing pieces of fabric of different sizes and textures together into abstract, asymmetrical patterns. The craze spread from America around the world. Embroidery, ribbon and silk embellishments, and hand stitched applique birds and flowers were popular additions. One magazine estimated that a detailed crazy quilt could take over 1,500 hours to complete. Crazy quilts remained in fashion in metropolitan cities until about 1910, though the style endured for longer in rural areas. This item is unique, handmade and has a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history and women’s history.A colourful patchwork quilt sampler using mixed fabric types including velvet, cotton, brocade and satin, backed on cardboard.hamilton-smith collection, hamilton-smith, stiching, needlework, sewing, handmade, domestic, quilt, quilts, crazy quilt, crazy quilts, women's history

The Royal Australian Navy Uniforms are based on the uniform of the Royal Navy. They reflect traditions that can be traced back to the Royal Navy (England) and demonstrate the relationship between the two. This shirt is one of four parts to a Naval Ratings Uniform which was presumably owned by J.M. Parsons.This shirt is one part of a naval ratings uniform which consists of four parts. The uniform is representative of the Royal Australian Navy uniform and can be traced to the Royal Navy (England). The complete uniform shows the connection between Australia and England since European settlement.White cotton short sleeved shirt with blue trimming around a square neckline. There are two slits on either side of the base of the shirt with rounded edges. There is a label stitched in the top/centre of the interior back of the shirt.Owners name printed in capitals on the lower part of the back exterior fabric: "J.M.PARSONS"navy, naval ratings uniform, ran, royal australian navy, j.m. parsons, j parsons, parsons, military uniform, naval ratings shirt, shirt

Clothing. Gloves are bound at the wrist, and around a 7 cms long opening on the inside of the wrist. This opening fastens with a white plastic button 1.5 cm in diameter, and a hand-stitched button. Neither button or button hole appears to be original. On the back of the hand are three 7 cm long rows of stitching-appearing to be double rows, but done in one stitching action. These rows are slightly formed out from the wrist, over the back of the hand.100% cotton fabric. Empire Made M (inside left-hand glove).costume, male, pair white cotton gloves

A silk scroll with [Chinese?] characters/calligraphy painted on it. It also has patterned fabric on it. Th scroll is stored in a gold fabric box.scroll, silk, chinese, gold box, chinese characters, calligraphy

Milagros is inspired by the Mexican tradition of pinning ‘ex-votos’ or ‘milagros’ onto the robes of Patron Saints when requesting a miracle. Ex-votos or milagros are votive offerings of small metal shapes which represent a visual form of people’s prayers. The central question in this piece is:If the creatures of the river could, which ones would be asking their Patron Saints for a miracle or two? Most of the wetland and river fauna which are depicted in Milagros are listed as endangered or vulnerable and are recorded as belonging to the area of the Ovens River stretching from Wangaratta to the Murray.Wangaratta Art Gallery CollectionA rectangular sculpture that features a light wood beam with a brown fabric hang from it, with small golden animal pendants attached to the fabric.rose wedler, sculpture, milagros

Box made by donor in a workshop at the Vermont South Community House during the 1990s.A fabric covered round hat box with lid in black fabric with red and blue roses pattern with fawn connecting lattice pattern.

Uniformissued to and worn by D. Angus.1. Shirt - camouflage jungle pattern green and brown colours, polyester/cotton fabric with long sleeves, shoulder epaulettes, two front pockets with button down flap, green plastic buttons. Left shoulder patch with Rising Sun, Crown and 'THE AUSTRALIAN ARMY". Two rank insignia on sleeve - one stripe - Lance Corporal, Cotton manufacturers label, green with black print information, very faded. 2. Trousers - camouflage jungle pattern green and brown, polyester/cotton fabric. Green colour plastic buttons. Five button fly, two front inside pockets with two button down flaps. two side pockets, button down belt loops. Waist and pocket lining - polyester/cotton fabric. Green cotton manufacturers label on side pocket lining.1. & 2. Green cotton fabric label information - black ink print. 1. "ADI/VICTORIA 1989/^/ 8415.66.130.0028/ SIZE 100 S/ NAME/ SERVICE NO/ MACHINE WASHABLE/ DRIP DRY ONLY/ DO OT IRON/ DO NOT STARCH/ DO NOT BLEACH" Handwritten red ink "ANGUS" . 2. "ADI P/L/ VICTORIA/ 1996/ 6/ 8415.66.130.004 ?/ SIZE 92S/ NAME/ SERVICE NO/ MACHINE WASHABLE/ DRIP DRY ONLY/ DO NOT IRON/ DO NOT STARCH/ DO NOT BLEACH."uniform, army, camouflage work dress\

Part of the "Wagga" collection. Made by Gwen Giles c.1930 and given by her to Running Stitch. Her husband was an upholsterer and and one of the sources of her cloth.Patchwork quilt of pastel coloured damask squares with dark grey central satin square edged in black. Contains felting fabric. Back is covered in upholstery fabric. Mrs Giles husband, an upholsterer, was one source for her fabrics.quilting history, running stitch group, running stitch collection, giles, mrs gwen, quilting - history

Blue silk fabric prize ribbon2008 Yarrawonga Mulwala Agricultural Show celebrating 125 years

Gloves used as hand protection while boxingSporting goods made and sold by Holden and FrostLeather boxing gloves with fabric liningleather, boxing gloves

This item has significance as an example of headwear produced for Australian military use. White, triangular shaped piece of fabric with folded over edge towards front forming headband. Fabric has overlocked edges with top stictched front band at fabric edge. Band features red fabric cross, overlocked in red thread (top) and white thread (bottom). Top of triangle is folded under and stitched down.nurse, military, war, women, female, hospital, fashion, textiles, medical, red cross

Cloth belt to fit under horses belly to connect with upper harness to hold all firm Ca 1900Manufactured by Holden and Frost C1900Cloth girth belt with two metal buckles on each end to attatch to harness for pulling jinker or drayequine, girth, fabric

On the 1984 Los Angeles Olympic Uniforms donator Doug 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 trhe traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. When the forthcoming Los Angeles Olympic Games was announced, the Product Marketing Group seized upon the chance to show the world that we could make top fashion garments and display them on our elite athletes on the world stage. A concept was launched using a contemporary top designer, Adel Weiss, with the most exclusive fabrics and knits available, and all with a lot of hype. This launch failed dismally for the following reasons- - The designer did a wonderful job presenting an excellent fashion range on perfect skinny models. The AOC however wanted a uniform which had an obvious Australian appearance when fitted to elite, and frequently muscular, athletes. - The fabrics chosen did not reflect the performance required by travelling athletes, there was no recognition of the need for ‘easy care.’ - There was no recognition given to the problem of measuring, manufacturing and distribution of a range of articles when the selected athlete could be domiciled anywhere in Australia. - There was no appreciation of such historical facts as Fletcher Jones, who had been unofficial suppliers dating back to the 1954 Olympics in Melbourne, and the Fletcher Jones board member, who was also an AWC board member, and was not in favour of the change. The project passed from Product Marketing to Public Relations, a big spending off-shoot of the AWC Chairman David Asimus, and due to the day to day operations of the project was passed to me and PR took care of the financial matters. The first task was to meet with the AOC and find out exactly their requirements. This lead to the production of a design and manufacturing brief, cointaining exact time lines for each event required to ensure an appropriate uniform on every athlete chosen to represent his/her country on the date given for the Opening Ceremony in Los Angeles. Working backwards the timeline becomes- 1. Noted the exact date of the Opening Ceremony. 2. Estimated the date for distributing completed garments to each athlete. 3. Estimated the time span available for measuring each athlete and commence making each component of the ensemble to the individual measurements of each athlete. 4. Decided the date for making the final choice of uniform design concept. 5. Decided the date for distribution of the design brief to selected designers. These five steps were spread out over a two year period. The Commonwealth Games occur midway between each Olympic Games, work on the Olympic uniform commences the week after the Commonwealth Games closing ceremony and MUST be ready by the prescribed day two years hence. The project also had to remain cognisant of trade politics existing within the span of the task, as well as the temperament of designers in general. It is no overstatement to say that in the past every designer in Australia believed they could, and should, be chosen to design the Australian Uniform. The final choice of designer almost always faced criticism from the fashion press and any designer who had been overlooked. However, with the contenders receiving an exacting brief the numbers of serious contenders greatly reduced. The Los Angeles Olympic Uniforms. A further reason for the AWC bid failure to design the LA uniform was that the AOC had already chosen Prue Acton to design it. This was based on her proven performance during previous games as she had a talent for creating good taste Australiana. Her design concepts also considered the effect when they were viewed on a single athlete as well as the impact when viewed on a 400 strong team coming on to the arena. A blazer trouser/skirt uniform in bright gold was chosen for the formal uniform. It was my task to select a pure wool faille fabric from Foster Valley weaving mill and have sufficient woven and ready within the prescribed timeline. The trouser/skirt fabric selected was a 60/40 wool polyester plain weave fabric from Macquarie Worsted. This fabric had a small effect thread of linen that was most attractive when dyed to match some eucalyptus bark Prue had brought back from central Australia. For the Opening Ceremony uniform, Prue designed a series of native fauna, a kookaburra for the men’s shirt and a pleated skirt with a rural scene of kangaroos, hills and plants. This presented an insurmountable printing challenge to the local printing industry as it had an unacceptably large repeat size and the number required (50) was also commercially unacceptable. The solution was a DIY mock up at RMIT and the employment of four student designers. The fabric selected for this garment was a light weight 19 micron, pure wool with a very high twist yarn in alternating S and Z twist, warp and weft. This fabric proved to be the solution to a very difficult problem, finding a wool product which is universally acceptable when worn next to the sin by young athletes competing in the heat of a Los Angeles summer. Modifications to this fabric were developed to exploit its success when facing the same problem in future games. Garment Making- The most exacting garment in the ensemble is the tailored blazer, plus the related trouser/skirt. Unfortunately tailoring athletes that come in various shapes and sizes such as; - Weight lifters develop an enormous chest, arms and neck size. A shirt made to a neck size of 52 would produce a shirt with cuffs extending well beyond the wearer’s hands. - Basketball players are up to 7 feet tall and garments relying ona chest measurement grading would produce a shirt with cuffs extending only to elbow length. - Swimmers develop enormous shoulders and slim hips, cyclists by contrast develop thighs I liken to tree trunks and a uniform featuring tight trousers must be avoided at all cost. Suffice to say many ensembles require specialist ‘one off’ treatment for many athletes. Meanwhile there is a comfortable in between group who can accept regular sizes so you can cater for these by having back up stock with plenty of built in contingencies. Athletes may be domiciled anywhere in Australia, this creates a fundamental problem of taking their measurements. The Fletcher Jones organisation was key to answering this problem due to their presence in every capital city, as well as many provincial towns around Australia. Each athlete on being selected for the Olympic Team was simultaneously requested to visit their nearest Fletcher Jones shop. The standardised measurement data collected was shared with the other manufacturers, e.g. Pelaco Shirts, Holeproof Socks and Knitwear, Maddison Belts, and even Hush Puppy Shoes. As the time for the Games approached the AOC made arrangements for combining meeting of all. Selected available athletes at the Australian Institute of Sport, Canberra, where, among other things, they were fitted and supplied with their uniform. The method evolved as follows.Men’s cream coloured button up, collared shirt. Images of a kookaburra have been printed onto the shirt, a single kookaburra on the left breast and a pair of kookaburras on the reverse of the shirt. The kookaburras are printed in a brown tone to complement the cream colour of the fabric.On tag - FMaustralian wool corporation, 1984 los angeles olympics, olympic uniforms, men's uniforms, sport, athletes

Licences were for Murray Stanley Metherall No 35455. Serving in the Australian Army Educational Corps Murray was the only such person to serve in the Australian Army Training Team Vietnam. As a Capt age 44 years he served in Vietnam as Adjutant with AATTV/HQ AFV (Army) from 29.1.68 to 21.1.69. He would catch rides by Jeep, truck, aeroplane, with Americans, by any means to all the outposts in Vietnam where the “Team” served delivering mail and pay. .1) Army cinematograph operator's license made of brown printed fabric. .2) Army drivers license made of brown printed fabric..1) & .2) “Australian Military Forces”documents, licenses, drivers, cinema, aattv

The Schneider ES50 Club was built in 1953 and is the only one of its type. It was designed by Schneider to comply with specifications laid down by the Gliding Federation of Australia for a basic two seat training glider*. It was first flown on 10 May 1953 and delivered to the Renmark Gliding Club. The log book shows that it later passed to other gliding clubs, namely Millicent Gliding Club, Corangamite Soaring Club, Sydney Technical College Gliding Club. Overall, as at September 1967, the glider had logged over 5000 flights and a total airtime of 388 hours. The Museum volunteers have partly refurbished the ES50 to static display standard. [*Plans were also prepared for a single seat version which never eventuated] This glider is one of Edmund Schneider Pty Ltd earliest Australian designs. However, it was a later Schneider design, the ES 52 Kookaburra, which was accepted by many Australian gliding clubs for filling their need for a basic two seat training glider in the 1950s and 1960s. This is a two seat high wing aircraft of mainly wood and fabric construction. The cockpit area of the fuselage is fabric over tubular steel framing. Given serial number 3 by manufacturer and registered as VH-GHPaustralian gliding, glider, sailplane, schneider, es50, renmark gliding club, millicent gliding club, corangamite soaring club, sydney technical college gliding club