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Bendigo Historical Society Inc.
Clothing - LADIES NIGHTGOWN
White cotton full length long sleeved ladies nightgown. Front yoke of lace panels with diagonal patterns and gathered lace edges. Gathered lace frill around neckline (5cm). Fabric yoke at back with gathered back panel. Set in sleeves with 5cm lace edge at hem. Decorative lace insert above lace edge. Front opening with two white buttons.''A.Chafer'' wriitten in texta on inside back of yoke.costume, female, white ladies nightgown -
Bendigo Historical Society Inc.
Document - NORMAN OLIVER COLLECTION: MAYOR'S NOTES, 13th Feb 1965
The Norman Oliver collection. Norman Oliver was three times Mayor of Bendigo - 1950-51, 1964-65, 1970-71. Three pages of typed notes titled 'The Mayor Speaks 13 February 1965'. Topics include : tertiary education, Senator Harrie Wade, and B.L.B. Corporation in Breen St., a Bendigo factory which produces woven fabric, and exports to Italy and other countries.bendigo, council, report, norman joseph oliver , councillor norman oliver. mayor of bendigo. b.l.b. corporation (bendigo) -
Bendigo Historical Society Inc.
Clothing - FAY BRYANT COLLECTION: NYLON BRAID/TRIMMING, 1960 - 1979
Lemon coloured bri-nylon braid Folded in a concertina-like manner, the top embroidered layer is 3cm wide and has a double underlayer of 5cm width. Fabric is overlocked along the top edge to hold these layers in place. Embroidered in a leaf-like design, along a curved wavy thread in a silk like thread. The trim may have been stitched as an insertion or as a finished edge of a garment.costume, female underwear, trimming braid -
Bendigo Historical Society Inc.
Clothing - MERLE HOULDEN COLLECTION: WEDDING HORSE SHOE CHARM, 06-02-1960
Cream satin ribbon, ruched over a flexible, possibly cardboard, horse-shoe shape. Three way orange blossom flowers, and one stiffened fabric leaf, are attached with a 1.5cm wide satin ribbon to the right hand side of the horse-shoe. A loop of the same ribbon, 26cm long is attached at the top of the horse-shoe. A small card attached reads: from REX and ANN.From REX and ANN LEEcostume accessories, female, wedding horse-shoe charm -
Australian Gliding Museum
Machine - Glider – Sailplane, 1963
The Bocian is a versatile training sailplane that first flew in 1952. The type has been modified in several respects over the course of production by SZD (tailplane and rudder in particular). About 600 have been built; many for export to 27 countries (including Australia). The aerobatic capability and fine performance (best glide ratio of 26) has enabled the Bocian to be used to train competition pilots as well as those of lesser experience. Many world gliding records were set in the 1950s and 1960s in Bocian gliders. The Museum’s example is a type D test flown in Poland on 3 and 4 April 1963. It was imported into Australia in September 1963 by Austerserve Pty Ltd. The first owner was the Alice Springs Gliding Club and the glider had name “Cumulus” painted on the side of the fuselage (since removed). The glider had recorded 726 hours 46 minutes flying time from 2138 launches as at July 1967 when it was transferred to the Darwin Gliding Club. It appears that the glider was damaged in June 1968. The substantial repairs to the fuselage, both wings and tailplane and other minor repairs were completed on 13 October 1968. The glider continued flying with the Darwin Gliding Club until August 1969 at which time the service to that club amounted to 59 hours 7 minutes flying time from 348 flights. Between August 1969 and August 1976 no flights are recorded in the logbook. It is understood that on its last flight at Bachelor, south of Darwin in the Northern Territory (August 1969) it was severely damaged when it crashed after spinning while being auto-tow launched (although this is not expressly mentioned in the logbook). Reg Hancock purchased the damaged glider and rebuilt the port wing and restored it to airworthy condition (September 1976). It was then transferred to Colac, Victoria, and used by the Colac Gliding Group at the Yeo airfield until February 1981, adding another 153 hours from 403 flights to the glider’s record. After airworthy inspection in September 1982 the glider was used by the Geelong Gliding Club until 1983 (logbook details not held). The 20 year survey was then due and the glider fell out of service. In the course of the most recent restoration attempt it was discovered that the glue used in construction had deteriorated and that it was no longer feasible to bring it back to an airworthy condition. Subject to restoration, this exhibit may be representative of the 1950s - 1960s Bocian two seat sailplane typeThis exhibit is a large two seat glider /sailplane of wood and fabric construction. All components are present with the exception of instruments. However, at the time that the aircraft was transferred to the Museum it had been taken apart for major restoration work. As received it is stripped of the top coats of paint and a number of components (including, amongst others, tip fairings, nose cone and cockpit elements) that were removed for facilitating the repair process. The glider, serial number 803, was registered as VH-GNLaustralian gliding, glider, sailplane, bocian, cumulus, alice springs gliding club, darwin gliding club, colac gliding group, geelong gliding club, hancock -
Bendigo Historical Society Inc.
Clothing - WOMEN'S STRAIGHT BLACK WOOL CREPE SKIRT
Clothing. Women's straight black wool crepe skirt. Fold over waist band lined with stiffened fabric (4cm). Centre back opening. Lining at waist fastened with two metal hooks and eyes. Back opening (19cm) fastened with five press-studs. Inverted pleats (28cm) on RHS front and LHS back above the hem. Skirt is unlined. Two hanging loops.costume, female, women's straight black wool skirt -
Bendigo Historical Society Inc.
Clothing - MCGOWAN COLLECTION: PETTICOAT, Late 19 th Century
Clothing, white cotton full length half slip petticoat. Elasticized waist. Made from one piece of fabric with french seam at centre back. 12 cm opening from waist on back seam. 32 cm slit from lower hem on back seam. Bottom hem trimmed with 7 cm border of lace with scalloped edge. Old box 524.costume, female, petticoat -
Bendigo Historical Society Inc.
Clothing - ALLAN MONAGHAN COLLECTION: LIGHT GREY SYNTHETIC TIE, 1974
1974 Commonwealth Games tie - New Zealand. Light grey synthetic fabric. Three 1 mm diagonal stripes at centre of tie- red, white and navy and at tail end. Below stripes at front is an embroidered square with letters NZ in each corner (1.3 cm X 1.3 cm). Below square is gold coloured embroidered crown with five sided border pattern of leaves.Label in inside seam, ''John Webster International'' , ''Wash and Wear'', ''Made in NZ''. ''Super Loom De Luxe''. Elustica Lined''.costume accessories, male, light grey synthetic tie. -
Bendigo Historical Society Inc.
Domestic Object - WEDDING '' CAKE TOPPER'' DECORATION, 1960's
Object. Clear plastic basket, in the shape of a flower carrying basket, with a high looped metal handle. A .8 cm wide satin ribbon bow adorns the top of the handle. Six silk fabric rose buds stand in the basket, with four stems of decorative pearl tipped ''stamens'' and one larger pearl on each stem. Silk leaves and flowers are all arranged in a frill of tulle.wedding, accessories, cake topper decoration -
Bendigo Historical Society Inc.
Textile - SIDE TABLE CLOTH, Mid 1900's - 2000's
Cream linen fabric, rectangular in shape. One log edge is finished with a 16 cm wide band of lace. This lace has been.machine made, and attached to the linen with a zig-zag machine stitch. The woven pattern in the lace is geometric in style. The other three sides are edged with 1.5 cm wide, woven lace in a scalloped design. Long-edge lace is 15.5 cms wide.manchester, table linen, side-table cloth -
Geoffrey Kaye Museum of Anaesthetic History
Tongue depressor, Lack
Lack model metallic tongue depressor. General deterioration over its surface with presence of scratches, worn surfaces mostly at the edges of the piece, oxidation spots and resin plasters around the handle base with dust and fabric fibers glued to it. It has a serrated surface bellow the blade to facilitate tongue adherence. It has an adult medium size. No inscriptions or further details are present to determine manufacturer or owner.tongue depressor, lack's tongue depressor -
National Vietnam Veterans Museum (NVVM)
Equipment - Pith Helmet
A typical North Vietnamese army issue helmet.Khaki green fabric covered pith helmet. Top part has 4 sections, each with a silver metal ventilation eyelet. Band separating top section from brim also has a metal eyelet. A domed metal vent at the top has 4 'arms. Inside strapping is green vinyl held in place by brown cord, and the chinstrap is brown leather with a silver metal buckle.pith helmet, vietnam, uniform, north vietnamese, helmet -
Uniting Church Archives - Synod of Victoria
Banner
The letters of the completed banner were made by different churches within in the presbytery and spelled a sentence, presumably "BUILD YOUR CHURCH LORD!" Orbost was one of the churches that had the finished banner on display. One of 24 small banners with tabs at the top of each for hanging on a rod. 19 have large blue letters appliqued on them. Twenty two of the banners are roughly square and two are smaller and oblong. Three have no letters and are used as spacers in the four word sentence that the letters make. The banners are decorated with rural and coastal images. BN068.11 "H" edged with pale blue metallic fabric paint "H"uniting church adult fellowship -
Villa Alba Museum
Photograph - Exterior pipe work, 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. Photo of numerous pipes, all installed during the period when the house was owned by the Royal Women's Hospital as a home for nurses (1950-1974). The pipes extended from the roof and from rooms used as washrooms on the first floor.villa alba museum, conservation photographs, victorian architecture, drain pipes, waste water -
Whitehorse Historical Society Inc.
Clothing - Bridesmaid Dress, c. 1966
Worn by donor to her sister's wedding 25 February 1966 at Christ Church Hawthorn.Cream Crepe bridesmaids dress Sleeveless which has a taffeta lining. the dress is a princess line style and has stiffened cream fabric flowers, with pearl centres. The flowers are mounted on continuous wire thread, Dress has a round neckline with a zip down the back. Gloves - Elbow length coloured cream with 2 pearl buttons at wrist closing. (Left glove has stain on back.)costume, female ceremonial -
Whitehorse Historical Society Inc.
Clothing - Boys Shepherds Suit Top, 1950s
Worn by Donor's baby boy during the 1950sViyella fabric boys shepherd's jacket with collar and long sleeves. Opening at front with three cream buttons at top and one press stud at top. Jacket is cream coloured with blue smocking at front top.|There is a blue and white edging on cuffs and collar, also down one side of jacket. Back has centre pleat and one smaller each side. Under smocking jacket is gathered.Dacolocostume, children's -
Circa Vintage Archive
Printed silk evening coat 1930s, Floral and butterflies silk princess line evening coat 1930s, Late 1930s
Evening or opera coat with princess line seams and shawl collar. Leg o' mutton sleeves, full length flared skirt of six panels and secured with one self covered button and bound buttonhole at the waist. Fully lined in cream coloured silk taffeta. Fabric is printed in gold with flowers, vines and butterflies with hand silk screened roses and forget-me-not flowers over the topNone -
Bendigo Historical Society Inc.
Textile - Men's Drawers
The Arrow shirt company was founded by William H.Titus and his partner in Chicago, Illinois and in the late 1800s merged with Cluett Peabody. In 1929 Cluett, Peabody & Co. established a national menswear business under the Arrow brand name. The "Arrow" name gradually grew into a product line that included shirts, collars, handkerchiefs, cravats, pyjamas, and underwear for men and boys. (Wikipedia)Two pairs of men's underwear. "Arrow" Trademark. Made from "Sanforized Shrunk fabric - ironless finished cotton". Cotton tape threaded through the top band allow for some adjustments to sizing. One garment appears to have hand stitching on the top band to allow for resizing or repair. Each pair has three silver coloured press studs for front fastening. 1930s - 1940s.arrow clothing, underwear -
Kew Historical Society Inc
Clothing - Two Piece Black Silk Damask Dress, 1890s
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.Late Victorian black silk damask outfit comprising a flared skirt and a short bodice. The high necked bodice reflects changing fashions at the turn of the 20th Century in that the silk fabric on the bosom is lightly gathered. The sleeves are pleated at the elbow. The skirt is lined with a black cotton lining. The neckline of the bodice includes a narrow band of pale cream lace. The outfit was owned by one of the donor's maternal ancestors.women's clothing, australian fashion - 1890s, mourning wear, micky ashton -
Kew Historical Society Inc
Clothing - Silk & Guipure Lace Evening Coat with Quilted Pink Silk Lining, 1920s
An item forming part of a collection of costumes, photographs and documents relating to the Weir family who lived in a mansion, originally named Illapa, at 84 Princess Street, Kew, from c.1917 to 1950. This historically significant collection includes items relating to both George Weir (1866-1937), his wife Edith Mary Weir (1867-1948) and their children. George Weir attained national prominence in the mining industry, becoming General Manager of the North Broken Hill Silver Mining Company in 1903 (later renamed North Broken Hill Mining Company 1905-12, and North Broken Hill Ltd 1912-1988), and subsequently President of the Mine Owners Association. He was to remain General Manager of North Broken Hill Ltd until his retirement in 1926.This garment is part of a collection of women’s clothing, owned and worn by Edith Mary Weir (nee Betteridge) - born in Clare, South Australia 1867, died Kew 1948 - and also by her daughter. The garments date from the 1880s to the 1930s. The collection includes day dresses, evening dresses, evening coats, capes, and undergarments. As the wife and daughter of a mine manager, the collection includes representative examples of clothing worn by upper middle class Australian women in domestic circumstances, and at social and civic events. A number of the costumes from the 1920s to the 1930s are of a particularly fine quality, being both rare, representative and intact examples of Australian fashion of the period. The garments in the Weir Collection were donated to the Kew Historical Society by a granddaughter of Edith Weir in 2017.Beige silk theatre or opera jacket with multi-coloured guipure lace at the neck, on the front bordering the opening, and on the cuffs. The long sleeves have extensive old lace extending beyond the wide cuffs. The inside is lined with quilted pink silk, which has darker silk panels at the front. The jacket has a high neck. It is closed using three embroidered fabric buttons at the frontedith mary weir (nee betteridge), 84 princess street - kew, australian fashion, women's clothing, costumes, coats -
Kew Historical Society Inc
Accessory - Decorated Covid-19 Masks, 2020
The outbreak of Coronavirus COVID-19 in Melbourne in 2020 resulted in changed behaviours by the population. These changes included, at least in Kew, the placing of teddy bears in windows. In the final months of 2020, an easing of restrictions allowed members of the Kew Historical Society to meet face-to-face, including during the annual Christmas Dinner, on this occasion at the Greenacres Golf Club. At the event a decorated mask competition was held. Individual masks were donated by a number of attendees for the collection.A series of hand-made and adapted commercial masks worn during the COVID-19 pandemic in Melbourne at the annual Xmas Party of the Kew Historical Society. Attendees were advised that an award would be made to the creator/wearer of the best decorated mask. This was won by Jan Walker the owner of the pink patterned fabric beaded mask. The makers of each mask is identified in the Media Reuse credit underneath the image.masks, covid-19, kew historical society -- celebrations -
Beechworth RSL Sub-Branch
Clothing - Brassard DPCU (rabbit pattern) UN
This item was worn by Maj Damien Batty whilst on UN peacekeeping in BougainvillePolyester cotton brassard in Disruptive Pattern Camouflage Pattern (DPCU Rabbit pattern) Fabric. Sewn on the main body of the brassard are two patches, the first patch represents the United Nations featuring the United Nations symbol, the second is a square patch of the Australian flag. The brassard is secured to the sleeve by a slit in the top through which the shoulder strap is threaded and a velcro straps wraps around the arm. United Nations Patch - UNITED NATIONS / NATIONS UNITES Australian Flag - AUSTRALIAbrassard, united nations, australian flag, dpcu -
Kilmore Historical Society
Clothing - Wedding Dress Bodice
Wedding dress bodice of Mary Rebecca Poulter ( 1879- )who married Hector (George?) Chapman (1871-1932) in 1901 at Christ Church, Kilmore.Clothing related to early Kilmore families.Deep blue bodice, tucks entire length of bodice. Bodice boned below bust to narrow waist, sleeves flaring at cuffs. Cotton lining, remnants of a lacy fabric at neckline. High collar, side fastening, dark blue braid trim at cuffs, collar & front. Hand sewn throughout. Front fastenings - metal hooks & eyes. Very fragile & poor condition. Not repairablepoulter, chapman, wedding dress -
Ballarat Apron Festival
Apron, Sugar Bag Apron, 1930s
This apron was made by Theresa Dunn (néé Wallis) of Breakaway Creek, Victoria. Born in 1912, Theresa came from a farming family and left school at the age of 14 following the death of her mother to help care for her younger siblings. Well known for her needlework, Theresa and her sister Eileen exhibited widely and later judged work for Victorian and interstate needlework competitions. Sticklers for perfection, they were known to always look at the back of the work first. In 1935 Theresa married Allan Dunn. This apron formed part of her glory box; a collection of items saved in preparation for married life. Never used, it was donated to the Ballarat Apron Festival in 2017 by Theresa’s daughter. Made by Theresa Dunn of Breakaway Creek in the 1930s, this apron reflects early-20th century ideals of thrift and resourcefulness that were highly regarded as desirable feminine traits. By making do and adapting waste materials, such as hessian sacks and fabric scraps, into practical clothing, women could demonstrate their sewing expertise and ingenuity; highly prized qualities during times of economic depression or frugalness. Part of Theresa's glory box, this apron is in immaculate condition and is an example of depression era clothing and resourcefulness. Sugar bag apron (circa 1930s) Ballarat Apron Festival collection Until the mid-20th century concepts of thrift and resourcefulness were highly regarded as desirable feminine traits. By making do and adapting waste materials, such as hessian sacks and fabric scraps, into practical clothing, women could demonstrate their sewing expertise and ingenuity; highly prized qualities during times of economic depression or frugalness. Colonial Sugar Refining Co Ltd. Pure Cane Sugar 70lbs. Melbourne 1A -
Linton and District Historical Society Inc
Instrument - Cornet, Brass, Cased, Cornet, Owned and Used by W H Nicholls, Linton Brass Band
The cornet was owned and used by W H Nicholls, a member of the Linton Brass Band, most likely in the 1890s or early 1900s. The cornet was donated to Linton & District Historical Society in 2017 by Robyn Nicholls, of Blackburn. It is understood in the Nicholls family that Robyn's late husband, Graeme Nicholls, inherited the cornet from his great-grandfather, William Henry Nicholls (1845-1902). However it is also possible that the cornet was owned and played by Graeme's grandfather, also named William Henry Nicholls (1880-1943).Brass cornet with mouthpieces, in original dark wooden case which has red fabric lining. Instrument is approximately 30cm in length, has a 12 cm bell and three valves. A small portable sheet-music holder is also in the carrying case. The manufacturer's name "Gautrot Brevete, Paris" is imprinted on the bell, along with the inscription "Exposition Universelle de Paris, 1889, Medaille d'Or". EXHIBITION / UNIVERSELLE / DE PARIS / 1889 / MEDAILLE D'OR / Gautrot Brevete / PARIS.linton brass band, musical instruments -
City of Moorabbin Historical Society (Operating the Box Cottage Museum)
Clothing - Clothing, lady's embossed nylon organza collar, c1950
Organza is a thin, plain weave, sheer fabric traditionally made from silk. Many modern organzas are woven with synthetic filament fibres such as polyester or nylon. Silk organza is woven by a number of mills along the Yangtze River and in the province of Zhejiang in China. A coarser silk organza is woven in the Bangalore area of India. Deluxe silk organzas are woven in France and Italy. Organza is used for bridal wear and eveningwear. In the interiors market it is used for effects in bedrooms and between rooms. Double-width organzas in viscose and acetate are used as sheer curtains. Nylon organza was very popular as the new fashion material in the 1950’sA lady's collar white embossed nylon organza with machine lace edge. C1950clothing, nylon, organza, dressmaking, moorabbin, bentleigh, cheltenham, fashion -
Churchill Island Heritage Farm
Clothing - Bonnet, Baby
This baby bonnet is made of strips or braids of machine made torchon lace crocheted together by hand and the bonnet is lined with silk fabric. There are crocheted rosettes in place which are placed to attach the ribbons. The thread used is possibly rayon which was used from 1915, but is very difficult to distinguish from silk. The Barmen machine would have been used to create the lace strips. It was developed from a braiding machine in the 1890s in Barmen which is now part of Wuppertal in Germany. This machine makes a near perfect copy of torchon lace which it creates in cylindrical form and by strategic removal of threads is flattened into the braid strip.Churchill Island has a large lace collection, which was added to by three successive generations of the Amess family - Jane, Janet, and Unity. The Amess family owned Churchill Island from 1872 to 1929. Jane was wife of Samuel Amess, who was the first Samuel Amess to own Churchill Island. The examples of lace are notable for their variety, and provide respresentative examples of techniques from the late nineteenth to the early twentieth centuries. Strips of machine made torchon lace in a bonnet, lined with silk, and crocheted rosettes for attachments to two lengths of silk for ties.Packaged with note; "Hand crocheted silk lined baby's bonnet" crochet, churchill island, janet amess lace collection, baby, bonnet, amess, clothing -
Kew Historical Society Inc
Clothing - Floral Crepe Evening Dress, 1930s
The Fashion & Design collection of the Kew Historical Society includes examples of women’s, men’s, children’s and infants’ clothing from the 18th, 19th and 20th centuries. Items in the collection were largely produced for, or purchased by women in Melbourne, and includes examples of outerwear, protective wear, nightwear, underwear and costume accessories.The V&A's history of fashion describes 1930s dresses as characterised by '... a slinky femininity... Parisian couturiers introduced the bias-cut into their designs, which caused the fabric to skim over the body's curves. Long, simple and clinging evening gowns, made of satin were popular. Often the dresses had low scooping backs'.Full length floral crepe evening dress with squared neck and short puffed sleeves.australian fashion - 1930s, women's clothing, evening dresses -
National Wool Museum
Painting - Ceremonial Hunting Grounds in the You Yangs, Stanley Couzens, 1993
Stanley Couzens, a Gunditjmara man and long-time Geelong resident, painted this story upon commission from the Geelong Wool Combing Company. It depicts hunting in the You Yangs, the distinctive granite peaks that overlook the region. In 1993, Couzens’ painting was translated into a pattern by textile designer Jenifer McMahon. It was then turned into a jumper using wool sourced entirely from the region. It was fully processed, from fleece to fabric, in Geelong. The jumper was given to attendees at the opening of the Geelong Wool Combing company on 10 December 1993. Among the many guests, was the Prime Minister Paul Keating. The painting was acquired with the permission of the Couzens family.Framed acrylic painting on board, showcasing the You Yangs mountain range, people, and local flora and fauna in warm earth tones. The painting is signed 'S. Couzens 93' in the bottom right hand corner. The painting is framed in a dark wooden frame.Bottom right corner - 'S. Couzens 93'you yangs, gunditjmara, aboriginal art, jenifer mcmahon, design, geelong wool combing company, jumper -
National Wool Museum
Textile - Skirt, Wendy Powitt, 1992 Barcelona Olympic Games Official Occasions Skirt, c.1992
About the 1992 Barcelona Olympic Games donator 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 technichian, 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. 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 stretchGreen knee length skirt with button and zip back. Has two pockets, and two darts in both front and back.Label 1 - Barcelona 1992 Official Uniform supplied by Australian Wool Corporation Label 2 - Fletcher Jones Australia 141992 barcelona olympics, australian wool corporation, wool, olympic games official occasions