The jabot was part of the Presbyterian Moderator's regalia and was worn under the coat which had lace cuffs. The regalia also included britches, stockings, wool gaiters and shoes with metal buckles. White lace jabot on cotton collar and with tape, elastic and hooks for securing round the neck.presbyterian moderator, regalia

The jacket belonged to RAAF Chaplain Aubrey Alfred Quick. Rev Quick served in seven Methodist Circuits in Victoria, one in Tasmania, one City Mission (North Melbourne) and also an appointment with the Methodist Inland Mission in Central Australia. He was one of the first ministers to be appointed to the new John Flynn Memorial Church in Alice Springs. Aubrey Quick was a part-time Chaplain in the Royal Australian Airforce and received an Order of Australia for his pastoral care of the apprentices the RAAF. He served on the University of Melbourne Queens College Council for 23 years. Navy blue wool belted jacket with four brass buttons and a brass buckle. The jacket has four pleated pockets, each with a brass button, one small ticket pocket on the RHS and two pale blue grosgrain ribbons at the cuffs. It is lined with black cotton and the sleeves with cream striped lining. The right pocket contains two metal Chaplain's RAAF metal hat badges and two colour bars.rev aubrey quick, raaf chaplain, methodist circuit, australian inland mission

Made by Lyndale U.C. Afernoon & Evening Fellowships.Pale blue cotton banner with brown felt lettering and cross. The latter has brown wool behind it. There is a handwritten makers label stitched to the back."PEACE OR NO PIECES AT ALL"westernport presbytery dandenong north

The raincoat was worn by Hilda Elizabeth Foster, Presbyterian Deaconess. Hilda Elizabeth Foster (1890-1982) was commissioned as a Deaconess in 1914 giving a lifetime of service to the church particularly in the social care aspect of the Gospel. She was also a double certified nurse. Deaconess Hilda Foster began her work as a Deaconess in South Melbourne and then served for 13 years with the Presbyterian Sisterhood in North Fitzroy caring for unmarried mothers and their babies. In 1933 she was appointed Matron of the Presbyterian Girls' Home in Elsternwick where she worked for 15 years. She retired in 1948 when it was noted "In complete dedication matron has given herself to this care of souls". Deaconess Foster was awarded the British Empire Medal for her work in the Queen's birthday honours in 1981. Deaconess Foster was one of the first qualified Mother Christmasses in Australia. [Minutes of the Sixth Synod, Oct 1982] Black gabardine winter coat with a plaid lining, two side pockets and a buckled belt. Their is a label in the raincoat which advises re waterproofing."Dunlop waterproofs" "Reign in the rain" "65% Wool 35% Cotton"presbyterian deaconess, deaconess hilda elizabeth foster

Used at Hartwell Presbyterian Church/Hartwell Uniting Church of AustraliaBurnt orange coloured wool bag with cotton lining and a wooden handle. The bag is handmade. hartwell presbyterian church, hartwell uniting church of australia

Skirt in light grey wool, roughly gathered into calico waistband (unbleached with red stripes). Cotton tape has been used for ties. Seams and hem have single turn-ups and are oversewn."FX" in black ink on waistband at left back.costume, sunbury asylum, george evans collection

Worn by patients at Sunbury AsylumPetticoat - grey narrow striped wool skirt sewn to white cotton sheeting bodice. Bodice is sleeveless, fastens at back with four metal buttons, and has four darts at the waist.costume, sunbury asylum, george evans collection

Sunshine High School existed in its own right from 1955 to 1991. During the early years the wearing of 'correct' uniforms was strictly enforced. Girls had to wear hats and boys had to wear caps as part of the uniform when outside the school grounds, or else they risked detention if caught without head wear by a Prefect. The boys therefore always had a rolled up cap in the back pocket to quickly slip on whenever there was danger of being nabbed by a Prefect. The girls had a winter uniform, which included thick beige stockings and a maroon blazer, and a summer frock in which they could be relatively cool during hot days. The boys had to wear their double breasted grey suits all year, with a jumper under the jacket in cold weather. The boys were supposedly being groomed as gentlemen, and so even during hot conditions were not allowed to remove their suit jackets in the class room. On about two very hot afternoons a year, the headmaster removed his jacket and so allowed the boys to do likewise. With single breasted suits becoming fashionable, it became difficult to find double breasted grey suits in the wide range of sizes required by students. In about late 1960 or early 1961 the uniform rules for boys were changed to enable them to wear single breasted grey suits. They still however were not allowed to remove their jackets in class on hot days. Over the years the rules for the wearing of uniforms were relaxed and in the late 1970's students were wearing either uniforms, or parts of uniforms, or their normal clothing. The wearing of uniforms at Sunshine High School eventually died out well before the School vacated the buildings on Ballarat Road, and amalgamated with other local secondary schools to form the Sunshine College.The three items of clothing, although not a complete uniform set, serve as a reminder of the summer and winter uniforms, as well as the colours, that were worn by the girls at Sunshine High School during the early years. The jumper is identical in appearance to that worn by the boys and so it is not difficult to imagine how a male Sunshine High School student would look like with a grey suit and that type of jumper.THREE ITEMS of girls uniform from the no longer existing SUNSHINE HIGH SCHOOL are individually displayed here. The items being: (1) Beige with maroon print cotton summer frock. (2) Maroon polyester/wool winter tunic. (3) Maroon V-necked wool/nylon jumper with light blue and gold coloured stripes around the cuffs and the neck.Ecole brand winter tunic. Buxwear brand summer frock of Style S289. M.G.Magree brand jumper.sunshine high school, uniform, frock, tunic, jumper, girls school uniform, maroon uniform

The collection contains SEVEN ITEMS of clothing from the former SUNSHINE TECHNICAL SCHOOL of which images of SIX are individually displayed here. The clothing items are: (1) Grey wool/nylon V-neck jumper with green and red stripes bordered by thin black stripes, around neck, waist and cuffs. (2) Black cap with green panel containing a red STS logo on front of cap. (3) Green acrylic/nylon sleeveless football guernsey with wide red V-shaped band on front. Only one of the two guernsies is shown. (4) Green cotton collarless, short sleeve, and button up tracksuit top with red and black stripes around the sleeves and on both sides of the buttons. (5) Green cotton button up tracksuit short leg pants with red and black stripes along outside edge of legs. (6) Green cotton sports bib with black STS logo on front.school jumper, school cap, football guernsey, tracksuit, sports bib, school clothing, uniform, sunshine technical school

Used for spinning, twisting fibers such as wool, flax, hemp, cotton into yarn.Wooden spindle with metal tip. Ridges along spout.

The book was used by Peter Evans (born 1927) to record notes during classes in the Wool Classing course at Gordon Institute, 1939-1944. Mr Evans was from Hamilton, Victoria, where he continued the family business of wool and sheepskin trading. The book was a gift to Dr Grahame Abbott from the inherited estate of Peter Evans in consideration of his experience in the wool industry over 35 years at the CSIRO Wool Laboratories at Belmont.A bound cash book with a cardboard cover and maroon cotton binding. Has a paper label with a blue inscription in the centre of the front cover. Pages lined and ruled in columns. Contains handwritten notes in blue and red ink on 72 pages.Wording: CASH BOOK D.M.C.;Method: printed;Location: front covergordon institute of technology, woolclassing, evans, mr peter, geelong, victoria

This handbook contains the setting instructions for a Standard Hattersley Loom developed by George Hattersley and Sons Ltd. The Hattersley loom was developed by George Hattersley and Sons of Keighley, West Yorkshire, England. The company had been started by Richard Hattersley after 1784, with his son, George Hattersley, later entering the business alongside him. The company developed several innovative looms, of which the Hattersley Standard Loom – developed in 1921 – was a great success. The Hattersley Standard Loom was designed and built in 1921. Thousands of models were expected to be sold, which would bring considerable financial success to the company. After the recapitalisation boom of 1919, cotton yarn production peaked in 1926 and further investment was sparse. Rayon, an artificial silk, was invented in the 1930s in nearby Silsden, and the Hattersley Silk Loom was adapted to weave this new fabric. An example of this type of loom can be seen on Vic Collections here ( https://victoriancollections.net.au/items/54065d0f9821f50e3cc9c122 ) and is also on display within the National Wool Museum in Geelong, Victoria. A copy of this manual may be available by contacting the National Wool Museum Collection Team. Book, 64pp. Red and black loose leaf, soft cover, printed black ink. "[Hattersley] Standard Loom Tuners Handbook: Setting instructions " - George Hattersley and Sons LtdTHE BRUCE WOOLLEN MANUFACTURING CO LTDtextile industry - history textile machinery weaving textile industry - education, george hattersley and sons ltd, weaving looms, weaving machinery, textile industry - history, textile machinery, weaving, textile industry - education

Wagga Lily flour bag, from the Murrumbidgee Milling Company Limited, Wagga Wagga, NSW. 10 kg bag.Cotton flour bag with green, yellow and red faded text and image. Rectangular with casing sewn at upper edge.agriculture, murrumbidgee milling co ltd, gibbs, ms cynthia

Mrs Cotton/ nee/ Doris Fairnietextile mills - staff textile mills - history textile mills, returned soldiers and sailors mill, textile mills - staff, textile mills - history, textile mills

Part of the Running Stitch collection. Given to "Running Stitch" c1995 by the Korrumburra Art GalleryLarge wagga made from fabric pieces which have been hand stitched together and lined with jute wheat bags. Fabric pieces are roughly rectangular and of various sizes. They are made from cut-down cotton knit garments (green and pink), a pink cotton fabric with floral print and various woollen garment pieces and their linings. Pieces are roughly over stitched together with various woollen threads. Back of the wagga is similarly constructed but with cotton and silk fabrics, both printed and plain.handicrafts quilting quilting - history, running stitch collection, running stitch group, handicrafts, quilting, quilting - history

Part of the Running Stitch collection. Possibly made in the Ballarat area.Heavy weight domestic waggaWAGGA/ Maker Unknown. 108cm long X 67cm wide/ Floral cotton cover with filler of old garments/ Running Stitch Collection/ c/- Barbara Macey/ ...handicrafts quilting quilting - history, running stitch collection, running stitch group, handicrafts, quilting, quilting - history

This small woollen suiting wagga was machine stitched, backed with orange cotton and edged with brown navy and white striped braid. It shows how important old and disused suiting fabric was for quilt making during World War Two. Part of the Running Stitch collection.Small woollen suitings wagga. It is machine stitched, backed with orange cotton and edged with brown navy and white striped braid. Two rows of orange braid and purple ric rac are stitched across the wagga.handicrafts quilting quilting - history, running stitch collection, running stitch group, handicrafts, quilting, quilting - history, world war two, wwii

Part of the Running Stitch Collection. Possibly made at Ballarat.Patchwork quilt, made with small rectangular pieces of printed cotton dress fabrics in predominant shades of blue. Machine quilted and filled with woollen handknitted garment pieces. Backing is a cream cotton fabric printed with blue and green and brown floral pattern.quilting quilting - history, running stitch group, running stitch collection, quilting, quilting - history

The Returned Soldiers and Sailors Mills was located near the Barwon river on Pakington Street, Geelong, where its building still stands. The mill was established in October 1922 with capital acquired from War Gratuity Bonds. The mill produced fine grade woollen products with its speciality being ‘Retsol’ travelling rugs. The mill first began to run into financial troubles with the ‘Credit Squeeze’ or the ‘Holt Jolt’ of the early 1960s. This saw import restrictions lifted which triggered the start of a minor recession and a rise in unemployment. Included in these troubles was the RS&S Mill which saw the number of employees gradually decrease and business declining with cheaper imports beginning to grab an expanding part of the market share. The mill was eventually purchased by Godfrey Hirst in 1973 who tried to continue operations without success and in June 1975 textile production at the site ceased. Outside of financial considerations contributing to the closure of Woollen Mills in this period was the declining need for heavier fabrics as in-home heating and insulation improved. This need had been replaced for a demand for ever softer, finer and lighter worsted fabrics for more casual clothing. Modern day textile production requires fewer steps in the processing of materials for this use. This meant large factory complexes such as early woollen mills like the RS&S mills were no longer required. Compared to modern textile production which can spin a fine yarn out of synthetic fibre or imported cotton easily, spinning fine yarn from medium quality wool at a textile factory was cumbersome and no longer financially viable to suit new consumer demands. This rug provides context to this statement. It was gifted to Shirley and Gordon Green as a wedding present in November 1963 by one of Gordon's colleagues in the wool industry. Living in areas such as Neutral Bay, the Hornsby area and later in life retiring to the Central Coast, the blanket was too heavy for use in these weather conditions and hence it stayed in its original box for nearly 60 years. Top and bottom of rug has frilled edges. Pattern is titled the 'Clan Cameron' and is repeated in a 7x7 grid. Front of rug has a red background with 4 vertical and horizontal lines. All is surrounded by a yellow boarder. Label is stitched into the bottom right corner. Reverse of rug also has a repeating 7x7 grid. Blue background with thick green horizontal stripe. Yellow and red boarder to the grid with 4 red vertical and horizontal lines making up the interior. Rug measure 1550 x 2040mm, approximately the same size as a queen size mattress.Wording, Bottom right corner. THE GEELONG R.S&S. WOOLEN MILLS/ PURE/ WOOL/ AUSTRALIA/ The John Monash Rug (cursive)/ The Clan Cameron (cursive)rs&s mills, textile manufacture, rug, clan cameron, sydney greasy wool exchange

In 2020 during the period of lockdown due to COVID the National Wool Museum asked their volunteers to make and donate blocks made from a variety of materials found in their homes, for an ISO quilt. The NWM reached out to the patchwork and quilter community to find a local quilter to sew the donated blocks together. The quilt is sewn together and quilted by Judith Oke, 2020-2021. Judith is a local patchwork and quilter and a member of Geelong Patchwork & Quilters Guild. Through the process she was inspired by the tradition of wagga quilts, where bits and pieces are stitched together, sometimes lined with whatever the sewer found available, such as clothing and sacking, to provide warmth. In construction of the finished quilt the challenge was combining 10 inch blocks made from a variety of materials, with uneven sizing. The aim was to combine these very different blocks into a harmonious whole. To this end a light and dark pattern was planned, with the blocks to be sewn onto a blanket. The choice to layer the blocks over each other, rather than sew an even seam was aimed at emphasizing the make do nature of these ISO blocks. Due to the weight of the blanket a decision was made to sew the blocks onto a base before the whole was stitched onto the blanket. The blanket was sourced from NWM donations. The rich, red of the blanket provides a bright, warm background for the colourful squares. Some of the light weight blocks were backed with iron-on interfacing to strengthen them for sewing. The edges of two of the woven squares were blanket stitched with knitting wool. The 10 inch donated blocks/squares were machine sewn to a cotton sheet base, with liberal use of blanket stitching, as the blanket was too heavy to sew the blocks directly onto the blanket. The base with squares was then machine sewn onto the red blanket backing.Various multi coloured and designed patchwork squares sewn onto a red woollen blanket. isolation, covid, quilt, wool

Collector says: It was always satisfying to reunite matching blankets. One of these was acquired from a garage sale in Castlemaine and the other from The Mill Market in Daylesford.Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Double sized blanket, cream with salmon stripesThe Laconia Blanket/Guaranteed Odorless and Free From Filling/Made in Australia/Wool 70% Cotton 30%wool, blanket, blanket fever, laconia, cotton

Collector's note: "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from. One hundred mill labels sewn onto a single sized cream blanket with blue end panels(On original blanket label) "Marco" Blanket/Wool 70%/Cotton 30%/Guaranteed Free From Fillingwool, blanket, blanket fever, labels, sampler

Two items of newborn clothing dating to 1944. The first item is a dress and the second is a singlet. Both items are made from wool and are in new, unused condition. The clothing was owned by Mrs L. Brawdrup and was donated to the National Wool Museum in 2022 by Lila Gore.Clothing item one is a cream woven dress. It is finished at the sleeves, neck, and hem with a white lace trim. The trim is formed from a thread that has a metallic gleam, presumably cotton. The dress is styled under the neck with a stitched patterned of frills and flowers in the same white metallic thread. The dress gathers under the armpits, similar in style to a dirndl. At the rear, the dress is loosened and fastened by 3 press stud buttons in an opening at the centre. Clothing item two is a cream woven singlet. It is finished at the sleeves, neck, and hem with a white lace trim. The trim is formed from a thread that has a metallic gleam, presumably cotton. The lace is like the dress; however, it is less intricate. baby clothing, 1940s, 1940s baby clothing

Business shirt, gold with collar, long sleeves and cuffs. Part of the outfit to go with the "Sheep to Suit" record attempt, 1982.Part of the 'Sheep to Suit' event outfit.sheraton/ styled in/ Permanent Press/ KORATRON/ 65% polyester/ 35% cotton /15 1/2textile production fashion shearing weaving sewing, melbourne college of textiles, highlights of the national wool museum: from sheep to suit - exhibition (22/09/2001 - 02/12/2001), textile production, fashion, shearing, weaving, sewing

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced by Styleknit in c.1947 and contains knitting patterns for womens garments.Series 47-2 / STYLEKNIT / Price: Sixpence / 7 Garments Knitted in Wool or Cottonknitting handicrafts - history, styleknit, knitting, handicrafts - history

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.Quilt, wool, single bed size. Quilted cotton cover in various shades of blue, filled with wool. Housed in a white cotton drawstring satchel printed with logos.Wording: SYDNEY 2000 / WOOLMARK; Method: Printed; Location: Frontwoolmark company wooltara (australia) pty ltd, sport, sydney 2000 olympic games, quilt, wooltara, athletes

Green wool felt pennant with stitched side seam and white cotton tape tie sewn in seam.Front: JEPARIT / VIC. / SIR ROBERT MENZIES PARK Back: Lake Hindmarsh / JEPARIT / VIC.jeparit, victoria