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

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 stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Yellow long sleeved shirt with detachable floral collar. Double breasted pockets.Label - Pelaco1992 barcelona olympics, australian wool corporation, wool

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 stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Green button up tailored jacket with two faux pockets and a breast pocket on left hand side. Olympic logo on left breast pocket.Label 1 - Barcelona 1992 Official Uniform Supplied by Australian Wool Corporation Label 2 - Fletcher Jones Australia On breast of jacket - Australia Barcelona 19921992 barcelona olympics, uniform, jacket, fletcher jones

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 stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Yellow shirt, one pocket on left breast. The cuffs and the collar are white.On label - Barcelona 1992 Official Uniform supplied by Australian Wool Corporation1992 barcelona olympics, wool, australian wool corporation

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 stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Floral tie with cream, red, green native flower design.On label - Woven & manufactured in Australia by "Tee-Dee" exclusively for the Australian Wool Corporation1992 barcelona olympics, uniform, tie, australian wool corporation

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 stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Green jacket with Olympic emblem on left breast pocketLabel 1 - Barcelona 1992 Official Uniform Supplied by Australian Wool Corporation Label 2 - Fletcher Jones Australia Label 3 - Warm iron dry clean only On jacket breast - Australia Barcelona 19921992 barcelona olympics, uniform, tie, australian wool corporation

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 stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Straw hat by brand ‘Akubra’ in the style ‘Olympian’, size 56. Sides of crown woven with decorative pattern and hatband printed with native Australian flora. Retains original swing tag.Labels: Akubra / 56 / Olympian / MADE IN AUSTRALIA1992 barcelona olympics, uniform, australian wool corporation, hat

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 stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Straw hat by brand ‘Akubra’ in the style ‘Olympian’, size 59. Sides of crown woven with decorative pattern and hatband printed with native Australian flora. Labels: Akubra / 59 / Olympian / MADE IN AUSTRALIA1992 barcelona olympics, uniform, australian wool corporation, hat

Foreword by Associate Professor Robert L Allan, Head, School of Arts, University of Ballarat. Information regarding travel awards by Anne Saunders. Book sectioned by study areas, including photos of students, contact details and an example of their work. Final page includes list of sponsors, award donors, exhibition committee and designers.Catalogue accompanying exhibition of final year, Visual Arts student work at University of Ballarat, 1997. Spiral bound landscape book, 36 leaves (72pp) plus card covers front and back. Single colour black and white print throughout.university of ballarat, federation university, ceramics, drawing, graphics, graphic design, printmaking, sculpture.

The Keith Wingrove Trust conducts a competition among Australian artists, graphic designers and students for the production of Ex Libris Bookplates. The competition is called The Australian Bookplate Design Award. The purpose of the competition is to increase interest in and to attract publicity to the artistic value of bookplates. Although the competition is referred to as 'Australian' there is a category of award open to International artists. Framed original linocut ex libris bookplate for Edwin Jewell. The linocut features a bird.artists, artwork, edwin jewell, bird, printmaking, linocut, bookplate, keith wingrove memorial trust, kookaburra, available

"Ivy (Clayton) and husband Frank O'Neill. My aunt (Daisy) Amy's daughter would have made Ivy's dress. She was a designer. She made my Mum's wedding gown, also mine. Beautiful work." - Vicki Wilson. Ivy May Clayton (1894-1946) married Henry Francis O'Neill (1896-1966) in 1917.Digital copy of black and white photographclayton family, ivy may clayton, oneill family, henry francis oneill

An example of the innovative winged keel design based on the Australia 2 yacht (Americas Cup winner 1982). The Star Fin was a collaboration between Australian pro surfer, Cheyne Horan, and Australia 2 fin designer Ben Lexcen. Horan won 1984 Bells Beach surfing festival riding a board using this fin design. This fin design represents a radical departure from surfboard design thinking at that time (early 1980s) Most people were concentrating on multi fin designs Mark Richards with high performance twin fin designs, then Simon Anderson's 3 fin 'Thruster' design. Cheyne Horan employed the talents of innovative yachting designer Ben Lexcen (who designed the Americas Cup winning Australia 2) to design a unique Star Fin which would provide greater hold for a single fin at critical angles. Horan proved the effectiveness of this design by winning the 1984 Rip Curl Pro at Bells beach using a board mounted with one of the Star Fins. The Star fin represents an unusual (for surfing)scientific and innovative design approach. This is a rare and representative item signed by design instigator Cheyne Horan.Cheyne Horan Star Fin. Moulded polycarbonate red Star Fin. Fin is signed by Cheyne Horan with "HAVE A GOOD SURF FROM Cheyne Horan". Manufacturers and makers information embossed on base. Concept by Cheyne Horan Design by Ben Lexcen Patent Pending STAR FIN Made from Lexan Polycarbonate by Star Fin p/l PO Box 1293 Nth Syd Aust.red, star fin, cheyne horan, ben lexcen, winged keel, bells beach surf contest 1984

Boyd forewarns that the article is strong on generalisations and not diplomatic. He writes that Australian architecture is old-fashioned, second-hand, rejects sophisticated world fashion trends, and has under-developed professional pride and determination. In the last few pages, Boyd advocates a code of integrity and goodness in architecture, calling on designers to come together and commit to the code.Original manuscript published in Architecture in Australia, vol. 56, no. 3, pp. 454-465.Typewritten (c copy), pencil edits some pages missing, quarto, 26 pagesIncomplete- pages missing, and includes page 8Aaustralian architecture, sydney school, perth architecture, university architecture, code of integrity in architecture, robin boyd, manuscript

This Beco lamp was designed by Donald Brown, a pre-eminent Australian lighting designer in the '50s and '60s. Robin Boyd often specified BECO lighting, including elsewhere in his own home. This was originally a bedside reading lamp in the upper living room, as seen in the Mark Strizic 1958 photograph in Robin Boyd's book Living in Australia p129.Beco 720 lamp, with black stand base with switch and white glass shadeBrown Evans & Cowalsh st furnishings, robin boyd, ohm2022, ohm2022_25

This Beco lamp is attached to Penleigh's wardrobe and lights the sink and mirror area. It waslamp was designed by Donald Brown, a pre-eminent Australian lighting designer in the '50s and '60s. Robin Boyd often specified BECO lighting, including elsewhere in his own home. There was possibly a similar lamp in Suzy's's room as a bedlight near the bookcase at one time.Beco 720 wall lamp, with white shadeBrown Evans & Cowalsh st furnishings, robin boyd

Demonstrates the way the SEC advised passengers in Ballarat and Bendigo how the fare and charges systems worked and yielded information about the fare charges in force at the time. A copy was provided in each tram behind framed glass.Printed sheet and mounted onto at least two other sheets of heavy blank paper to form a poster of a drawing showing Bendigo Tramways (SEC) Fares, Charges, and Section Map. Also gives charges for Scholar's Monthly tickets, Luggage, Parcels, Newspapers and Chartered trams. Fares in shillings and pence and decimal currency. Titled - "Schedule of Fares and Charges - July 1951". Shows offices as Hargreaves St. Has details of designer/draftsman and date "AVM/MM / 14/5/51" in top left hand corner. See images for digital photographs of the poster. Stored within a purpose made folder. In very poor order.trams, tramways, bendigo, fares, sections, map

01 Gives an account of the Morey Gates and Pergola over time and 02 the Ballarat Courier 16/12/1893 gives an account of the Unveiling of the Two Marble Lions in the Gardens being postponed.Important in the History of the Ballarat Botanical Gardens and as gifts designed in Ballarat and to adorn main entrance to the Gardens01 One half page in point form 02 Ballarat Courier 16/12/1893 02 References written in black biro, 2nd column of page and reference to presentations by Morey and Ham. Ballarat Courier, 18/8/1894.morey gates, pergola in the ballarat botanical gardens. chronology of the gates and pergola, donor of gates and pergola, construction, designers, damage to structures, original plan, mr d. ham mlc, two marble lions in the ballarat botanical gardens, mr e. morey mlc., john garner collection, garner, dr, ballarat botanical gardens, gardens, ballarat

The Hardware Club was established in the 1980s in Hardware House, Hardware Lane Melbourne by Andrew Maine, Jules Taylor and Paul Jackson, who all worked together at 3RRR. Artists, fashion designers, and musicians all flocked to the Club in the 1980s. It was the place to experiment with fashion and dance to dawn at a time when may venues closed early. Hardware Houses rooms were perfectly suited for the purpose, its polished wooden floorboards ideal for a dance floor,mezzanine floor for spectators, and crucially the Club had two bars and a 24 hour licence. Initially the trio from 3RRR took over the club on Friday nights only , and then other nights followed. In 1983 graphic Designer Robert Pearce was commissioned to design this poster for The Hardware Club. According to Jules Taylor it was inspired by "subways of New York with a touch of Berlin and Film Noir ..." Ann Carewdesign, graphic design, australian fashion

Photograph of invitation to third year Graphic Design / Multimedia dinner and portfolio show. The dinner was held at the Ballarat Fine Art Gallery, and show at the university Camp Street Campus. For this student show, Melbourne-based designers were brought to Ballarat via special carriage on a V/Line train to Lydiard Street Station and walked to the new Camp Street Campus.Digital photographs of optical disc (DVD rom) in clear plastic case created by University of Ballarat, Bachelor of Visual Arts (Graphic Design / Multimedia) third year, graduating students, 2002.university of ballarat, federation university, graphic design, multimedia, camp street campus, new north, arts academy

Margaret Bennett was a student at Ballarat Teachers' College in 1949. She attended the Ballarat School of Mines as a full-time day student for three years, gaining her Diploma of Art in 1972. She was Drum Major of the Ballarat Ladies' Pipe Band from c1954-1955. She was also the set and costume designer for Junior Light Opera Company. A handmade green blazer with a scotch thistle crest embroidered on the pocket, along with the name Ballarat Ladies' Pipe Band. Gift of Margaret Bennett, 2019Ballarat Ladies' Pipe Bandmargaret bennett, ballarat ladies' pipe band, alumni, highland pipe band, margaret reynolds, ballaray junior light opera

Margaret Bennett was a student at Ballarat Teachers' College in 1949. She attended the Ballarat School of Mines as a full-time day student for three years, gaining her Diploma of Art in 1972. She was Drum Major of the Ballarat Ladies' Pipe Band from c1954-1955. She was also the set and costume designer for Junior Light Opera Company. A City of Ballaarat Pipe Band Life Member Medal, pinned to a piece of Mackenzie Tartan with bow. City of Ballaarat Pipe Band, Life Member on the front Inscribed on the back is Drum Major Margaret Bennettmargaret bennett, ballarat ladies' pipe band, alumni, highland pipe band, margaret reynolds, ballaarat city, city of ballaarat pipe band, life member, tartan

Margaret Bennett was a student at Ballarat Teachers' College in 1949. She attended the Ballarat School of Mines as a full-time day student for three years, gaining her Diploma of Art in 1972. She was Drum Major of the Ballarat Ladies' Pipe Band from c1954-1955. She was also the set and costume designer for Junior Light Opera Company. A handmade Mackenzie Tartan Scarf, with a red, white, green and dark blue pattern and fringed endsCity of Ballaarat Pipe Band, Life Member on the front Inscribed on the back is Drum Major Margaret Bennettmargaret bennett, ballarat ladies' pipe band, alumni, highland pipe band, margaret reynolds, tartan, scarf, mackenzie tartan

Margaret Bennett was a student at Ballarat Teachers' College in 1949. She attended the Ballarat School of Mines as a full-time day student for three years, gaining her Diploma of Art in 1972. She was Drum Major of the Ballarat Ladies' Pipe Band from c1954-1955. She was also the set and costume designer for Junior Light Opera Company. A handmade tie in Mackenzie Tartan. Gift of Margaret Bennett, 2019margaret bennett, ballarat ladies' pipe band, alumni, highland pipe band, tie, mackenzie tartan, tartan, wool

Margaret Bennett was a student at Ballarat Teachers' College in 1949. She attended the Ballarat School of Mines as a full-time day student for three years, gaining her Diploma of Art in 1972. She was Drum Major of the Ballarat Ladies' Pipe Band from c1954-1955. She was also the set and costume designer for Junior Light Opera Company. An epaulette with the rank of major - four arrows in brownish gold - embroidered onto a piece of dark green material. ballarat ladies' pipe band, alumni, highland pipe band, tie, tartan, wool, epaulette

The pessary was first made of hard rubber then later from vulcanite. A major manufacturer was Allen & Hanburys, London. They were made in six sizes. The pessary was used to support the uterus in cases of prolapse of the uterus or assisted the conditions of relaxation of the vagina and reduction of vaginal hernia. The designer of this pessary was William Morse Graily Hewitt (1828-1893), a British gynaecologist, obstetrician and physician. Vulcanite pessary. The pessary is loosely 'v' shaped, with a thicker section at top and two 'wings'.pessary, intrauterine device

The pessary was first made of hard rubber then later from vulcanite. A major manufacturer was Allen & Hanburys, London. They were made in six sizes. The pessary was used to support the uterus in cases of prolapse of the uterus or assisted the conditions of relaxation of the vagina and reduction of vaginal hernia. The designer of this pessary was William Morse Graily Hewitt (1828-1893), a British gynaecologist, obstetrician and physician.Pessary is made out of black vulcanite. Has two hinged wings with a hole through the centre, and when placed on a flat surface the object forms the shape of a "V".intrauterine device, pessary

Jinoel of Melbourne was a highly successful Australian fashion house launched by Jill and Noel Kemmelfield in 1957. Eleven years later the designers won the [Melbourne] Gown of the Year award. Jill and Noel Kemmelfield were later to launch Marty and Martine, their mid-market labels. They closed their business in the 1980s. The evening coat was owned, worn and donated by Dione McIntyre.The McIntyre Collection of clothing and clothing accessories forms one of the largest single donations to our Fashion & Design collection. It includes clothing and clothing accessories worn by four women in the Cohen and McIntyre families across three generations. The items worn by Melbourne architect, and Kew resident, Dione McIntyre date from the 1960s and 1970s, and include evening wear, day wear, hats and shoes. As Dione McIntyre often accompanied her husband, fellow architect Peter McIntyre, to formal events, there are a number of pieces of evening wear among the items. The McIntyre Collection also includes items worn by women of an earlier generation: by Lilian Cohen, Dione McIntyre's mother, and by her mother-in-law, the wife of the architect Robert McIntyre. At the other end of the chronological spectrum are a number of outfits belonging to, worn and donated by Annie McIntyre. These include outfits created by notable late 20th century Australian and/or international fashion designers. The McIntyre Collection is significant historically and artistically as it includes examples of design that demonstrate changing tastes in fashion over an 80-year period. The collection is also significant in that it includes the work of a large number of Melbourne designers from the 1960s to the 1990s. Long sleeved full length yellow raw silk evening coat fastened with a belt of the same colour and fabric. Designed by Jinoel of MelbourneLabel: Jinoel of Melbournewomen's clothing, jinoel of melbourne (vic), coat dresses, jill & noel kemmelfield, mcintyre collection, australian fashion - 1960s

Jot was an exclusive Toorak fashion label and boutique established in 1969 by Lithuanian-born Terry Oertel and French-born Odile Moktar. Terry's sister Arija Austin was also a designer; in partnership with Erna Vilks she established the high-end Tu Boutique in South Yarra in 1963. The two sisters came to Australia as teenagers after World War II.Maxi coat in cream, yellow and metallic gold ogival patterned brocade. Fastens with five large metallic gold corded domed buttons. Lined with ivory silk taffeta.Label, woven black on white acetate, centre back neck: jot / TOORAKcoat, brocade, 1970s fashion, melbourne designers, melbourne fashion, jot, terry oertel, odile moktar, toorak