About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.A long sleeve cream coloured dress shirt with a detachable printed neck tie. The neck tie is decorated in an Australian floral design inspired by the artist Margaret Preston. The shirt has two breast pockets and double sets of cream buttons. The rear of the shirt is unadorned. 8124.4 - Floral fabric sample. 8124.5 - Floral fabric sample.BARCELONA 19921992 barcelona olympics, sport, athletes, fashion, design, uniform

Sepia photo of the Staff of Iron Bark Mine with Manchester Arms Hotel in the background. The men are seated or standing behind a log beside the poppet legs of the mine with the Manchester Arms Hotel in the background. Written on the back is - Mr Gilbee L of Manager Ironbark.bendigo, history, long gully history group, the long gully history group - staff of the iron bark mine, manchester arms hotel, mr gilbee

Letter addressed to Connelly, dated Nov 15 1890, from Manchester Unity Independent Order of Odd Fellows regarding the negotiation of a loan. Manchester Unity seal in the top left hand corner .The back of the letter is signed D H Gowan .business, legal, connelly, tatchell, manchester unity independent order of odd fellows, bendigo, connelly, tatchell

Uniform issued to Lieutenant ANC (Australian Navy Cadets) "Patricia Ibbotson", No. 1005777. Commanding Officer of Training Ship Bendigo. Enlisted 26/2/2004 - Admin Officer, 2IC. Acting CO June 2012 Commanding Officer 16/10/2012. Retired 26/02/2016.1. Jacket - Black winter ceremonial, wool/polyester fabric, double breasted with 8 gold plastic buttons embossed with an anchor. Two wavy gold stripes just above sleeve hems, denotes rank of Lieutenant. One stripe has a loop. There are black shoulder flashes with the words "Australian Navy Cadets" embroidered in gold. 2. Trousers - Black wool/polyester fabric with side pockets. Fob pocket, back pocket and belt loops. Nylon and metal zipper fly, Black polyester pocket lining. 3. Shirt - long sleeved with cuff, white cotton/polyester fabric, collar, front breast pockets with button down flap. Shoulder epaulettes, plastic buttons. 4. Shirt - white, short sleeved with shoulder boards. Cotton/polyester fabric, collar shoulder epaulettes, two front pockets, white plastic buttons. Shoulder boards gold ribbon on black fabric with gold plastic embossed buttons. 6. Belt - black with gold buckle. 7. Hat - Tricorne for female officer - black and white colour fabric. Black brim, white crown with black polyester lining. On front is a cloth Officers badge featuring gold laurel wreath surrounding a silver anchor. On top of that is a gold crown with padded insert of red velvet. Around the base is embroidered dots of red, blue and green representing gems. Manufacturers label - black in print - illegible. Handwritten owner's, blue ink pen "IBBOTSON". Manufacturer's label - black ink print on white cotton fabric. 1. "ADI/ 1992/ SIZE 115s/ Bust - 115cm/ Waist 90 cm/ 8410-66-134-3810/ Wool/polyester/ Service No/ Name/DRY CLEAN ONLY." 2. ADA/ 2002/ ^/ NSN 8405 66 137 9251/ Wool/Polyester/ Size: 104L/ Waist:104/ Seat: 125/ NO/ NAME/ DRY CLEAN ONLY. 5. White print on black fabric "AUSTRALIAN TIE CO/ MADE IN AUSTRALIA/ 65% POLYESTER/ 35% VISCOSE/ MADE IN AUSTRALIA/ DRY CLEAN ONLY".uniform, anc, ts bendigo, patricia ibbotson

The Soviet Union was one of the first countries to realize the unique potential of parachute forces. As early as 1927 there were reports of parachute troops being used against bandits in Central Asia. Within the next two to three years Leonid G. Minov began to organize the first military parachute units. He traveled to the United States to study parachute strategy and techniques employed in air rescue missions. He returned to his country with a supply of American-made Irvin parachutes. In April 1930, Soviet industry produced its first run of domestic parachutes, not surprisingly patterned on the Irvin style.Red felted wool beret withblack leather hat trimfabric informatiion labelt i.e. dry cleanrussian front 1918-1919, russian paratroopers history of russian paratroopers, history of change in aircraft to cater for paratroopers

Weaving samples folder: 3 "FANCY WOOLLEN (MENS SUITING RANGE)" patterns with 3 black/grey cloth samples5651 (ink) FANCY WOOLLEN COATING FABRICweaving textile industry textile design, weaving, textile industry, textile design

Moulding plane - Gothic Bead. Maker Gleave Manchester. Owner S.Davies and has a "3" stamped on end.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, moulding plane

Bendigo Advertiser ''The way we were'' from 1999. Travelling: the Manchester Arms late last century.newspaper, bendigo advertiser, the way we were

A Davey Lamp made of brass. and glass. THE PROTECTOR LAMP AND LIGHTING Co Ld No MAKERS ECCLES. MANCHESTERPRESENTED TO THE MAYOR OF BENDIGO BY COUN G HAZELWOOD HOYLAND NETHER URBAN DISTRICT COUNCIL YORKSHIRE ENGLAND. ON THE VISIT OF MR. E B MASHEDER (PRESIDENT OF THE CHAMBER OF TRADE HOYLAND)davey lamp, eccles manchester, mayor of bendigo

Naval Uniform - brand new. 1. Jacket - 75% cotton, 25% polyester fabric. Grey, dark grey and dark green disruptive pattern. Metal stud closures. Epaulettes - gold embroidered crown, crossed anchors and "AUSTRALIA" unit shoulder flashes - both embroidered with gold, white and red thread - R. three headed dog/ "HMAS CERBERUS" - ships badge. L. Australian Navy White Ensign. Chest patch - embroidered gold, red and white RAN Patch - Crown, Anchor and R.A.N. logo. 2. Trousers - 75% cotton, 25% polyester fabric, grey, dark grey and dark green disruptive pattern.Both - Maker's label - black print on white label "CTE PTY LTD/ JUNE 2010/2011" / "75% cotton 25% polyester/ FR treated". Then extensive information on laundering care of fabric. "MADE IN AUSTRALIA" .uniforms, dpnu, ran

Nino Corda was a Geelong based textile designer who worked at various textile mills between 1957 & 2003. He travelled the world in search of the latest fashions and techniques and developed timeless designs that were much loved by Australians. These items are on rotational display at the National Wool Museum’s ‘In the Factory’ exhibition. For many years, Nino also worked as part of the Honorary Staff of the National Wool Museum. His passion for the world of textiles provided energy and knowledge to the visitors and staff of the museum. Although Nino has now retired from his honorary position and has hung up his Australian Tartan vest, these items will continue to serve the community in sharing the stories of Australian Textile design. This Suit Jacket was tailored from fabric designed by Nino while he was working at the Foster Valley Mill. Nino developed a Mastercard such as w8043, which was sent to a mill in order to produce bolts of the desired fabrics w8044. These fabrics were then given to tailors where the final product was produced, such as this Suit Jacket.Single breasted suit jack with two buttons and notched lapel. Jacket is predominantly grey with black buttons and a silver silk interior lining. Four darker grey vertical and horizontal lines make up the design of the fabric on the exterior of the suit jacket. suit jacket, weaved, tailored

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to  spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.8133.1 - The front of the short sleeved shirt has four colour blocks. The bottom two quadrants of the shirt are yellow and cream, the top two are red, above the cream, and green, above the yellow. The collar of the shirt is cream and the cuffs of the shirt are yellow. The back of the shirt is solid green. There are seven buttons with small amounts of colour on them to do up the shirt, and a motif of Australia made up of curving, crosshatching lines on the left of the shirt, sitting over the line between the red and cream colours. 8133.2 - The front of the short sleeved shirt has four colour blocks. The bottom two quadrants of the shirt are yellow and cream, the top two are red, above the cream, and green, above the yellow. The collar of the shirt is cream and the cuffs of the shirt are yellow. The back of the shirt is solid green. There are seven buttons with small amounts of colour on them to do up the shirt, and a motif of Australia made up of curving, crosshatching lines on the left of the shirt, sitting over the line between the red and cream colours. The bottom hem of the shirt is asymmetrical with the back of the shirt longer than the front. 8133.3 - Red fabric sample. 8133.4 - Red fabric sample. 8133.5 - White fabric sample with permanent marker writing "F22630." This sample also has the tag attached. 8133.6 - White fabric sample. 8133.7 - White fabric sample. 8133.8 - Green fabric sample.8133.5 - On tag - "Allan Robison Textiles Design F22853 82m 30 Wangaratta St Richmond Victoria, 3121, Australia Tel 429 - 9600 Fax 427 - 0594"1992 barcelona olympics, sport, athletes, fashion, design, uniform

Plane, Rebate type, with stamped inscriptions. It has no blade. Made by maker R Kelly & Sons Ltd Liverpool.Stamped; within oval "KELSON" "R KELLY & SONS LTD / LIVERPOOL / & MANCHESTER"flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, plane, rebate plane, r kelly & sons ltd, kelson, hand tool

Colour photograph of the Castlemaine Manchester Unity Independent Order of Oddfellows Honour Board inside the Castlemaine market Building. castlemaine, castlemaine market building, castlemaine manchester unity independent

- Made by donor's grandmother for donor's mother.- Printed cotton fabric - Detailed cuff & neckline (Plain fabric)Nilchild's clothing, handmade

Colour photograph: Manchester Arms Hotel, Eaglehawk Road,Long Gully. Single storey building, white painted with 5 posts brown verandah at the front. On side wall "Des and Dave Manchester Arms Hotel" and underneath Carlton Draught. A blue car is parked at the front and there is a man working on the roof.bendigo, hotel, manchester arms

The Mark II Pilot Balloon Slide Rule was made of wood laminated with heavy white plastic with a length of 24.5-in. and width of 2.5 inches. Mark II rules were manufactured in Australia by W & G (Melbourne). The W & G rule differs only slightly from the English A. G. Thornton LTD rule. The W & G rule uses serif fonts and has some fiducial marks that the English rule lacks. Exact dates of production are not known but the MK II is known to have started production by 1927. The printed scales are engraved in the plastic faces. The slide rule has 4 captive cursors (glass windows and brass guides) that ride in slots on the top and bottom edges. Each can be moved independently of one another. The cursors are missing from this item. Brass knobs at both ends of the slide facilitate its movement. The case is fabric covered wood with felt lining. No known history for this item as located in a property after purchase. The Pilot Balloon slide rule is used to convert the observed azimuth and elevation readings into wind velocity and direction records. The use of slide rules was abandoned with the wide spread adoption of computers and programs to do the calculations, as well as the decline in the use of optical pilot balloon theodolites.Made in Australia by White & Gillespie (Melb) Pty Ltd. Established in 1910, the firm was involved mainly in printing plate manufacture, but during the Second World War it manufactured a variety of navigational aids and range finding devices for the military. About 250,000 instruments were made during that period. After the war the company produced, among other items, drawing instruments and slide rules. The long narrow case is fabric covered wood with felt fabric lining containing a long black laminate ruler with numerous white markings and numbers. Top of the ruler is in three sections with the centre section movable by small gold metal knobs at either end. This slide rule contains a engraved notation on the rear face "IMPORTANT. NORMALLY NUMBER OF GRATICULE SCALE DIVISIONS PER RADIAN (K) X LENGTH OF TAIL IN FEET (I) = 12X 105. IN OTHER CASES MULTIPLY GRATICULE READINGS BY 1.2/KI BEFORE CALCULATION ON RULE" Top of Slide Rule - RAAF Ident No G268/480 Serial WG/22pilot balloon slide rule, raaf

Pincushions or pin pillows date back to the Middle Ages in Europe. The tomato shaped pincushion grew from a Victorian Era superstition that tomatoes were good luck and so they were often given to newly weds as charms and placed on the mantle. When there were no actual tomatoes a fabric token was made and later used for pins. Some pincushions were stuffed with abrasive materials designed to sharpen the pins. This one would have a needlework accessory for an Orbost local.This item is a common sewing accessory reflecting the needlework skills of women in the first half of the 20th century.A soft padded fabric pin cushion. Material is a black background decorated with colourful flowers. It is divided into eight sections by red stitched lines and holds 3 needles and a bent pin.

This apron was designed for the Ballarat Apron Festival by local designer Clare Schreenan of Clasch Designs Ballarat. The tartan fabric was designed by Art Gallery of Ballarat for the 2014 exhibition “For Auld Lang Syne: Images of Scottish Australia, from the First Fleet to Federation”, and is officially registered with the Scottish Register of Tartans. The colours are highly significant: grey being chosen for the basalt plains on which Ballarat is built upon; Blue and white representing the Eureka Flag; and yellow for the gold that has made Ballarat so famous. Born in Ballarat, Schreenan attended Loreto College before studying fashion at Melbourne College of Textiles. She has worked extensively in Sydney, travelling to Paris, London and Los Angeles for work projects. She returned to Ballarat in 2006, launching Clash Design. Featuring the official, highly symbolic Ballarat tartan, and made by highly renowned local designer Clare Schreenan, this contemporary apron is of local significance to the Ballarat community. Grey, blue, white and yellow wool tartan fabric apron with asymmetrical design. Velco closures on back with zipper detailing. ballarat, tartan, apron