Worn by Elizabeth Goodwin of Liverpool, England, who married Horace Book at St Andrew's Church, Brighton in 1921. The fabric was purchased by her father, a ship's captain, when he was in China. The bride had her dress made in Liverpool and made to a Butterick's pattern. Elizabeth was very active in public life and a well-known member of the Book family. Wedding dress made from cream silk purchased in China. The bodice is made of fine silk embroidered tulle with a vest of cream silk that floats over the top. The skirt has been permanently pleated, has has floating side panels of tulle and features a large butterfly-shaped bow at the back.wedding dress, silk, 1920s, elizabeth goodwin, horace book, st andrew's church brighton, brighton

This dress belonged to Christina Barclay 'Ina' Strahan (nee Guinn, 1889-1974), the mother of donor Sheila Alston (1911-2008). Ina married medical practitioner Dr Septimus Strahan in 1909 and the family lived in a stately home in Moonee Ponds from 1912 until Septimus' untimely death at 56 in 1933. Ina later moved to Sandringham, where her daughter Sheila also settled after her marriage to Peter Alston.Black chiffon and lace dress with long sleeves, scooped neckline. Lozenge shaped lace pattern; machine top-stiched chiffon panels.Label, woven, blue on cream cotton, centre back: MADE IN FRANCElace, christina barclay strahan, 1920s

Heather Leonard wore this outfit to a Brighton Primary School fundraiser in the late 1960s. She hand painted the white platform heels to match her yellow and orange dress, and her husband Paul wore similarly bright colours with a mustard yellow and purple shirt. Heather was born in the Bayside area, initially working as a nurse and later as a yoga teacher. She and Paul lived together in Male Street for forty years until his death in 2002. Paul worked in advertising and later became a painter, mainly of Australian icons.Floor length dress (.1) of printed cotton with yellow and orange pattern, with scoop neck, short flared sleeves and zip at the back. Platform shoes (.2) with block heel. White leather, hand painted yellow and orange.heather leonard, paul leonard, brighton primary school, 1960s

This wedding dress belonged to Barbara Stewart, nee Bellamy, who married Alexander Stewart at St Andrews Church in Brighton on 15 June 1968. The dress was made by 'Madam', a dress shop in Church Street. At the time of donation, Barbara had been a Brighton resident for 80 years.Cream mini-dress of net and wool lace with textured floral pattern. High round neck and long sleeves, with small frill at collar, cuffs and hem. Satin lined, with a zip at the back.barbara bellamy, barbara stewart, alexander stewart, st andrew's church brighton, 1960s, wedding dress

This dress belonged to Nola Jennings, a long-time Brighton resident. Bindi of Melbourne was the youth label of Australian commercial fashion house Len Vogue.Long-sleeved crimplene dress (.1) with white bodice and short purple skirt. High collar, cuffs and waist have a purple and yellow checkerboard-patterned trim. Four self-covered buttons down the centre front of skirt. Zip at back. Long purple tunic vest (.2) worn over the top.Label in both dress and vest, white with black text: "Fashioned for / Bindi / of MELBOURNE" Two smaller labels at bottom: "SIZE 10 / TO FIT / BUST 32" / HIP 34"" and "CRIMP TERY. / C 145 4".nola jennings, 1960s, bindi of melbourne, len vogue

Red long sleeve knitted dress with buttons at the back. Swirl pattern across front. 8481.2 Detachable red belt. 8481.3 Small sample of red wool knitwear, dress, fashion, 1950s

This photograph is taken outside the Royal District Nursing Service (RDNS) Rosebud Centre which was opened in the mid 1970s. This photograph is a record of Rosebud RDNS staff in the 1980s. The Sisters are wearing their summer uniforms, some with white frocks with a blue pattern and a red belt, others with a white blouse with a red pattern on it and a royal blue skirt. The Health Aides uniform is a royal blue dress with white piping.Gradually over the years, Melbourne District Nursing Service (MDNS), later known as Royal District Nursing Service (RDNS), from 1966 when they received Royal patronage, opened Centres throughout the Melbourne Metropolitan area. Their Trained nurses (Sisters) left from these Centres each morning to carry out their nursing visits in a specific area,(district) taking any sterilized equipment needed with them. They returned at the end of the day to write up their patients nursing histories, clean and reset any equipment used ready for sterilization, and contact other medical and community personal as necessary. Most of the RDNS cars were housed at each Centre, only a few being driven home by a Sister. In 1980, a Home Health Aide ‘Pilot study’, funded by the Federal Government, the Brotherhood of St. Laurence and RDNS, with the program written and taught by RDNS Principal Nurse Educator. Pat (Paddy) Rowley was evaluated as successful. Following this Pilot study, Home Health Aides were employed by RDNS, and after instruction in the RDNS Education department, joined RDNS Centres and worked under the supervision of the RDNS Sisters. The Sister assessed each client, then introduced and supervised the Health Aide in the client procedure required. The Sister wrote out clear, concise procedural instructions on a work card which the Health Aid followed each visit. If the Health Aide noticed any change in the client’s condition, this was reported immediately and the Sister visited. The Sister made routine visits to the client for review at least monthly. Black and white photograph showing Royal District Nursing Service (RDNS), staff outside a brick building with a flat roof. A white RDNS car is on the right hand side of the photograph with "RDNS" in capital letters on the door. A tree is in the background. The twenty-five, some partly hidden, RDNS staff are wearing their uniforms. Some are wearing white patterned short sleeve dresses with a dark belt, and others white patterned short sleeve blouses and dark skirts. The letters "RDNS" are displayed in capital letter on the left hand upper pocket of the Sisters. Two Health-aides are present and are wearing dark coloured frocks with white piping. mdns, melbourne district nursing service, rdns, royal district nursing service, rdns centres

RDNS Home Health Aide, Dorothy Byrne, is visiting Mrs. Mann in her home and is assisting her with General care which enables her to remain there independently. Dorothy is wearing an RDNS light blue, with dark blue edging, apron over her RDNS Home Health Aide uniform of a royal blue dress with white piping on the collar and pockets. In 1980, a Home Health Aide ‘Pilot study’, funded by the Federal Government, the Brotherhood of St. Laurence and RDNS, with the program written and taught by RDNS Principal Nurse Educator. Pat (Paddy) Rowley was evaluated as successful. Following this Pilot study, Home Health Aides were employed by RDNS, and after instruction in the RDNS Education department, joined RDNS Centres and worked under the supervision of the RDNS Sisters. The Sister assessed each client, then introduced and supervised the Health Aide in the client procedure required. The Sister wrote out clear, concise procedural instructions on a work card which the Health Aid followed each visit. If the Health Aide noticed any change in the patient’s condition, this was reported immediately and the Sister visited. The Sister made routine visits to the patient for review at least monthly. On the left of the black and white photograph is the side on view of Royal District Nursing Service (RDNS), Home Health Aide, Dorothy Byrne, brushing the long grey hair of Mrs. Gertrude Mann who is on Dorothy's right. Dorothy, who has short curly hair, is wearing a light coloured apron over her RDNS uniform; part of a white skivvie under her dark dress can be seen; she has her left hand on the top section of Mrs. Mann's head. Dorothy's right hand is holding a brush and is at the bottom section of Mrs. Mann's hair. Mrs Mann is wearing a white nightdress and is sitting on the left hand side of her bed with her face turned away from Dorothy.. Long,closed flower patterned curtains can be seen in the background.royal district nursing service, rdns, rdns home health aides, rdns patient care, rdns home health aide dorothy byrne, mrs gertrude mann

RDNS Sister Marilyn Smith is visiting the little girl in her own home to apply sterilized dressings, as ordered by a Doctor, to the wounds on her body. Visiting the child at home provides her with a familiar environment to undergo the procedure. The Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS), from its inception in 1885, provided wound care to their patients who ranged in age from the very young to the elderly. The patients required their wounds to be dressed following various types of surgery, accidents, burns, cancer, leg ulcers etc. As research developed better products and dressing materials, the methods and medication applied to wounds changed. MDNS received Royal patronage in 1966 and as Royal District Nursing Service (RDNS), the Education department developed wound care programs, such as the Leg Ulcer Management Program to provide their Trained nurses (Sisters) with methods of best quality care. They ran a program for Wound Care Specialists who made assessments and provided advice and support to the District Sisters working in the field as needed. The Sisters liaised with the patient’s Doctors and Hospitals to provide information on the progress of patient’s wounds and to receive any change of wound care from the Doctors. On the left of this black and white photograph is Royal District Nursing Service (RDNS), Sister Marilyn Smith, who has short dark hair and is wearing a white gown over her RDNS uniform kneeling on the floor as she dresses the wound of a young girl. Sister Smith is kneeling on a white covering which is placed over the patterned carpet in the lounge room. Only the back of her head can be seen; her left arm is extended and bent over the head of a seated small girl; she has a forcep in her hand. The young girl, who has shoulder length dark hair, is seated on the white covering and has her right hand on Sister Smith's right arm. She is watching as Sister Smith is removing a dressing from a wound on her left side. The child's left arm and hand are held above the dressing. A wound can also be seen on the girls left thigh. In the left rear, part of a patterned couch can be seen and part of a white curtain to its right. Behind the little girl, part of a brick fireplace and gas fire can be seen.Photographer stamp. Quote No. DO 58 mdns, melbourne district nursing society, royal district nursing service, rdns, rdns patient care - wound dressing, sister marilyn smith

The RDNS Sister is giving Post Natal care to the Mother and babe. She is wearing her RDNS summer uniform which is a white short sleeve blouse under a royal blue V necked tunic dress with the RDNS insignia emblazoned on the upper left.In August 1893 Melbourne District Nursing Society (MDNS), commenced a Midwifery Service with Nurse Fowler, who was trained in General nursing and Midwifery nursing, being the first Midwife employed. Mothers were assessed for suitability of a home birth or if they required delivery at the Women’s Hospital. The Midwife worked in conjunction with the Doctors at the Women’s Hospital and if a complication arose the patient was transferred to their care. Following birth they gave Post-Natal care to both the mother and babe. In 1898 the service ceased due to lack of funds but recommenced in 1906, and in the August 1925 Annual Report the number of MDNS home births was recorded at 478. MDNS built the After-Care Home and an Anti-Natal Clinic was opened in 1930. The last Ante-Natal clinic was held there in December 1951 and the MDNS Midwifery service ceased in February 1952. In 1964 MDNS commenced a Post-Natal Service with general and midwifery trained MDNS nurses working from a room at Footscray Hospital, and visiting early discharged Footscray Hospital maternity cases at home. Now as Royal District Nursing Service (RDNS), this service was extended to a Domiciliary Infant and Maternal Care, (DIMC) service operating from most Centres and visiting early discharged, often 24 hours after birth, maternity cases from hospitals to give post-natal care to the mother and babe.Black and white photograph of a Royal District Nursing Service (RDNS), Sister visiting a family in their home. The family are sitting on a dark coloured couch. From left to right:- The father, who has short dark hair and is wearing a light coloured patterned shirt and dark pants, is looking at his young blond haired daughter who is sitting on his right knee. She is wearing a light coloured top and darker coloured bib and brace pants. The mother, who has long dark hair and wears glasses,.is next to him and is smiling and looking towards the RDNS Sister. She is wearing a long sleeve buttoned grey top and darker coloured slacks, and is holding her babe in her lap with both hands supporting the baby's head. The babe has sparse dark hair and is wrapped in a white bunny rug. Next is a young girl, who has short dark hair and is wearing a light coloured top, darker coloured slacks and has her hands on the top of her left striped sock. Seated on the far right is the RDNS Sister, who has short straight dark hair, and has her face turned towards the child and mother. She is wearing her RDNS uniform of a short sleeve white blouse under a dark V neck tunic style dress which has the RDNS insignia on its upper left. The Sister has a pen attached to the V neck of the tunic and is holding a note book in her hands. She has a watch with a dark band attached to her left wrist. In the background part of a wooden and glass door can be seen and a patterned wallpapered adorns the wall behind the couch.Photographer stamp. Quote No EA 28melbourne district nursing society, mdns, royal district nursing service, rdns, dimc, mdns midwifery, rdns domiciliary infant and maternal care

The garment was a sealed sample 26 feb 1962. It is unknown when the dress was replaced. It is a representative example of this type of uniform in the period.The dress is in excellent condition.Light green,short sleeves.410mm shoulder to shoulder.1018mm top of collar to bottom of dress.320 mm wide waist.25mm sleeve from shoulder top to sleeve end. Sleeve cuff 4 cm wide.Two pockets on front, each set 12 cmm below waist and 9 mm from edge of centre opening.bottom of pocket is 10 cm from edge of centre opening.The dress opens at front with 8 button holes (24mm) openings,with a neck button loop(2cm). Two epaulettes 5cmm x 11 cm(long). The pockets have a sewn flap 2cm long from pocket top and 5 cm (at apex) from top of pocket.Two loops (5cm high) at each side of dress.A loop for hanging dress is inside collar at rear.Three press studs at front to fasten dress.Attached certificate in plastic seal. “Department of Army - inspection service/ SFC 8.3.13. (June 1958). Sealed sample/ sealed pattern no class 8415 article/CLO 1489 DRESS WOMEN’S indoor uniform,short/sleeves.RAANC,S55./ the supply is not to differ from this sale sample except in such/ respects as may shown on back thereof./Approved 26.2.1962/ for Director of inspection” On reverse of sealed tag is: “ measurements shall be as specified.Buttons/RAANC Line 30 (fronts) . Buttons RAANC LINE 26/(SHOULDER STRAPS).”dress, women’s, raanc, short sleeve, uniform

Two small Supplements to the 'Australian Home Journal' knitting pattern booklets, c.1940's. 1. The front cover of 'Knitting for You and Yours' depicts a young girl sitting on a chair wearing a knitted dress. 2. 'Woollies for Toddlers' shows two young children winding wool into balls. Inside are various patterns for clothing for children and a mother. non-fictionTwo free knitting pattern booklets for home knitters, c.1940's or 50's. These booklets were a supplement to the Home Journal magazines of the time.knitting, knitting patterns, knitting equipment

In the 2000s Legacy released a range of Legacy Bears to expand the merchandise available for sale during Legacy Week and at other fundraising opportunities during the year. This bear was new in 2022 and is in the navy camo uniform. Navy Camo wears The Royal Australian Navy's new Maritime Multi-Cam Pattern Uniform commenced rollout in October 2021. It brings uniformity across Defence as it features the familiar design of the Australian camouflage uniform but retains the maritime grey tones a key differences unique to Navy requirements. Sometimes special editions of the bears were produced. In 2021 the price was increased to $20 per bear.An example of the type of products sold along with Legacy Badges for fundraising in the 2010-2020s.Legacy bear dressed in a camo naval uniform with a printed cardboard tag.Printed tag gives the price as $20.legacy appeal, fundraising, legacy bear

A small red self patterned Collins Illustrated Pocket Classics novel The Caxtons: A Family Picture. It is very badly damaged with the spine coming away from the pages, loose pages and tears. Pages 3,4 and 5 are missing. The frontispiece opposite the title page is a black and white illustration of three well dressed men of the period standing talking in a sitting room. A few black and white illustrations are throughout the book. At the back are four pages of Collins' Illustrated Pocket Classics for further reading. Pp 632.fictionThe Caxtons: A Family Picture is an 1849 Victorian novel that was popular in its time. The book was first serialised anonymously in Blackwood's Magazine from April 1848 to October 1849 and first published as a novel in 1849. Victorian novels were characterised by depictions of everyday people, hard lives and moral lessons. They were meant for more than just entertainment. Victorians were interested in the hero as well as folk art. Victorian novels often focused on these themes.family life fiction, religious fiction, morals fiction

Rectangular, beige, cloth-covered box with lid. It has a green, pink and red floral pattern overall. The lining and the inside of the lid is of a pale green fabric. A fine, pale green cord and knot braid decorates the edges of the lid. Inside the box there are: a)1 cream-coloured silk, handstitched bird pouch, with a gold-coloured patterned edging. The bird has 2 gold-coloured bead eyes. b) 1 square purple cloth perfume sachet containing rosemary. c) 1 small, glass-covered, coloured picture of a girl in a green and orange dress, with a pigeon on her shoulder. She is feding some birds and chickens.containers, storage boxes

Two porcelain dress buckles, used on belts. One with brown & blue floral pattern. One with country scene. belt buckles, buckles

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

In the 2000s Legacy released a range of Legacy Bears to expand the merchandise available for sale during Legacy Week and at other fundraising opportunities during the year. This bear is in an Australian Army uniform in a camouflage pattern. After a naming competition, Melbourne Legacy calls him Banjo. Sometimes special editions of the bears were produced. In 2021 the price was increased to $20 per bear.An example of the type of products sold along with Legacy Badges for fundraising in the 2010-2020s.Legacy bear dressed in army camouflage uniform with a printed cardboard tag.Printed tag gives the price as $15.legacy appeal, fundraising, legacy bear

Purchased from Baptist Community Care Shop in Station Street , Mitcham1980s Wedding dress with vee neckline, bodice coming to a point over waistline. Satin bodice with lace motives re-embroidered with pearl and sequins. Tulle yoke and sleeves with embroidered pattern lace motives and sleeve edge also re-embroidered. Satin bow on shoulders with pearl and sequins embroidering. Back of bodice to point over waistline, buttons down back - eleven self covered buttons over zip fasteners. Back waist finished with large bow at waist. Circular skirt gathered at bodice. Three panels inserted in centre front to 67cm high and 60cm wide. Attached underskirt. Train gathered to back waistline, two widths of material with embroidered lace inserts around hemline. Nine arrangements of embroidered lace flowers inserts over the train coming out of satin petal shaped pouches gathered at top to give an impression of a vase.costume, female ceremonial

BHS CollectionWaist length dark green cotton bodice. Fabric has alternating stripes of pulled thread pattern and wider stripes of small dot pattern. Front opening with deep V to waist with lined lace insert extending from throat to waist. LHS of bodice fastened to lace insert with five press studs. Stand up collar of lined black lace (%cm) fastened with two hook and eyes. The bodice is made from five pieces. The two front sections have three knife pleats facing out and falling from the shoulder. The pleats are stitched down for twenty cms from the shoulders. On either side of the front opening is decorative embroidered black lace that extends across the shoulders to the back of the collar. There are two side panels from under the arm. The back section has three box pleats falling from the collars and tapering to the waist. The hem of the bodice is fastened with black cotton tape. Leg of mutton sleeves are trimmed with black embroidered brais at elbow and wrist. Lower sleeves have pintucks from elbow to wrist. The sleeves are lined with black cotton fabric. The back of the bodice is lined with black cotton fabric almost to the hem. A three cm piece of white and blue cotton tape is attached across the lower back with cotton ties at either end. The underarm panels are lined with brown cotton fabric and green satin inserted sections. The front has a separate lining with front opening and shaped with darts. Fastened with six buttons and buttonholes. Two shoulder pads on each side- one white piece under the shoulder and a green satin piece under the gathered section of each sleeve. Dark green full length skirt. Cotton fabric with alternating stripes of pulled thread pattern and wider stripe of small dot pattern. Skirt is made of three sections. Centre front panel widens slightly to hemline. Side panels continue around to join at centre back. Darts at both hips to shape sides. Panels widen to hemline. Inverted pleats at either side of back opening create fullness. Back opening(30cm) has insert of black satin joined to LHS of opening to enlarge the opening. Insert attached to waist band with two press studs. Two other press studs attach skirt to RHS of insert. Brown cotton waistband hand stitched to skirt. Ties attached to waistband at back opening- one cotton tape, one satin ribbon. Front centre panel has a piece of black satin stitched as lining from eighteen cm below waist (57cm deep). Stitched across and attached to side seams. Lower edge trimmed with black lace. Second piece of satin lining stitched to centre seam and stitched around the hip to partway across back.(Looks like a nylon petticoat cut in two pieces and stitched inside skirt as a lining). Hemline has fifteen cm piece of cotton lining attached and lower edge of hem has fringed cotton binding attached.. Side seams of front panel have decorative trim of embroidered braid extending seventy-six cms from waist. Braid then turned ninety degrees and continued in a horizontal zig zag line around to centre back seam (both sides) twenty cms above hem. Hand and machine stitched.costume, female, ladies dress- bodice.

This glass plate photograph shows good detail of members of the Warrnambool Garrison posing for their photograph in front of a young township. There are other well-dressed citizens behind them. The three men with frogging on their sleeves were commanders were likely to be commanders. The men are facing north with Cannon Hill and the fortification area in the background. It dates from the 1860s. The firearms held appear to be 1853 pattern Lee Enfield muskets used by the British army in Crimea at this time and in Australia, rather than the later Martini Henry cartridge rifles. The uniforms match other photos of the Warrnambool Garrison Militia and Band in our Collection, taken up until the 1880s. The three storey building in the photograph is likely to be the Manifold & Bostock flour mill, built in 1854 near the ‘cutting’ in Merri Street, which was one of the main streets at the time; if one faced the building’s front from a vantage point and looked south to south-east, the hills around Flagstaff Hill and Cannon Hill would be behind that mill, and the Harbour behind the hills. This is the area of the Fortifications. The glass plate method of photography was widely used during the mid-19th to early-20th century. The donor and maker of the photograph are unknown. Around this time the citizens of Victoria were prospering from the gold rush but felt isolated and uneasy about their security in the colony. In 1854 the Volunteer Act was passed to provide some military defence. In 1858 the Warrnambool Volunteer Rifle Corps was established, disbanded in 1863, then a new Warrnambool Detachment was formed in September 1866. Legislation was passed in 1884 that replaced the volunteers’ corps with a partly paid, permanent Militia Defence Force. The batteries manning the coastal forts of Victoria were termed Garrison Artillery Companies. When the Army was federated in 1901 there were eight Militia Companies in Victoria. Warrnambool and Port Fairy together were known as 8 Coy AGA (Australian Garrison Artillery). Changes to formation and name continued into the 20th century.This photograph is a record of the very early local defence force, circa 1866. The photograph signifies the connection of the colony in Victoria to the growing need for security due to the unrest in Europe at that time. The photograph is also locally significant to the industry of the young township of Warrnambool, showing what is likely to be one of the first flour mills in the town. The photograph is also the only example of the early methods of glass plate photography in our collection. Photograph, rectangular glass plate, positive sepia image. Photograph has brass framed edges that fold over to the back, with mitred corners. The front edges are pressed with a decorative floral pattern. The photograph shows a group of thirty military men, standing or kneeling, in dark uniforms with pillbox forage caps, round-collared jackets with light buttons, light sashes worn from top left shoulder to bottom right side of waist belt, and long, straight-legged trousers. Three of these men have light braid around the buttons on the front of their jackets, light frogging on their sleeve cuffs and stripes on the outside seams of their trousers. The other twenty-seven men have plain uniforms and are holding firearms in their right hands, steadied with their left hands. Other figures are standing behind this group of soldiers, including three or four men wearing top hats, jackets and ties. In the background is a row of buildings. The central building is three stories high. Bare hills are in the far background. The foreground is uneven ground with patches of short grass. Photographer looking towards the south east and Cannon Hill, with the Warrnambool Garrison facing north, ca.1860s.flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, glass plate, photography 19th century, colonial forces, military defence, volunteer act 1854, volunteer rifle, garrison artillery, volunteer corps, militia, militia garrison band, pillbox forage caps, helpmann, manifold and bostock, 1853 lee enfield musket, tintype, warrnambool garrison, 1860s, cannon hill, manifold & bostock, flour mill, 3-storey building

Four page fold out knitting pattern booklet featuring a colour image on the cover of two young girls walking together holding hands. The girls are wearing knitted dresses. There is an inset image in the right bottom corner of one of the girls.front: [printed] Cleckheaton / RIVERINA 5 PLY / CLECKHEATON 8 PLY / Design 0047 / 5 Ply Sizes: 61 & 71 cm / 8 Ply Sizes: 61 - 76 cmknitting, pattern, fashion, knitwear, cleckheaton

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This piece is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Ensemble consisting of sleeveless crop top (.1) and full length pants (.2). Bold floral print features blue and white flowers on a navy blue background. Top has a white Peter Pan collar. Swing tag attached.Swing tag: "SIZE 34 / STYLE 186/11 / PRICE $13.00".swimwear, watersun, david waters, ada productions, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Backless lamé one-piece swimsuit (.1) with pattern of silver, blue and bronze circles in various sizes. Waist ties knotted at front for cinched-in waist. Built-in underwire bra. Sleeveless A-line jacket (.2) in same fabric, falling past hips. Front zip and close-fitting hood.Label in bra, blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “32 / Unquestionable Bra”.swimwear, watersun, david waters, ada productions, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Blue and white gingham one-piece swimsuit. Short overskirt. Two rows of white cutwork lace form a frill along neckline and down either side of back straps, which fasten with buttons. Inbuilt bra with label: "Miss Watersun", size T14.Label in bra, blue with yellow sunburst logo containing the words “Miss Watersun” in red, above the text: “T14”swimwear, watersun, david waters, ada productions, miss watersun, melbourne designers

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Two-piece swimsuit with navy blue and white horizontal stripes. Cropped top (.1) has inbuilt underwire bra and metal fastening at back. Shorts (.2) are high-waisted with longer legs. Matching top (.3) has diagonal navy and white stripes and an asymmetrical hem. Sleeveless with round neck. Velcro fastening on shoulder and side seam of shorter side. No label.swimwear, watersun, david waters, ada productions, melbourne designers

This striking pool party ensemble from Australian swimwear company Watersun was designed by Carmela DiBernado, nee Savino, for the opening of the Sydney Opera House in 1973. Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Pool party ensemble consisting of a swimsuit (.1) and robe dress (.2), both black with silver trim. Dress has a crossover front, fastening at side waist, with v-neck at front and plunging back. Swimsuit has a v-neck, with silver trim extending forming an X-shape across the body.Label (identical in both items), blue text on white: “Watersun / SIZE 10 / BUST 32 / Made in Australia”swimwear, watersun, david waters, ada productions, melbourne designers, 1970s, carmela savino, carmela dibernardo, sydney opera house

Polish-born designer David Waters first began producing swimwear in 1952. His mother Halina had recently opened a stall at Melbourne Queen Victoria Markets and was looking for swimsuits to sell; unable to find any she liked, she asked David to design something. He began making swimming costumes using his mother's sewing machine, in between his shifts working at a knitting factory. He had soon set up a small business in his parents' home, cutting patterns in one room while a machinist sewed them together in the next. His company, which he named Watersun, would become an iconic Australian swimwear label. During the early 1960s, Watersun developed its "Unquestionable Bra", an inbuilt moulded bra which was marketed as giving wearers a more natural bustline than other labels. The company was also known for its matching swimwear and beachwear, producing dresses, kaftans, tops and skirts in identical colours and prints to those used for many of its swimsuits. By 1967, the company was reportedly one of Australia's two biggest swimwear manufacturers, with over one hundred employees. Watersun was sold to Ada Productions in 1984 and was later acquired by Trackerjack Australasia. This swimsuit is believed to be one of a large quantity of samples, seconds and unsold Ada Productions stock donated to Brighton Historical Society in late 1990 by Brian Samuel, who worked at the company between 1979 and 1990.Two-piece swimsuit with navy blue and white horizontal stripes. Cropped top (.1) has inbuilt underwire bra and metal fastening at back. Shorts (.2) are high-waisted with longer legs. Matching top (.3) has diagonal navy and white stripes and an asymmetrical hem. Sleeveless with round neck. Velcro fastening on shoulder and side seam of shorter side. Labels inside bra and top.Label in bra (.1), blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “Unquestionable Bra / MADE IN AUSTRALIA / 34”. Label in side of bikini top (.1): “BRI NYLON” Label in back collar of top (.3): blue with yellow sunburst logo containing the word “Watersun” in red, above the text: “34”, with words “Unquestionable Bra” truncated. Appears to be a repurposed bra label.swimwear, watersun, david waters, ada productions, melbourne designers