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

Ironing is the use of a machine, usually a heated tool (an iron), to remove wrinkles from fabric. The heating is around 180–220 °Celsius, depending on the fabric type. Ironing works by loosening the bonds between the long-chain polymer molecules in the fibres of the material. While the molecules are hot, the fibres are straightened by the weight of the iron, and they hold their new shape as they cool. Some fabrics, such as cotton, require the addition of water to loosen the intermolecular bonds. Many modern fabrics developed in or after the mid-twentieth century require little or no ironing. Permanent press clothing was developed to reduce the ironing necessary by combining Wrinkle resistant polymers with cotton. The first known use of the iron for removing wrinkles in clothes is known to have occurred in China, and the electric iron was invented in 1882, by Henry W. Seeley. Seeley patented his "electric flat iron" on June 6, 1882 (U.S. Patent no. 259,054). On 15 February 1858 W. Vandenburg and J. Harvey patented an ironing table that facilitated pressing sleeves and pants legs. A truly portable folding ironing board was first patented in Canada in 1875 by John B. Porter. The invention also included a removable press board used for sleeves. In 1892 Sarah Boone obtained a patent in the United States for improvements to the ironing board, allowing for better quality ironing of shirt sleeves.A domestic item with an interesting history of development, significant as it shows the progress and the evolution of a domestic item designed to make housework more efficient.Wooden Ironing board with press board for sleeves, board is folding.Noneflagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill-maritime-museum, flagstaff-hill-maritime-village, domestic item, ironing board, ironing, clothes, wrinkles in clothes, henry w. seeley, w. vandenburg and j. harvey

Photocopy of James Madden in uniform resting his right arm on a ledge and his right leg hooked behind his left leg. James is wearing a red shirt, with gold buttons and braid, dark navy pants with white sash from left to right, belt and gloves. James also has his sheathed sword being held in the crook of his left arm. His right boot indicates that he is wearing spurs.13 page typewritten letter written whilst aboard the SS. Orion on the Mediterranean Sea , 28 march 1938. The letter gives details of the sights and goods able to be purchased in the area. Small letter envelope with the name of Harcourt Granite Quarries J. Blight and Co., Proprietors, if not claimed within ten days to be returned to the Manager, printed in the bottom left corner.S. T. King Williamson Sandhurst.military, world war 2, james madden

Clothing. Cream silk embroidered sleeveless top with a neckline at front and back, which is edged with a fine rouleau binding. The fine silk binding also edges rhe sleeveless armholes. The fabric is woven with a floral woven design. A 2 cm wide tie attaches to the side seams 13 cms below the armholes.The top is sleeveless, and the hemline which is rounded at the side seams, is finished with a self fabric binding. Silk shadow embroidery trims the front neckline, and extends to the midriff. Embroidery is in a floral design. The pyjama pants are full length, with a fine bound finish - probably at or slightly above the ankles. An 11 cm deep V shaped panel at the front waistline, and an elastic casing at the back waistline. A panel of shadow embroidery decorates the side hemline. A small dart, 6 cm long, from below the armhole on either side of front bodice.SILK and RAYON MADE IN CHINAcostume, female, ladies cream silk pyjamas

Set of 4 CUTOUTS 1.Cutout of a bearded man playing a flute/recorder. Dressed in red/pale brown check pants, red cape, brown shirt, brown hat. Black and brown socks, black shoes, sitting a a floor. Matt paint. 2. Cutout of a bearded man, with instrument broken off. Dressed in a spotted cape and hat, brown shirt and trousers, light brown shoes, standing on a curved triangle. Matt paint. 3. Cutout of a bearded man dressed in a brown hooded coat, tan trousers, tan and black spotted shoes. He is carrying a lute over his shoulder. His is standing on a curved triangle. Matt paint. 4. A smaller cut out of a bearded man, holding a baton. Dressed in a blue and yellow spotted hooded cape, brown trousers and shoes, standing on a heart shaped base. Gloss paint.dwarfs' band, cutouts, vollmer f&a, vollmer h, camp 3, tatura, ww2, handcrafts, woodwork

A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Women's Opening/Closing Ceremony Uniform designed by Wendy Powitt. On the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- 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 Official Uniform was used for both travel and official functions. This included a tailored blazer and trouser/skirt set (all water repellent) by Fletcher Jones in pure olive green faille fabric by Foster Valley, a cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, a printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy.8122.1 - A laminated A3 sketchbook page depicting a design for the Men's 1992 Barcelona Olympics Australian Official's Uniform. The main drawing shows the design for blue suit pants and blazer with six gold buttons, a yellow shirt and a red, green, yellow and cream striped tie. To the left of the main image are four smaller detail drawings of the belt buckle, gold bottons, blazer and shoes. 8122.2 - A laminated A3 sketchbook page depicting a design for the Women's 1992 Barcelona Olympics Australian Official's Uniform. The main drawing shows the design for a blue elbow length, square necked blazer with gold buttons on both the front of the jacket and sleeves paired with a blue pencil skirt and a red, green, yellow and cream shirt. To the right of the main drawing are four smaller detail drawings showing the pattern for a scarf, the striped shirt, the blazer and the shoes. 1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform

A large yellow covered hardcover fiction book for children with a coloured picture of Humpty Dumpty sitting on a brick wall. He is wearing green pants with yellow stars and red and white spotted bow around his middle. There is a drawing of a girl and boy either side of the title The Prize at the top of the cover. There are books and candles drawn at the bottom under the brick wall. The spine is blank. There are advertisements on the endpapers both front and back. There is foxing noted on the edges of the pages. On page 72 there is a loose insert of black and white portraits of five men and a woman who appear to be wearing sporting or school clothes. There are stories and poems written by various authors and black and white illustrations and coloured plates throughout. The title page is very ornately decorated with a black and white floral design. The coloured frontispiece is of Humpty Dumpty again. At the front there is a Contents and List of Illustrations page. 140p.fictionA collection of stories and poems for young children - Volume LXVI (66)children's fiction, poetry

Sepia photograph on grey board of Cohn Bros Cricket Club. Perhaps employees of Cohns, dressed in suits, shirts, ties and pants. Some seated. Some on platform at rear, cricket pads on one male, one holding bats, another a ball. Inscriptions: on front - hand written at top in ball point pen 'Cohn Bros Cricket Club'. At top R corner 'GP26'.On back - 'Royal Historical society of Victoria, Bendigo Branch' circular stamp. Written in ink - 'Back row: Dave Guerin, Tom McCormick, W Nielsen, Squimpy Mead, Jack Davini', Middle row: Jack Burns, Jack Kirby, Jack Jordan, Mick Meehan, Pompey Franks, Jack Marshall, Toucher Leahey, Flook Kilby. Front row' Tom Dillon, Dehli Nielsen, Ned Carter, Huey Gratz, Bert Newell', 'Andy Ferrari' (all in pencil with blue ink over). History: Previous Acc. No. 'GP 26'.recreations, sports, cricket, bendigo, sport, entertainment, male, portrait, cohn brothers, clubs, clubs and associations, business

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

The RDNS Sister is giving care to the elderly man in his own home. She is wearing her winter uniform of a blue/grey skivvy worn under a blue/grey herringbone woolen V neck tunic style dress.The Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS), later known as Royal District Nursing Service (RDNS), visited patients in their home and gave best practice care in many fields of nursing, and to people of many cultures, throughout its 130 years of expansion. Initial visits not only assessed the specific nursing situation but the situation as a whole. Their patients ranged in age from babes, children, adults to the elderly and referrals were taken from Hospitals, General Practitioners and allied Health facilities. Some of the care the Sisters provided is as follows: – Post-Natal care given to mother and babe, Wound Care following various types of surgery, accidents, burns, cancer, leg ulcers etc. Supervising and teaching Diabetic Care, including teaching and supervising people with Diabetes to administer their own Insulin, and administering Insulin to those unable to give their own injections. Administering other injections and setting up weekly medication boxes. The Sisters performed Catheterizations on adults suffering from conditions such as Quadriplegia, Paraplegia, Multiple Sclerosis (MS), Motor Neurone Disease (MND) and Guillan-Barre Syndrome, and when required at school on children for e.g. those with Spina Bifida. The Sisters visited those requiring Cystic Fibrosis support and care; those requiring Haemo-Oncology care, including visiting children at school; those requiring Home Enteral Feeding care, and those requiring IV therapy at home and home Dialysis. Palliative Care was given including pain relief with the use of syringe drivers, personal care as needed, and advice and support to both patient and family. The Sisters provided Stoma management to those needing Urostomy, Ileostomy and Colostomy care and those requiring Continence care. HIV/AIDS nursing care was provided; visits to Homeless Persons were made. Personal care was given to patients ranging in age and with varying mobility problems, such as those with MS, MND, Guillan-Barre Syndrome, Poliomyelitis, Quadriplegia, Paraplegia, Acquired Brain Injury, to those following a Cerebrovascular Accident (Stroke), those with severe Arthritis and those with a form of Dementia. When necessary the elderly were assisted with personal care and advice given on safety factors with the use of hand rails, bath or shower seats, and hand showers. Rehabilitation with an aim towards independence remained at the forefront of the Sister’s minds and when possible using aids and instruction on safe techniques enabled the person to become fully independent. All care included giving advice and support to the patient and their Carers. The Sisters liaised with the persons Doctor, Hospital and allied Health personal when necessary.Black and white photograph showing a Royal District Nursing Service (RDNS), Sister, who has short dark hair and is wearing the RDNS winter uniform, standing side on to the right of, and attending, an elderly gentleman who is seated on a couch in his lounge room. On the left, the gentleman has sparse light hair and is wearing dark pants and top over a tartan shirt. A white towel is laying on his right leg. To his right, the Sister has her right arm outstretched straightening clothing at his neck, and is supporting a glass in the mans left hand with her outstretched left arm and hand. The glass is partly hidden by her hand. The man is looking up at the Sister and has his right hand near the glass. The Sister is wearing a uniform skivvy under a V neck tunic style dress. In the background, part of floral curtains and white voile curtains can be seen.Photographer stamp. Quote No. DO 75royal district nursing service, rdns, rdns patient care, rdns uniform

A set of laminated A3 sketchbook pages depicting designs for the 1992 Barcelona Olympic Men's Official Occasions Uniform designed by Wendy Powitt. On the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- 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 Official Uniform was used for both travel and official functions. This included a tailored blazer and trouser/skirt set (all water repellent) by Fletcher Jones in pure olive green faille fabric by Foster Valley, a cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, a printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy.8117 .1 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occasions Uniform. The main drawing shows the design for black suit pants and blazer, a yellow shirt with a white collar and a floral printed tie. Two detail drawings appear at the top of the page depicting the Australian emblem in detail as well as the suit jacket and shirt. 8117.2 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occasions Uniform. The main drawing shows the design for a pair of black trousers, a yellow button up shirt with a white collar and cuffs and a floral printed tie. Around the main image are three smaller drawings depicting the detail of the trousers, belt clasp and black shoes. 8117.3 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occasions Uniform. The main drawing shows the design for a pair of trousers, a green knit, button up vest, a yellow shirt with a white collar and cuffs and a floral printed tie. On this design there is also a small swatch of yellow fabric attached as well as a small detail drawing of the knit vest behind the right shoulder of the man depicted. 8117.4 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occasions Uniform. The main drawing shows the design for a pair of trousers, a yellow button up shirt and a printed striped tie. 8117.5 - unnumbered - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occassions Uniform. The main drawing shows the design for black suit pants and blazer, a yellow shirt with a white collar and a floral printed tie. Two detail drawings appear at the top of the page depicting the Australian Emblem set on top of stripes in detail as well as the suit jacket and shirt. 8117.6 - A laminated A3 sketchbook page depicting a design for the 1992 Barcelona Olympic Men's Official Occassions Uniform. The main drawing shows the design for black shorts and floral button up shirt, belt, lace up shoes with socks and pocket detail.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform

This photograph depicts a large group of men in their work clothing situated in front of a large bank of earth. They are identified as miners working in an unidentified location in Australia. This photograph was taken by photographer Walter Thwaites sometime during the period of 1865-1908, likely c.1870. It is unsure where this image was taken since Thwaites travelled a lot over his photography career and the photograph is not annotated with this information. In addition, the identities of the men in the photograph are also unknown. These men are photographed in front of a large bank of earth where they had presumably been mining for gold or other precious metals. The men, with the exception of four, are wearing wide brimmed hats to protect their faces from the sun. They are also wearing loose fitting white shirts which are often worn beneath a darker coloured vest. They wear pale coloured work pants and boots. The men are mostly clean shaven with the exception of the moustache and a couple of beards. Two of the men have pipes in their mouth. Their clothing is basic and much less dramatic than the outfits worn by the gold diggers of the 1852 gold rush. These men, by wearing similar outfits, are expressing a sense of comradery or equality between them. It is likely that they are from the same, or similar, social status. They have an air of independence and share social equality in their stance and clothing. Walter William McLean Thwaites (1840-1908) was a professional photographer born in Sydney, Australia. He learnt the craft in his father's Hobart studio, but later embarked on his own solo career and toured every existing Australian colony between 1860 to 1888. The Thwaites family were a long line of photographers and artists with Thwaites' father Walter WIlliam Thwaites Sr working as an artist and photographer in Australia after moving from England in 1834. Walter Thwaites Sr's father, also named Walter Thwaites, was a British miniature portrait artist.Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts over 30 diggers standing in front of a bank of earth and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1870. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Sepia toned rectangular photograph printed on matte photographic paper and mounted on board.Reverse: 1997.208 / MINERS. / W. Thwaites / Photography /australia, australian photography, photography, miners, gold rush, australian landscape, diggers, walter thwaites, thwaites photography, w. thwaites photography, social history

B&W studio portrait of Percy and Minnie Agnes (Cissy) Johns, children of Edwin Johns of Selby. Percy is about 10 years old. He is wearing what appears to be a sailor suit comprising a dark, double-breasted jacket with a deep, pale collar which is squared off at the back, a dark waistcoat buttoned to the neck, with a pale bow and collar showing, and dark knee-length pants over dark stockings and ankle boots. The jacket is undone. Cissy looks to be about 3 or 4. She is wearing a dark, knee-length dress with a yoke, long sleeves, and a light, wide lace collar. She has dark stockings and calf-length buttoned boots. She has a bow in her hair. The children are standing in front of an ornate wicker chair with one arm resting on the arm of the chair. The name 'Melba' is written on the cardboard frame around the photo, and 'Melba [illegible but presumably '& Co.'] Melbourne' is embossed on the bottom right corner of the photo. The original photo is badly foxed. Dated c.1905.

This jacket appears to be part of the uniform of a junior officer of the 11th (North Devonshire) Regiment of Foot, a line infantry regiment of the British Army. Several companies of the regiment were stationed in Sydney and Hobart between 1845 and 1857. The jacket was acquired by Brighton Historical Society around 1971 as part of a collection of clothing belonging to the Ward Cole family of 'St Ninians', 10 Miller Street, Brighton. George Ward Cole was an early member of the Victorian Parliament and his family featured prominently in Melbourne Society in their time; the family lived at St Ninians from around 1841 until the early 1900s. It is not known who the jacket belonged to or how it came into the Ward Coles' possession. While George Ward Cole was a military man, his service was with the British Navy and during an earlier period than is indicated by this jacket (1807-1817).A red and green flocked cotton military jacket believed to be part of the uniform of the 11th (North Devonshire) Regiment of Foot. The jacket features a green high stand collar secured at the throat by three brass hook and eye closures. The red jacket bodice secures down the centre front with fourteen brass buttons and finishes approximately at the navel. The bottom line sits on the waistline at the sides and back, tapering lower to the naval at the centre front. The bottom line features two substantial brass hooks one on either side of the waist to secure the jacket to the pants. The shoulder line of the jacket is a neat tight fit on the true shoulder, with a slim fitting curved sleeve with gathered fullness at the shoulder. On each shoulder is a metallic corded epaulet with North Devon XI button and second button with floral motif. At the base of the sleeve is a green cuff like detail with a curved elongated point towards the elbow. At the base of each sleeve is a further two brass regiment buttons. The cream woolen jacket lining is lightly quilted over the breast.st ninians, george ward cole, brighton, military, british army, devonshire regiment, north devonshire regiment of foot

Framed portrait of Thomas Marks who was President of the Association for the Advancement of the Blind 1900, 1935-1937. It is part of a series of paintings commissioned by the VAF Board to commemorate the work of past presidents of the organisation. Mr Marks sits at a table, wearing black tails and pants, a white pleated dinner shirt and black evening dress bow-tie. One hand rests next to a cup and saucer, the other rests on his lap. Tom Marks was educated at the Royal Victorian Institute for the Blind. He was a founding member of the Association for the Advancement of the Blind (now Vision Australia) at its establishment in 1895. He went on to serve as President of organisation in 1900 and was later appointed as a part time paid secretary – an office he occupied from 1904 to 1927. He again served as President from 1935 to 1937 during which time he celebrated his 80th birthday. As the living conditions of many blind people were deplorable at this time – they were often confined to a room or shed without any social contacts – it was realized that support for blind persons was needed to serve as a refuge for the oppressed, a home for the indigent, a rest home for the sick and a convalescent home to provide both respite care and permanent accommodation. Mr Marks had a reputiation of having good contacts and being able to use people with more knowledge than himself. An able musician, Tom Marks was often employed in the homes of wealthy families. As a result he met Mr and Mrs Grimwade who were already supporters of Vision Australia. They organized a gymkhana to raise money for the nucleus of a building fund. From this time Tom Marks was involved in the finances of the centres at Brighton, Ballarat and Bendigo, which were the ultimate result of the fund. He was also part of a team that negotiated the financial agreement between the RVIB and Vision Australia over fund raising and the allocation of money, which lasted from 1930 to 1939. 1 art original in gold frameThe plaque at the base of the painting reads 'Mr Thomas Marks / President 1900, 1935-1937/ Association for Advancement of the Blind'. association for the advancement of the blind, thomas marks

This overcoat was designed and tailored by Dominex, a company that sold clothing in high end department stores such as Myer and David Jones in the 1940s through to the 2000s. As pictured in the accompanying advertising, Dominex looked to produce clothes for women to “casually, confidently wear … the exquisite styling and superb tailoring of… Dominex Coats”. This sentiment was carried by the company for more than 60 years. Amanda Morgan, a director of the Dominex fashion label in an interview from 2003 said “Not everybody wants sass, or sex, or high fashion for that matter. Au contraire. Our customers will be stylish, sophisticated and womanly, but we don’t do shoestring straps or asymmetrical lines." Dominex was a label specialising in exceptional quality "traditional" dressing for corporate wear. Their clothes looked to provide women with a return to the tried and true values of elegant, unpretentious, classic dressing. "Our look is European-influenced," Morgan explained further. "Inspired by Armani, Valentino, Chanel and Escada. Suits have been specially dyed in France to ensure the perfect shade of ice blue, lemon, grey, or slate. Fabrics are natural, silk and linen. Shapes are stylish, with an almost 1930s feel; classic pants, silk shirts, structured overcoats with elegant-length” Returning to this overcoat, it has a label on the inside which reads “Pure Wool Material by Godfrey Hirst of Geelong”. Nowadays Godfrey Hirst produce flooring products and are the largest manufacturer and exporter of residential and commercial carpets in Australasia. They have expanded into hard flooring and left their fashion days behind. This overcoat serves as a useful example of a different time for the company; before they made the change to concentrating exclusively on flooring, when they produced fabrics to be tailored for the height of Australian fashion. This overcoat was purchased and worn by Joan Waller, aunty of the donor, Kim Rosenow. Kim said her aunty was from Ballarat but frequently shopped in Melbourne to keep up with the latest trends. Her aunty Joan fitted the target demographic of Dominex well, as she needed to look sophisticated and elegant at social events and work. Kim donated the overcoat to the National Wool Museum in 2021. Green singled breasted overcoat with a narrow overlap and one column of buttons for fastening. The overcoat features notched lapels of a medium width and two large buttons of a green & dark green marble. The overcoat has two semi-visible jetted pockets at the hips. Internally, the overcoat features a black silk lining for comfort. It also features a stitched patch on the left side of the opening which reads “Pure Wool Material by Godfrey Hirst of Geelong”. At the collar, another patch reads “Dominex REGD”. At the cuffs, the overcoat finishes in a type of gauntlet cuff which stretches back over 200mm. The decorative finish utilises no buttons and has thick piping to accentuate this design feature. The overcoat finishes with a simple invisible hem at the bottom.Wording, gold. Patch stitched at collar: “DomineX / REGD.” Wording, black. Patch stitched at left off opening: “PURE WOOL MATERIAL BY / Godfrey Hirst / OF GEELONG”dominex, fashion, women's corporate wear, godfrey hirst, overcoat, wool clothing

A set of laminated A3 sketchbook pages depicting rejected designs for the 1992 Barcelona Olympic Uniforms designed by Wendy Powitt. These designs were rejected during the fabrication process and used at a later time by Doug Pleasance in demonstrations to university/TAFE students.8121.1 - A set of laminated A3 sketchbook pages depicting rejected designs for the 1992 Barcelona Olympic Uniforms designed by Wendy Powitt. The main drawing shows the design for a pair of dark green shorts, a yellow and green striped windcheater with a map of Australia in the centre and a brown belt. 8121.2 - A set of laminated A3 sketchbook pages depicting rejected designs for the 1992 Barcelona Olympic Uniforms designed by Wendy Powitt. The main drawing shows the design for a pair of yellow trousers, a red and orange shirt with blue cuffs and a map of Australia on the right breast pocket. To the right of the main drawing is a detailed drawing of brown leather shoes. 8121.3 - A set of laminated A3 sketchbook pages depicting rejected designs for the 1992 Barcelona Olympic Uniforms designed by Wendy Powitt. The main drawing shows the design for a pair of yellow trousers and a dark green button up shirt. In the top right hand corner there is a smaller depiction of the shirt showing the details. 8121.4 - A set of laminated A3 sketchbook pages depicting rejected designs for the 1992 Barcelona Olympic Uniforms designed by Wendy Powitt. The main drawing shows the design for a pair of yellow trousers and a dark green vest with five buttons in the shape of Australia. To the left of the main design are two smaller images, one showing the details of the pants and the other the detail of the buttons.1992 barcelona olympics, sport, athletes, fashion, design, artwork, drawing, uniform

This photograph was taken in approximately 1870 and depicts four male miners standing in mining sluice at the Three Mile Goldfields. These men are wearing typical attire for 1870s gold miners. They wear white shirts, tan coloured pants with water proof shoes and most of the men are wearing an apron to prevent their clothing from becoming too dirty from the mud. Each man is wearing a wide brim hat and hold large wooden tools used for sorting through the sluice. Three of the four men have full beards. The photograph was donated to the Burke Museum by R. Ziegenbein before 2001 but the photographer and the individuals captured in the photo are unknown. The image depicts the landscape of the Three Mile Goldfields during a period when open cut sluicing was undertaken to reach gold. Open cut sluicing is a method used to extract gold and other precious metals from beneath the surface of the earth. This technique involved the use of high-powered hoses which broke down the soil enabling miners to come along and search this soil for gold. After the gold rush of the early 1850s, diggers had to enlist the assistance of heavy machinery and techniques like hydraulic sluicing in order to reach gold because the surface alluvial gold had already been discovered and removed. This heavy machinery was not used until after 1853. The Three Mile Goldfields was a site of rich alluvial gold deposits located about 5 km south of Beechworth in Victoria. Today, the location of this gold deposit is called Baarmutha. It was a popular area for gold mining in the 1850s but became largely abandoned by the following decade. In 1865, a man named John Pund recognized that the area could be potentially rich if a better water supply could be obtained. He secured a 15 year license with three other miners. Within the next five years, these men had constructed 19 km of water race going from Upper Nine Mile Creek to Three Mile Creek. By 1881, these four men had delivered 950,000 gallons to the Three Mile Sluicing area which is depicted in this photograph. Pund was later go into partnership with John Alston Wallace who would become owner of the Star Hotel in Beechworth. The Three Mile sluicing location continued to be operational until 1950. Sluice box workers were a vital part of gold mining regardless of how inefficient they were in the recovery of gold. After using hydraulic sluicing to cut away the earth, miners would use the big wooden boxes depicted in the image to catch the earth which would then be sifted for gold. However, accidents would occur often which would result in the gold washing away and unable to be recovered. It was not a very efficient system because the gold, which was alluvial and thus very fine, would often pass through the sluice box undetected.The search for gold is ingrained into the history of Victoria and therefore, images like this one which portray an open cut sluicing site can reveal important information for society and technology for the date when the photograph was taken. This image is of important historical significance for its ability to convey information about sluicing and the methods used to find gold in the late 1800s and early 1900s. It also shows a location where sluicing was undertook which provides insight into the impact of sluicing on the environment at a time when it was done. Images, like this one, of Australian gold rush history can reveal important information about the social and environmental impact of this period. This image depicts diggers standing in a mining location and therefore, this image has the capacity to reveal or support significant information for researchers studying the fashion and social status of diggers in Australia in approximately 1870. It can also provide information on the landscape of Australia in this period and the impact of mining for gold on both society and the Australian landscape. The Burke Museum is home to a substantial collection of Australian mining photographs which can be used to gain a deeper understanding into life on the gold fields, technology used in mining, the miners themselves and the impact of the gold digging on the environment.Sepia toned rectangular photograph printed on matte photographic paper and mounted on board.[illegible] about 1870 / 97 2514.1 / 2594 30three mile goldfields, goldfields, 1870, 1870 gold, australia, australian landscape, miners, gold miners, diggers, gold diggers, beechworth, victoria, sluice box workers, sluicing, sluice, mining

Two Royal District Nursing Service (RDNS) Sisters are assisting a young male patient who has a movement disorder, to change position in his reclined chair.The Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS), later known as Royal District Nursing Service (RDNS), visited patients in their home and gave best practice care in many fields of nursing, and to people of many cultures, throughout its 130 years of expansion. Initial visits not only assessed the specific nursing situation but the situation as a whole. Their patients ranged in age from babes, children, adults to the elderly and referrals were taken from Hospitals, General Practitioners and allied Health facilities. Some of the care the Trained nurse (Sisters) provided is as follows: – Post-Natal care given to mother and babe, Wound Care following various types of surgery, accidents, burns, cancer, leg ulcers etc. Supervising and teaching Diabetic Care, including teaching and supervising people with Diabetes to administer their own Insulin, and administering Insulin to those unable to give their own injections. Administering other injections and setting up weekly medication boxes. The Sisters performed Catheterizations on adults suffering from conditions such as Quadriplegia, Paraplegia, Multiple Sclerosis (MS), Motor Neurone Disease (MND) and Guillan-Barre Syndrome, and when required at school on children for e.g. those with Spina Bifida. The Sisters visited those requiring Cystic Fibrosis support and care; those requiring Haemo-Oncology care, including visiting children at school; those requiring Home Enteral Feeding care, and those requiring IV therapy at home and home Dialysis. Palliative Care was given including pain relief with the use of syringe drivers, personal care as needed, and advice and support to both patient and family. The Sisters provided Stoma management to those needing Urostomy, Ileostomy and Colostomy care and those requiring Continence care. HIV/AIDS nursing care was provided; visits to Homeless Persons were made. Personal care was given to patients ranging in age and with varying mobility problems, such as those with MS, MND, Guillan-Barre Syndrome, Poliomyelitis, Quadriplegia, Paraplegia, Acquired Brain Injury, to those following a Cerebrovascular Accident (Stroke), those with severe Arthritis and those with a form of Dementia. When necessary the elderly were assisted with personal care and advice given on safety factors with the use of hand rails, bath or shower seats, and hand showers. Rehabilitation with an aim towards independence remained at the forefront of the Sister’s minds and when possible using aids and instruction on safe techniques enabled the person to become fully independent. All care included giving advice and support to the patient and their Carers. The Sisters liaised with the persons Doctor, Hospital and allied Health personal when necessary.A coloured photograph showing two Royal District Nursing (RDNS) Sisters with a young male patient who is lying in a reclined chair. The Sister standing on his left is smiling; she has short straight dark hair, and is wearing a RDNS light blue apron over her royal blue dress and darker blue long sleeve cardigan. The Sister on the right hand side of the patient's chair is laughing. She has blonde hair and is slightly bent over the chair as her left hand is supporting his left leg. She is wearing the RDNS summer uniform of the day - a white short sleeve blouse under a royal blue V neck tunic style frock. Her right arm is bent and resting on top of the patient's chair and pillow. The young man has short dark hair and is smiling and looking towards the left of the photograph. He is wearing a dark blue long sleeve top and his right arm is extended toward the Sister on the left hand side of the photograph. His legs are over his coverings with his left leg bent at the knee. He is wearing light coloured pants and has a pink and white striped slipper on his foot. His pillow is white, and coverings seen are blue and white check, white, and a pale pink sheepskin. A wood board wall is in the background. A vase of flowers are standing on the part of a round low table that can be seen in the right hand rear corner. A pale lilac wall can be seen on the right hand side. A small section of a dark patterned carpet can be seen.royal district nursing service, rdns, rdns uniform, rdns patient care

Sister Pat (Paddy) Rowley is the Principal Nurse Educator at Royal District Nursing Service (RDNS) and is standing with a group of RDNS staff in the Education Department at RDNS Headquarters, 452 St. Kilda Road, Melbourne. Sr. Rowley is wearing the RDNS winter uniform of a blue/grey skivvie under a blue/grey V neck tunic style dress made of herring bone winter material. She, and the lady in the white dress, are displaying the RDNS winter beret made of the same herringbone material as the RDNS winter dress.From its earliest years when the Trained nurses (Nurses) of Melbourne District Nursing Society (MDNS began to wear uniforms the chosen colour was grey, though the style changed throughout the years as fashions changed from the late 1800s through to the 1970s. Their Nurses firstly wore long grey frocks, and on their heads, a white cap with a long white tail hanging from the centre back. When bicycles were introduced the headgear changed to a white pith helmet adorned with a red Maltese cross in the centre front. This was held on with a veil going over the hat and tied under the chin. Over the years there were complaints that the veils became wet in the rain and they asked for a change of uniform, but this did not happen until 1921. Later the Trained nurses (Sisters) complained their skirts became wet when riding their bicycles in the rain and asked, when raining, to be able to wear breeches and gaiters. This was granted provided they wore aprons when attending patients. It was not long before the uniform changed to a shorter length grey frock, red cardigan, grey coat and grey brimmed hat; later changed to a peaked grey hat. In 1966 MDNS were granted Royal patronage. Now as Royal District Nursing Service (RDNS), the uniform was redesigned and colour changed in 1971. By 1972 the Sisters were wearing the new winter uniform of a blue/grey skivvie under a V neck tunic style frock made of blue/grey herringbone winter material with the RDNS insignia on the upper left, and a beret of the same material. In summer the uniform became a royal blue V neck tunic style frock, with the RDNS insignia on the upper left, worn over a short sleeve white blouse. A royal blue peaked hat with the RDNS insignia in the centre front was worn at first and then only worn on official occasions. This uniform was worn until changed to a corporate style in the mid 1980s,This black and white photograph depicts six Royal District Nursing Service (RDNS) staff standing in two rows in front of closed long grey curtains. They are looking at the camera and smiling, some are partly hidden. L- R back row - A lady who has short dark hair and is wearing a grey and black patterned frock. Next is a lady with her black hair drawn back; is wearing black pants and a black sleeveless V neck jacket over a white skivvie. The next lady has wavy short dark hair; is wearing white slacks, a light grey jacket with lapels and the pocket on its upper left has a vertical zip in the centre. She has a black and white striped scarf around her neck. Front row L-R - A lady with shoulder length black curled hair who is wearing a white uniform style dress and is turned toward the right of the photograph. Her right hand is on the top edge of an RDNS beret which is held on its edge with the inner white lining seen, and the upper section showing the deep front of the beret which has a central RDNS logo. To the right of this, is Sister Pat (Paddy) Rowley who has short dark straight hair; is wearing dark rimmed glasses and is wearing a light grey skivvie under a darker V neck tunic style dress. She is turned toward the left of the photograph and her right hand is holding the bottom edge of the RDNS beret and her left hand is on the top edge. The next lady, on the far right, has shoulder length black curly hair and is wearing dark grey slacks, and a black round neck jumper over a white blouse with the peaks and cuff seen.Barry Sutton MA 23 rdns, rdns education, royal district nursing service, rdns uniform, sister pat (paddy) rowley

Sister Barbara Watson is an RDNS Liaison Officer and is meeting with Hospital staff and a patient in a Ward at the Alfred Hospital before the patient is discharged home where he will receive the nursing care required from a visiting RDNS Sister. Sr. Watson is wearing her RDNS winter uniform, which is a blue/grey skivvie worn under a V neck tunic style frock made of herringbone blue/grey winter material.Liaison had occurred between doctors and the Trained nurses (Nurses) of the Melbourne District Nursing Society (MDNS), from its inception in 1885. This increased when Midwifery was introduced in August 1893 with close liaising with the Women’s Hospital. As District nursing grew it was recognized that closer liaising between many Public Hospitals would be beneficial, for not only the MDNS, later called Royal District Nursing Service (RDNS), Trained nurses (Sisters) but also for the patients and the hospitals. In August 1964 a Liaison Officer commenced at the Alfred Hospital. This soon increased to Liaison Officers working full time at several Public Hospitals. They facilitated the smooth transition from hospital to home for many patients who required ongoing nursing care. Liaison Sisters regularly attended discharge planning meetings, interviewed prospective patients, coordinated discharge and booked the first visit by the visiting RDNS District Sister. At the time of a patient’s discharge, the Liaison Sister forwarded information on their diagnosis and instructions regarding the care required at home to the appropriate RDNS Centre, and in turn the attending District Sister wrote a report of progress and any queries to the hospital Doctor, via the Liaison Sister, at the time the patient was attending outpatients. Any new instructions were then sent back to the District Sister. Liaising also occurred between District Sisters and Doctors when patients were referred by General Practitioners and did not attend a Hospital.Black and white photograph showing Royal District Nursing Service, RDNS, Sister (Sr.) Barbara Watson who is standing with hospital staff and with a patient who is resting in a hospital bed. On the left foreground of the photograph is Sr. Watson, who has blonde shoulder length curled hair and is wearing her RDNS uniform of a light grey skivvie worn under a darker grey V neck tunic style frock. She has her head turned to the left looking at the patient. Next right stands a Doctor, who is wearing glasses and has short dark hair. He is wearing his hospital white coat over his clothes and has his arms folded across his chest. Next right is another Doctor who is at the head of the hospital bed; He has short dark hair and is wearing his white hospital coat over a grey shirt. black tie and dark grey pants. They are all smiling at an elderly man who is sitting up in the bed resting against a white pillow and looking toward them. He is wearing glasses; has short dark sparse hair and is wearing a dark coloured pyjama coat with some white piping, and a white handkerchief in the pocket. He is looking at the three and has his hands clasped on top of the bedclothes. The hospital bed has a white iron frame and an 'over bed table' is at its foot and in the foreground of the photograph. On the right of the bed is a hospital Sister, who has short dark hair; is wearing glasses and wearing her white uniform dress and cap. She is smiling as she looks toward the patient and Doctors. A hospital curtain is against the wall behind her. Part of a window and curtain are seen on the far left of the photograph.Photographer stamp. Quote No. LA 6 Name of hospital and RDNS liaison sister.melbourne district nursing society, mdns, royal district nursing service, rdns, rdns liaison, sister barbara watson

"Who would have thought that a boy born in 1889 from the Victorian Mallee would become a successful artist on New York’s Staten Island? This finely illustrated, exhaustively researched and beautifully written biography on Leason features the artist’s entire career as a painter and cartoonist renowned for his depictions of Australian society in the 1920s and 1930s. Leason’s story is a poignant one tracing his beginnings as a cartoonist, to the bohemian Melbourne art scene in the early 20th century, to his involvement in the artists’ camps of Eltham, to his important series of portraits of Lake Tyers Indigenous Australians, and his eventual move to the US where he has been acknowledged as making an enormous contribution to the New York arts scene. This story, as yet untold, fills a gap in the history of art in Australia and offers a new perspective on Australian art in the first half of the 20th century." - Thames and Hudson website A NEW HOME IN ELTHAM Once they had settled back into Melbourne, Perry and Belle began to look for a place to make a permanent home. Having enjoyed the bush setting of Mosman, they decided to explore the rural fringes of Melbourne. Each weekend they packed a picnic and travelled to the towns in the nearby hills - such as Ferntree Gully, Sassafras, Lilydale and, of course, Cockatoo Creek. Eventually deciding these places might be a little too far from The Herald office, they searched closer to the city. The Heidelberg and Box Hill regions that had inspired his old teacher McCubbin, had become busy, urban areas but further east, towards Warrandyte and Templestowe, there were still large tracts of bush. Finally they settled on Eltham, an area Percy knew very well, having often painted there with Jock Frater. Perry's old friend Dick McCann and his wife Margery had also settled in Eltham. The township was fifteen miles from Melbourne and serviced by an electric train that went to the central Melbourne station of Flinders Street, near where The Herald offices were located. Eltham was a small village in 1925, separated from Melbourne by the Yarra River, and surrounded by orchards and large tracts of bush. Small farms dotted the landscape and the main businesses revolved around ironmongers, blacksmiths, and farming supplies. Of particular appeal to artists was Eltham Park, a large expanse of bushland bounded by the Yarra River on the south side and the Diamond Creek on the east. The park included a playing field that was busy on weekends with cricket or football matches, but for the rest of the week it was mostly empty and an ideal place to paint. The scenery there provided the inspiration for many paintings by Leason, Meldrum and other artists such as Colin Colahan and Peter (A.E.) Newburv. The Leasons found a rundown old farmhouse on four-and-a-half acres of land in New Street, now known as Lavender Park Road. The site was splendid, at the top of a gentle slope which gave panoramic views east to the Dandenong hills, south over the Templestowe orchards and north to Kinglake. The front lawn was taken over by onion grass (or wiregrass as Leason called it) and scattered about the property were many wattles and gum trees. Aloe cacti covered much to the front of the house, while old quince and lucerne hedges separated the house and out-buildings from a rundown apple orchard. Here they would build a new home. ·with financial assistance from The Herald, Leason bought the property and immediately commissioned an architectural firm to design a new house in the popular bungalow style of the time. The old farm house was demolished but Percy saved the siding boards, bricks and corrugated iron for the outbuildings of his new home. The new house was a two storey, triple brick with a large, gabled, terracotta tiled roof. It was situated at the very top of the slope. The paint and varnish were barely dry when the family moved in during the summer of 1925-26 and the fumes were overpowering in the heat. Despite the house being wired for electricity, power poles had not yet reached the area and initially the family had to rely on kerosene lamps and candles. When electricity did arrive, Leason reflected on the community's reception of electricity at the expense of the old growth gum tree corridors in his cartoon, Electricity comes to Wiregrass. The family had now grown to seven. Jack was nearly nine, Jean was seven, Marjory was four, Nancy was two and the baby Patricia was seven months old. Jack and Jean were enrolled in the local primary school down the hill. A retired farmer, Jock McMillan, came to live on the property and help out with the general maintenance. Jock built himself a shack and Belle provided him with meals. He was kept occupied building structures around the property·, such as the garage, the outside toilet, garden beds, trellis arbours and a number of ponds. The elderly, bearded Scotsman with his old hat and baggy pants also provided the inspiration for one of the characters Leason regularly included in his cartoons. Like Leason, Jock smoked a straight stemmed pipe. A neighbour was employed to help Belle with domestic chores, and so the family settled down to live comfortably in their new Eltham house. Two dogs, Maginary and Wodger, completed the large and vibrant household. “Percy Leason; an artist’s life” by Margot Tasca, Thames & Hudson Australia Pty Ltd, Port Melbourne 2016, pp 63-64 Hardback Bookpercy leason, margot tasca, biography, artist, landscape

This is a pair of blue trousers. It has a pocket on each hip. There is a zippered fly - held shut at the top with one black plastic button. There are two pleats either side of the fly.Written on label = W326143 B. Williams.raaf, long pants, uniform, female

This garment would have been worn by young girls as a summer fashion, perhaps in the 1970s. Similar- patterned garments may still be worn today but perhaps without the cuffs on the legs. This garment is retained as an example of women’s fashions in the mid to late 20th century and will be useful for display. This is a pair of women’s shorts. They are made of cotton (velveteen) and are multi-patterned with a dark red background with pink, orange and yellow flowers. There are cuffs at the end of the legs and a zip down the side. The waist is lined with white material and there are five buttons attached to the waist band. The maker’s label is also attached to the waist band.‘Styro SW All Cotton’ladies fashion, hotpants

Items issued to G Bennetts RAAF No 119452. Items known as “Long Johns”. Refer Cat No 560.3 for service details..1) cream colour fine knit fabric stamp in black ink on front lower right .2) cream colour, fine knit fabric stamp in black ink on front top right handwritten name black ink on back waistband three cream buttons on front ribbom tape on back.1) “marley/ Vic/1952/40/“ .2) handwritten black ink ' “K Cole' made in Australia / N427/1942”uniforms - army, costume- maleunderwear, singlets, under pants

Most people don’t use handkerchiefs anymore, either for personal hygiene or as a fashion statement, but at one time they were prized possessions.Prior to making their move to the breast pockets of men’s suits and sport coats, handkerchiefs were kept in pants pockets.When two-piece suits came into fashion during the 19th century, no “gentleman” was seen without one. This item reflects that custom.Plain cream silk man's handkerchief.handkerchief costume-accessory-men's silk

Donated by daughter of Alan Richardson, sawmiller at Tabbara. Helped build and held ticket for paddle steamer "Curlip".Most people don’t use handkerchiefs anymore, either for personal hygiene or as a fashion statement, but at one time they were prized possessions.Prior to making their move to the breast pockets of men’s suits and sport coats, handkerchiefs were kept in pants pockets.When two-piece suits came into fashion during the 19th century, no “gentleman” was seen without one. This item reflects that custom.Man's cream coloured silk handkerchief with blue and red stripes around border.handkerchief costume-male silk richardson-alan

Gertrude Augusta "Gussy" Moran was an American tennis player who was active in the late 1940s and 1950s. Dress designer Ted Tinling created a daring ensemble for the lanky American tennis player. The white dress offered a sculpted bodice, a tight waist and an unusually short skirt. Moran asked him what would happen if the breeze blew her skirt around Tinling then gave her a pair of silk lace underwear. Women around the world were very impressed and made copies of these bloomers commonly known as 'Gorgeous Gussys'A good example of the fashion c1950 when fancy underwear became popular after tennis player Gertrude Moran wore frilly pants under her tennis skirt.A lady's beige satin bloomers with lace and elastic . Known as 'Gorgeous Gussys' clothing ,underwear, dressmaking, early settlers, market gardeners, post world war 2 estates, moorabbin, bentleigh , ormond, moran gertrude, gorgweous gussy, tinling teddy, tennis, reed gladys,