This chair is one of a set of three kitchen chairs once used by the Warrnambool Council. The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom and Canada, and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'. Endowed professorships are referred to as chairs. It was not until the 16th century that chairs became common. Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin. Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high. In ancient Egypt, chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honour. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[ The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor. The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level. In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day. Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire. In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available. The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[ moulded plastic chairs and ergonomic chairs. The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966. Technological advances led to moulded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs.The set of chairs represents one of the most commonly used items providing comfort. It represents domestic furniture used in the late 19th and early 20th centuries in Australia, signified by its decoration of an Australian theme motif.Chair, wooden, one of a set of three. The kitchen chair has a dark brown varnish. The spokes for the back support, front legs, and joining legs are patterned turned wood. The backrest has a carved floral emblem with a kangaroo in the centre.Back rest: motif {floral emblem with a kangaroo in the centre]flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, chair, kitchen chair, dining chair, carpentry, carving, australian motif

This chair is one of a set of three kitchen chairs once used by the Warrnambool Council. The chair has been used since antiquity, although for many centuries it was a symbolic article of state and dignity rather than an article for ordinary use. "The chair" is still used as the emblem of authority in the House of Commons in the United Kingdom and Canada, and in many other settings. In keeping with this historical connotation of the "chair" as the symbol of authority, committees, boards of directors, and academic departments all have a 'chairman' or 'chair'. Endowed professorships are referred to as chairs. It was not until the 16th century that chairs became common. Until then, people sat on chests, benches, and stools, which were the ordinary seats of everyday life. The number of chairs which have survived from an earlier date is exceedingly limited; most examples are of ecclesiastical, seigneurial or feudal origin. Chairs were in existence since at least the Early Dynastic Period of Egypt (c. 3100 BC). They were covered with cloth or leather, were made of carved wood, and were much lower than today's chairs – chair seats were sometimes only 10 inches (25 cm) high. In ancient Egypt, chairs appear to have been of great richness and splendour. Fashioned of ebony and ivory, or of carved and gilded wood, they were covered with costly materials, magnificent patterns and supported upon representations of the legs of beasts or the figures of captives. Generally speaking, the higher ranked an individual was, the taller and more sumptuous was the chair he sat on and the greater the honour. On state occasions, the pharaoh sat on a throne, often with a little footstool in front of it.[ The average Egyptian family seldom had chairs, and if they did, it was usually only the master of the household who sat on a chair. Among the better off, the chairs might be painted to look like the ornate inlaid and carved chairs of the rich, but the craftsmanship was usually poor. The earliest images of chairs in China are from 6th-century Buddhist murals and stele, but the practice of sitting in chairs at that time was rare. It was not until the 12th century that chairs became widespread in China. Scholars disagree on the reasons for the adoption of the chair. The most common theories are that the chair was an outgrowth of indigenous Chinese furniture, that it evolved from a camp stool imported from Central Asia, that it was introduced to China by Christian missionaries in the 7th century, and that the chair came to China from India as a form of Buddhist monastic furniture. In modern China, unlike Korea or Japan, it is no longer common to sit at floor level. In Europe, it was owing in great measure to the Renaissance that the chair ceased to be a privilege of state and became a standard item of furniture for anyone who could afford to buy it. Once the idea of privilege faded the chair speedily came into general use. Almost at once the chair began to change every few years to reflect the fashions of the day. Thomas Edward Bowdich visited the main Palace of the Ashanti Empire in 1819, and observed chairs engrossed with gold in the empire. In the 1880s, chairs became more common in American households and usually there was a chair provided for every family member to sit down to dinner. By the 1830s, factory-manufactured “fancy chairs” like those by Sears, Roebuck, and Co. allowed families to purchase machined sets. With the Industrial Revolution, chairs became much more available. The 20th century saw an increasing use of technology in chair construction with such things as all-metal folding chairs, metal-legged chairs, the Slumber Chair,[ moulded plastic chairs and ergonomic chairs. The recliner became a popular form, at least in part due to radio and television. The modern movement of the 1960s produced new forms of chairs: the butterfly chair (originally called the Hardoy chair), bean bags, and the egg-shaped pod chair that turns. It also introduced the first mass-produced plastic chairs such as the Bofinger chair in 1966. Technological advances led to moulded plywood and wood laminate chairs, as well as chairs made of leather or polymers. Mechanical technology incorporated into the chair enabled adjustable chairs, especially for office use. Motors embedded in the chair resulted in massage chairs.The set of chairs represents one of the most commonly used items providing comfort. It represents domestic furniture used in the late 19th and early 20th centuries in Australia, signified by its decoration of an Australian theme motif.Chair, wooden, one of a set of three. The kitchen chair has a dark brown varnish. The spokes for the back support, front legs, and joining legs are patterned turned wood. The backrest has a carved floral emblem with a kangaroo in the centre.Back rest: motif {floral emblem with a kangaroo in the centre]flagstaff hill, flagstaff hill maritime museum and village, warrnambool, maritime museum, maritime village, great ocean road, shipwreck coast, chair, kitchen chair, dining chair, carpentry, carving, australian motif

Copy book used by Lola Ann Myers at Stewart Street State School from 1916 onwards. From collection of Betty McPhee; donated by Cathy McCann.Small paperback schoolbook. Maroon covers with Australian motifs. On back cover, picture of student seated at deskAustralian Copy Book Sixth and Seventh Grades|Quotations|Poetry and Prose|Commercial Letters and Formsbooks, school/educational

Sleeveless knitted vest with Australian bird motifs.knitwear, fashion, vest, australiana, birds, fauna, 1980s

Won at Street carnival, the Travellers' Gala in 1948 at Ballarat these bears were a popular post-war prize at such carnivals of the period when Australian motifs were seen as patriotic representations..

1. This is a black short jacket with maroon collars. It has maroon sleeve ends. On each collar is a gold corps badge = RAMC. On the shoulders are decorative epaulettes. On them are badges of rank for a LT.COL. The word "Australia" - a gold button with Rising Sun motif. It has black polyester lining. 2. Vest. Same maroon colour. Black nylon back. Four front buttons. 1 x silver Australia motif. 2 x British Lion over Crown Motif. 1 x gold Australia motif. The vest has 2 small front pockets. 3. Trousers, black, maroon strip down outside of legs. Zip fly.uniform, ramc, passchendaele barracks trust

Three fans: 10848.13a - paper fan made of many sections; with Chinese dragon and flower motif, made to form a round fan 1084801b - Black plastic fan with nine Australian motifs centered on Queensland, connected with red ribbon 100848013c - White plastic fan with an Asian tree motif

1950's era could also be used as a chamber pot. Hoffman's Brick and Tile Company was established in 1862 in Brunswick. They began making pottery in the 1930''s but after WW2 the focus shifted back to bricks and tiles. They were best known for their ranges of Art pottery with Australian motifs. A circular cream coloured ceramic object. It's 14 centimetres high and 27centimetres in diameter at the top. The base is 18 centimetres in diameter extending up 12 centimeters to a 20 centimetre diameter. There is a two centimetre wide and one centimetre deep grove extending out with a one centimetre wide and 2.5 centimetre high rim. There are two half centimetre wide holes opposite each other in the rim for handles, which are missing. v26302 Hoffman Pottery AUSTRALIAchamber pot, commode, hoffman pottery

Gaiters, khaki coloured woollen outer, inside lining is khaki cotton, has 3 copper buttons with Australian Military Forces motif.‘J A HOLMES’costume accessories - male, uniforms - army, gaiters, passchendaele barracks trust

Eight page fold out knitting pattern booklet featuring four colour images of women wearing jumpers with Australian animal motifs, including a pelican, cockatoo, emu and wombat. Four pages featured text and graphics in black and white.front: [printed] BOOKLET NO. 690 / Cleckheaton / Australiana 4knitting, pattern, fashion, knitwear, cleckheaton, sophie lee, australiana, wombat, emu, cockatoo, pelican, animals

The Silver Standing Cup was made by Ernest Leviny c1860 and presented to Mr Charles Abraham Saint, editor of the Mount Alexander Mail newspaper, by the town's citizens on his departure from Castlemaine on 31 December 1863. Mount Alexander Mail report; 23 January 1864. This substantial silver centrepiece was the second masterpiece created by Ernest Leviny around 1859. It is decorated with highly detailed cast figures, fine embossing and chasing. This work of Australian Colonial significance reflects Leviny's rich European artistic background which he successfully merged with new Australian motifs, which epitomise the great wealth, ambition and pride at that time in the emerging, young Colony of Victoria.Semi matt surface albumen print mounted on cream coloured card with border around image drawn in pencil. Albumen photograph of Silver Standing Cup (Eperne). Elaborate silver cup, with lid highly decorated with cast figures, etc.Handwritten in pencil under image: I.1 'Photo Davies & Co' I.r 'Melbourneernest leviny, silver, silversmithing, cup, london exhibition 1862, mount alexander mail, william davies, photograph, charles a. saint

Cr. W.D. Vaughan in 'Kew's Civic History' (1960) records that: "In connection with the Melbourne Centenary Celebrations in 1934, the Kew Council decided to organise a strong post as an appropriate gesture of welcome to H.R.H. the Duke of Gloucester. Also that the municipality be represented by a symbolic floral float in the Royal pageant. This was a striking entry and won first prize, and evoked much comment on account of its originality and truly Australian motif." The photograph of the Kew Strong Post was once part of the Municipal Collection of the former City of Kew and was presented to the Kew Historical Society before the move from the Walpole Street (Kew) Town Hall to new Civic offices in Charles Street in 1971.Historic photograph of participation by the City of Kew in celebrations for a royal visitFramed and glazed photograph on its original inscribed mount and original frame of the Kew "Strong Post" in St Kilda Road on the occasion of the visit to Melbourne of the Duke of Gloucester. The photograph has two components, at the upper left is a photo of the royal carriage while the man photo shows the people of Kew on a decorated 'Strong Post' on St Kilda Road, along which the procession progressed. T"Centenary Celebrations / Kew "Strong Post" St Kilda Road / On the occasion of the visit of / H.R.H. The Duke of Gloucester / October 18th 1934."royal visits - melboure - 1934, duke of gloucester, kew (vic.) — municipal collection

Refers to the Service of :- NORMAN CHARLES STEVENS V59636 - VX123648. Initially in CMF NR V59636. Enlisted in AIF VX 123648 9 March 1943 aged 35. Discharged 28 June 1946. Unit - Catering Corps - Rank Private. This is a copper badge - Tri-Service, Australia. It's motif has an anchor, part of a Rising Sun Badge and spread bird wings. At the top centre is a Royal Crown. At the bottom in a stylised boomerang shaped banner are the words "Returned from Active Service". On the rear are two loops for mounting of badge.On the rear is stamped 309475. "Issued by the Commonwealth Govt". ww2, active service, badge

Dark green woollen beret. It is lined with a grey cotton material. On the front is a brass Rising Sun Badge. The motif states:- "Australian Military Forces".Written in ink on the makers label is name "DOBIN".uniform, australian army, beret

Refer to Cat 4967.2. Service of John Robert Attwood.These buttons are of three different sizes. The motif is Australian Military Forces with a map of Australia. They are of copper metal, darkened with a black paint. They have brass "Keepers",ww2, uniforms, buttons, uniorms

The photo comes from a souvenir brochure printed for the dedication of The Shrine on 7 April 1918, a copy of which is also held in the collection.. The Shrine was opened on Sunday 7 April 1918. Mrs C H D Steele, President of the local Patriotic League, is credited with the idea of building The Shrine as a fitting memorial to the WW1 soldiers of the district. The Surrey Hills Progress Association coordinated raising funds from local residents. John Kendrick Blogg carved the beautiful honor roll in Indian teak and Australian white mahogany and the design of the Shrine was by John Stevens Gawler, architect of Gawler & Drummond. Both men donated their services. It was one of the first WW1 memorials to be built and is noted for its use of Australian motifs, wattle blossom and gum leaves. The boomerang over the full width of the monument was said to be symbolic of both those who did and did not return. Surrey Hills Progress Association coordinated fundraising to build the memorial. There is a bound copy of a history of The Shrine by Robin Doble in the collection.Black & white photo of the artist's impression of The Shrine in the Surrey Gardens. surrey gardens, john kendrick blogg (mr), surrey hills progress association, john stevens gawler, gawler and drummond, the shrine, war memorials, sarah margaret russell (miss), sarah margaret steele (mrs), mrs charles henry dillon steele

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to  spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.Short, cream coloured scarf printed with an Australian floral design inspired by the artist Margaret Preston. The floral design appears in red, green, white, yellow and black. Interspersed with the flowers are small motifs of Australia created through a curved cross hatching design.Label- Tee - Dee1992 barcelona olympics, sport, athletes, fashion, design, uniform

Ref. Cat 6719.2P - Swatton. Medals are: British War Medal 1914 - 20 Victory Medal with Mentioned in Despatches Leaf Colonial Auxillary Forces - Long Service - Aust 20 plus years. Efficiency Decoration 20 plus years.1. This is a summer pattern service jacket. Four front pockets held shut with a button. There are 4 front darkened buttons. Motif is = Australian Military Forces. It has the rank insignia of a Lt.Col. It has four medal ribbons and a M.I.D. 2. Khaki cotton belt to suit. Metal buckle.Written inside the neck is = “M530 Swatton”post ww2, passchendaele barracks trust

This apron was made in 1915 by Irene Broughton, nee Long. She was born in Warrnambool in 1894 and married Arthur Broughton in 1913. She re married in 1924 Reuben Donnithorne and he died in 1931. Irene died in 1982 and is buried in the Warrnambool cemetery. The apron was left to Irene's niece, Helen Thomson who had the apron framed to preserve it. The apron would not have been in everyday use but a special garment worn when entertaining visitors for afternoon tea.This apron is a fine example of a home made house hold article from the early 20th century. The maker was born in Warrnambool.The apron is made of fine black cotton and edged with a broad lace flounce featuring a flower pattern. It is decorated with two sprays of delicately hand-painted motifs featuring Australian native flowers. The apron is in a wooden frame with a silver metal edging with scrolls on the front edge. The glass is clear and the mount is buff coloured card.vintage accessory, irene broughton warrnambool

Biography. Hard cardboard cover, blue with block spine buckram. Black print on front, white print on spine. Motif in black on front cover. 95 pages, cut, thicker paper, off white, illustrated with black & white photos & illustrations. Grey patterned paper end papers.Printed front cover: “6005 PERCY HENRY DAVENPORT, AUSTRALIAN WAR STORIES” “WORLD WAR I AUSTRALIAN IMPERIAL FORCE 1915 - 1919” Handwritten in black ink on front fly leaf: “Dedicated To The Memory Of Percy Henry Davenport. A Son of The Bendigo Goldfields. Who Gallantly Served His Country In Both The First And Second World Wars. On Loan To The Bendigo Military Museum By His Son Robert Henry Davenport V.Viet Mobile 0419 764 013 April 2015” Cover motif: “Australian War Stories motif inspired by the seven iterations of the Australian military's Rising Sun Badge” Handwritten in black ink on p92: SUGGESTED READING, AS ROUGH AS BAGS THE 6TH BATTALION 1ST AIF”book, biography

1. Red woollen jacket with white facings and white cuffs. On the collars are a 38Bn NVR badge. On epaulettes are - Brass letter "R". Brass Major's badge, small brass button - motif is Australian Military Forces. The jacket is lined with red cotton. 2. Red woollen vest, cotton backing. Two small pockets, Four small brass buttons - motif is Australian Military Forces - vest lined with white cotton. 3. Black trousers, wool with a red wool stripe on outside seam (4cm wide). Button fly (6 buttons) Pockets are white cotton, waistband lining is blue and white striped cotton. Small piece of leather at bottom of trousers at back. Two side pockets. One back pocket on right. Two buttons on each side of fly (for braces) two buttons at back.3. Written on right front pocket in black ink "SULLIVAN C4".post ww2, uniform, officers mess dress, passchendaele barracks trust

The bronze medal commemorates the centenary of the government of Victoria from 1851 to 1951, as well as the centenary of the discovery of gold and was presented to the Shire of Wodonga in 1951. It was commissioned by the Victorian Government in 1951 to commemorate 100 years of the separation of Victoria from the colony of New South Wales in 1851. The medal was designed by the sculptor Andor Mészáros (1900-1972) and minted by K.G. Luke in Melbourne. The bronze medal has local, state and national significance, as it commemorates the centenary of 100 years of government in Vctoria. It also has aesthetic and social significance as an example of a limited edition bronze medal designed by the prominent sculptor Andor Mészáros, who is known for his work depicting the history, culture and sporting life of Australia.Bronze medal commemorating the centenary of the government of the State of Victoria from 1851 to 1951, and the centenary of the discovery of gold. Obverse: In the centre of the medal, a man and a woman riding a horse and the inscription "EQUALITY AND JUSTICE / THROUGH FREEDOM" in raised letters around the edge. The man is holding a torch representing equality and the woman is blindfolded holding a sword representing justice. The horse has broken free of its shackles representing freedom. Reverse: A stake surrounded by Australian floral motifs in the lower part of the medal; the inscription "CENTENARY OF THE GOVERNMENT OF VICTORIA 1851-1951" in raised letters around the top edge, and "Preseneted to / The Shire of / Wodonga / 1951" in engraved letters in the centre. The medal is in a small presentation box with dark green velvet lining an insert for the medal in the lower part and a light coloured textile printed with the dates 1851 and 1951 printed in the lid. A piece of paper with a text about the meaning of the inscriptions accompanies the medal and fits inside the lid of the small presentation case.Obverse: "EQUALITY AND JUSTICE / THROUGH FREEDOM" in raised letters around the edge. Reverse: "CENTENARY OF THE GOVERNMENT OF VICTORIA 1851-1951" in raised letters around the top edge, and "Presented to / The Shire of / Wodonga / 1951" in engraved letters in the centre of the medal. medals, australian commemorative medals, centenary of victoria, numismatics, shire of wodonga, wodonga, centenaries, gold, andor mészáros

About the 1992 Barcelona Olympic Games donor Doug Pleasance wrote- During the 1980's the Australian wool industry was at its most prosperous times with record numbers of sheep producing wool receiving ever increasing values due to the success of the Reserve Price Scheme, and the overall guidance of the Australian Wool Corporation (AWC). As a humble technician, my role was a low profile newly created position of Controller, Technical Marketing where wool was to be marketed on its technical properties, as distinct from the Product Marketing Group which exploited the traditional high profile approach of marketing wool;s superior fashion attributes. The Woolmark was the tool central to this approach. The 1992 Barcelona Olympic Games saw an evolutionary change in designer selection. A Declaration of Interest Form was communicated to over forty potential designers. The task and especially tight timelines that were involved deterred many aspirants, however, there remained eight designers with the potential we were seeking. These eight designers were paid $3,000 per submission and the winning designer, Wendy Powitt, was paid $15,000. For the first time the judging panel included two athletes, one male swimmer and one female basketballer, their influence was pivotal. The ensemble consisted of three elements- 1. The Official Uniform which was used for travel and all official functions. This included: a tailored blazer and trouser/skirt (all water repellent) by Fletcher Jones, pure wool olive-green faille fabric by Foster Valley, cotton PE formal shirt by Pelaco, pure wool knitwear by Spangaro, printed wool tie by TD Noone, wool nylon socks by Holeproof and footwear by Hush Puppy. 2. Opening Ceremony Uniform a lightweight wool fabric printed with floral designs that had been inspired by the work of Australian artist Margaret Preston. This included: Lightweight W/PE shorts by Fletcher Jones in Foster Valley Fabric, socks by Holeproof and footwear by Hush Puppy. 3. Village Clothing was designed to be highly visible garments to make it easy to  spot the Aussie and helped to contribute to good team spirit. This included: A pure wool shirt featuring blocks of contrasting colours, and a newly developed stretch 50:50 wool/cotton fabric by Bradmill was made into shorts and jeans by Fletcher Jones.The fabric of the shawl is square with a black border around the outside edge. Along the inside of the border is an Australian floral design that is inspired by the artist Margaret Preston and appears in tones of red, white, green, yellow and black. The centre of the shawl is primarily cream in colour with stripes of green running across it, these lines are organic in their shaping. In the very centre of the shawl, intersecting the lines, is a motif of Australia in black created by a cross hatching of curving lines.Label- Tee - Dee1992 barcelona olympics, sport, athletes, fashion, design, uniform

This shirt is part of a General Purpose Uniform issued by the Australian Airforce to Bernard Farley during service. This uniform type was developed in 2014 and replaced camouflage as the uniform worn during general base duties and in non-warlike environments. Although a camouflage pattern, this design is not intended for use as camouflage. This item has social significance, as an item of uniform worn by Warrnambool RSL community member and Secretary (2019), Bernard Farley during service with the Australian Airforce. The item is a representative example of current Airforce General Purpose Uniform and is in excellent condition. As a set, the uniform has aesthetic significance in it’s design, incorporating GPU uniform design from the Army alongside the colours and motifs of the Australian Airforce. General Purpose Uniform (GPU) shirt in Airforce colours of blue and grey in camouflage pattern. Long sleeve with 6 buttons up the front, two chest pockets with zippered verticle openings along the button seam; two button down pockets on both the left and right shoulder with velcro patches sewn to outside flap for attachment of patches. Above the chest pockets are two patches with embroidered inscriptions in white thread on navy backing. Shirt cuffs have adjustable velcro fasteners.Inscription on interior label is worn and illegible, halfway down the tag reads “PM KEYS NO.” Throughout (on shoulder seams, above left pocket and on back of collar) is the Australian Airforce badge/motif which features a circle with the words ‘Royal Australian Air Force', the Imperial Crown, and a Wedge-Tailed Eagle in flight though this detail is inferred not physically visible. Two embroidered patches above the chest pockets read “AIR FORCE” and “FARLEY.”camouflage, general purpose uniform, airforce, uniform, australian defence force

Maj. R.M. Shadforth1. THIS IS AN OFFICER'S PATTERN KHAKI JACKET. IT HAS FOUR POCKETS. IT HAS A 50MM WIDE BELT OF SAME MATERIAL. THE BUTTONS ARE DARKENED. THE BUTTON MOTIF IS AUSTRALIAN MILITARY FORCES. ON THE COLLARS ARE DARKENED RISING SUN BADGES, ON THE EPPAULETTES ARE THE RANK BADGES OF A LT.COLONEL. There is a semi detached ribbon Bar on the left breast - War Medal 1939-45. Australian Service Medal, Efficiency Decoration. 2. Trousers, long Khaki, same material as jacket. Button up fly buttons - Khaki Bakelite. 3. Peak cap, Australian leather strap with Infantry Corps Badge.Jacket - on the label inside jacket is docket “3198, Jan 13 1942”. Factory No. “2853”. Name “Maj. R.M. Shadforth”. uniform, 38th batt, shadforth, passchendaele barracks trust

Refers to the service of "Lt. R. Baker" 5/13385..1) Jacket, black wool. Four front pockets. Rising Sun on Collars. Lieut. pips (2) on each epaulette. Four brass buttons on front. Button Motif - Australian Military Forces. On left chest are two ribbons, War medal 1939-45 and Australian Service Medal, and an RAAF Flying wings badge. .2) Trousers, black wool, Red stripe down outside of legs. Button fly, striped lining around waist line inside. Two side and one rear pocket. .3) Shirt - off white cotton, long sleeves, one breast pocket. .4) Cap - peaked black, red band, Rising Sun Badge. .5) Tie - black .6) .7) Shoes - pair of black leather, rubber soled shoes L & R.Inside jacket - “Lt. R. Baker 5/13385 2/11/51”ww2, post ww2, mess dress uniform, r. baker, passchendaele barracks trust

The conduct of the LA games changed many factors in a short space of time. The Americans made their Games a huge financial success, whereas other countries, e.g. Canada, was left with a huge debt. The key to this was SPONSORSHIP which soon replaced the old Australian way of fundraising with pub raffles. It also began to change the atmosphere where the AWC had previously been valued for their generous donation. There was a move by commercial specialist uniform marketing organisations paying sponsorship money to publicise the fact that they were clothing high profile athletes. Old loyalties remained but became tested more and more as time progressed. For example, each uniform was expected to include an Akubra hat, why? Because it always had. For the same reason the uniforms also had Driza-Bone Coats. The day before the Seoul Opening Ceremony it rained in Seoul, so at the Opening Ceremony the Australian Team emerged in their Driza-Bones, made from cotton, not a wool fibre in sight, and the wool growers were footing the bill for over a million dollars. Thoroughly embarrassed, I resolved to avoid this situation next time by having all uniform fabrics pre-treated with Scotchguard prior to garment making.The scarf is brightly coloured in blue, green, yellow, purple and red on a plain cream base fabric. The lines of colour run on an angle across the fabric as jagged, irregular lines with small motifs of Australia, the Southern Cross stars, fish, triangles and a wave pattern, placed throughout. The centre of the scarf is dominated by a depiction of Australia presented in yellow. Within Australia are eucalyptus leaf shapes as well as mountainous shapes and the wave shape that is featured elsewhere on the scarf. The left hand short hem of the scarf has a differing pattern with larger lines running on the opposite angle to the rest of the scarf. Within the larger lines the same motifs are again printed.

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