This mat was donated to the Museum by the Rev. Andrew Rule Osborn. Reverend Osborn donated several artefacts including Aboriginal artefacts, Zulu and Pacific Islander objects. The Reverend came over from Tasmania to serve here in Warrnambool. His wife Annie was a fantastic author and wrote children's literature which was serialised in the newspapers. She was a supporter of women's suffrage and also the first woman editor of The Age.A flat circular mat made from native Australian grasses. Indigenous Australians would use this as a baby-carrier on the back. One band would be placed around the lower back and mat and two higher up. The child would be placed between the back and the mat. It was also sometimes used as a sun shade or something to sit on. It is a spiral form with grasses woven around to bind it together.aboriginal, indigenous, child carrier, mat, native grasses, reverend andrew rule osborn, annie osborn, women, mothers

Purchased by donor from hill tribes in Sapa region of Northern Vietnam, part of traditional clothing - apron/skirt panel. These panels are typically embroidered by Yao women to decorate traditional ceremonial garments, trousers, and baby carriers, serving as a significant expression of cultural identity and heritage. The Yao (lu Mien) ethnic group are widely recognized across regions of Southwest China, Laos and Vietnam.Embroidered panel utilizing intricate, geometric cross stitch and counted thread embroidery traditional to Yao textiles.

Purchased by donor north of Sapa near Mount Fansipan, Vietnam. Small embroidered panel worn as part of everyday wear on back of jacket/top. These panels are typically embroidered by Yao women to decorate traditional ceremonial garments, trousers, and baby carriers, serving as a significant expression of cultural identity and heritage. The Yao (lu Mien) ethnic group are widely recognized across regions of Southwest China, Laos and Vietnam.Example of Hill Tribes embroiderySmall embroidered panel, faded indigo with counted thread embroidery.

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in progress in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.

During periods of harsh persecution, Hmong women developed a way to record their history by weaving it directly into their clothing. Called "pajntaub" , which means "flower cloth", and it was traditionally practiced only by the women of the community. Using a variety of complex stitching techniques, they created intricate geometric patterns. These designs were not just for decoration on clothes, collars and baby carriers. At times when their own language was suppressed, these symbols served as a form of communication and cultural documentation, with history hidden in the very pleats of their skirts. This tradition took on a new powerful meaning in the late 1970's after the wars in Southeast Asia. Forced into refugee camps in Thailand, Hmong women began creating "story cloths". These were larger tapestries that documented their lives, their traditions, and their harrowing journey from their homelands to the camps. These story cloths became a way to tell the world what had happened to them . They also became a vital source of income, sometimes selling for just one dollar, which helped families survive in the camps. Hmong Archives; Library of Congress. Hill Tribe clothing panel in fuchsia pinks and royal blue, with white, green, orange highlights. Embroidered in buttonhole stitch and satin stitch filling. Worked on black even weave linen.