Vest knitted during WWII from darning wool which was the only wool not rationed in Britain during the war years.Maroon Fair-Isle vest with Nordic style patterns in white. Made with darning wool. Maroon metal zip on right hand shoulder.costume accessories, female

Pale blue and white diamond patterned sleeveless tabard vest. Diamonds 14cms x 6.5cms. Vest is in two panels, joined at the shoulders, with a 9.5 x 2cm tab attached to the vest, front and back at the hipline with two small pearl buttons. Boat shaped neckline. Formerly owned by Margaret (Nell) Timbs nee Heider who worked at Hanro in the Finishing Department about 1935. Donated by her daughter Yvonne Knipe who worked at Hanro in the Office from 1961, then at John Brown until 1968.Hanro Swiss Inspired Dupont ORLON SW Stamped on the back RHS hemline MEDIUMScostume, female, knitted vest

Knitted by the donor's grandmother, Elsie Hone. Knitted using bicycle spokes as knitting needles. Elsie Hone (nee Stone) was born in 1890 and died in 1987. She had six children and she apparently knitted this vest for her second son (fifth child), Albert George Hone (b.1914) for his 18th birthday. Albert and his wife Grace had four daughters between 1942 and 1951. The donor's mother, Ina Harriet Nilsson, was born in 1925 (fourth daughter, sixth child of Elsie) and as she had a son, the donor's uncle George (Albert?) passed it on to her. Both the donor's elder brothers wore and out-grew the vest and eventually it was passed on to the donor, Ray Nilsson. The vest was worn for many years while the donor worked at VACC Insurance Co Ltd in St Kilda Road, Melbourne and in the North Sydney, Canberra and Dandenong offices and it was a talking point as he recalled the story. (Information provided by the donor)Fair Isle patterned hand-knitted vest in beige, brown, yellow, green and red.vest, hand-knit, fairisle, elsie hone, great depression, albert george hone, ray nilsson

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

Single page double sided pattern, showing a woman wearing a blue and pink knitted vest.front: [printed] THOROBRED / We've fashioned the pleasure of knitting / 1148 / PRICE CODE A / GRANADAthorobred scheepjeswol, fashion, design, knitwear, home made, wool, pattern book

Single page double sided pattern. The front features a woman wearing a knitted vest and pink hat.front: [printed] THOROBRED / We've fashioned the pleasure of knitting / 1137 / PRICE CODE A / COTTON / FIZZthorobred scheepjeswol, fashion, design, knitwear, home made, wool, pattern book

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.Olive green knit vest with gold buttons. On the left breast is the Australian emblem with the Olympic rings and "Barcelona 1992" underneath it.BARCELONA 19921992 barcelona olympics, sport, athletes, fashion, design, uniform

Used by the local Infant Welfare CentreCelluloid doll dressed in pinned white nappy and cream coloured knitted vest with small bow. Arms and legs move into lying or sitting positiontoys, children, presents, doll, celluloid

Twenty four page colour knitting pattern book. The cover features a woman wearing a grey knitted vest, grey gloves and a cream shirt.front: [printed] THOROBRED / scheepjeswol / JAPANESE / COLLECTION / BY / EYE / SPYthorobred scheepjeswol, fashion, design, knitwear, home made, wool, pattern book, japan

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.Olive green knit vest with gold toned buttons. On the left breast is the Australian emblem with the Olympic rings and "Barcelona 1992" underneath it. The buttons are textured with lines.BARCELONA 19921992 barcelona olympics, sport, athletes, fashion, design, uniform

Twenty page knitting pattern book featuring black and white text and images. The colour cover shows a man holding a pipe, wearing a knitted vest.front: [printed] Patons / KNITTING / BOOK / NO. 422 / No. 468 / P&B / WOOLS / Page 2 / PATONS / AZALEA / BEEHIVE 3-PLY / BEEHIVE CREPE / DOUBLE QUICK / BEEHIVE 4-PLY / 2'-fashion, design, knitwear, home made, wool, pattern book, patons

Four page knitting pattern booklet featuring black and white printed graphics and text. The colour cover shows two women wearing knitted vests.front: [printed] 1082 / PRICE / CODE / G / PURE NEW WOOL / VillaWOOL / 5 PLY / Machinewash / THE GREAT AUSSIE YARNknitting, pattern, fashion, knitwear, women, villawool

This knitting pattern leaflet was produced by Lincoln Mills and contains a pattern for a knitted vest for women in fair isle.LINCOLN / Model No. L1105 / PRICE 2D.handicrafts - history knitting - fair isle, lincoln mills (australia) limited, handicrafts - history, knitting - fair isle

Fifty two page knitting pattern book featuring black and white text and images. The colour cover shows a man dressed in a white shirt and knitted vest, which features horses.front: [printed] No. / R.14 / Patons / KNITTING BOOK / NO. R.14 / P&B / WOOLS / Page 22 / SPECIALLY REQUESTED REPRINTS / 1'9d.fashion, design, knitwear, home made, wool, pattern book, patons

Paul Leonard wore this shirt and vest to a Brighton Primary School fundraiser in the late 1960s. His wife Heather wore a matching yellow and orange dress, with hand painted yellow and orange shoes. Paul and Heather lived together in Male Street for forty years until his death in 2002. Paul worked in advertising and later became a painter, mainly of Australian icons.Cotton men's shirt (.1), mustard yellow with purple collar, cuffs and buttons. Men's knit vest (.2) featuring yellow and navy blue horizontal stripes and trimmed with narrow red stripe.paul leonard, heather leonard, brighton primary school, 1960s

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was published by Weldons and contains knitting patterns for vests.FREE INSIDE:- 3 EASY-to-FOLLOW CHARTS for VEST-TOPS / NEW / SERIES / No. 11 / WELDON'S PRACTICAL NEEDLEWORK / 4D. / KNITTED VESTS / for Ladies and Men / FULL DIRECTIONS for making 13 UP-to-DATE VESTSknitting handicrafts - history, weldons ltd, knitting, handicrafts - history

2 copies of a photograph of a young woman with a comb in her hair and wearing a knitted sleeveless vest.photograph, person, female

The knitter was Vera Neale,1901 - 1990. Married with three children, Vera knitted with one and two ply wool, often using piano wire or bicycle spokes as needles, entering the garments in agricultural shows. This is one of 23 garments donated by her granddaugher, Mrs Glenda Ilsley.Man's vest knitted by Vera Neale in the 1950s.knitting handicrafts, neale, mrs vera, knitting, handicrafts

When celluloid was invented and first came to prominence in the 1870s, dolls were nearly all breakable and fragile--bisque and china dolls were easily shattered and papier mache and wax easily ruined. So doll companies started experimenting with celluloid to mould dolls. By the early 1900s, celluloid dolls were plentiful, since celluloid was easily moulded and generally inexpensive. Celluloid is one of the first synthetic plastics. It is a plastic created from wood products that includes cellulose nitrate and camphor. However Celluloid is flammable and deteriorates easily if exposed to moisture, and can be prone to cracking and yellowing with certain formulations. Celluloid dolls were produced as late as the 1950s, but the vast majority were produced from 1900 through the 1940s. The knitted outfit was made by an unrecorded home knitter probably as a present for a child. A very small celluloid doll dressed as a boy in fine hand -knitted hat, vest, jacket and pants.celluloid, dolls, knitting, wool, craftwork, moorabbin, bentleigh, cheltenham, toys

Twenty four page colour knitting pattern book. The cover features a woman wearing a knitted blue vest with white stripes.front: [printed] THOROBRED / scheepjeswol / Eye Spy / MARINER / COLLECTIONthorobred scheepjeswol, fashion, design, knitwear, home made, wool, pattern book

This traditional wagga blanket was made by Mrs Eileen Pattle between 1942 and 1950. The wagga was used as everyday bedding, as Eileen and her husband had very few possessions. They boarded with a man who they called “Old Harry” in Footscray. Old Harry had recently lost his wife and looked after the young couple well. They could stay with him and use his house as their own, and all that Old Harry asked for in return was for Eileen to cook him one good meal a day. The blanket was given to Mrs Beverley (Bev) Maguire, the daughter of Eileen, when she and her husband went camping one winter. Her husband was a “mad” fisherman and on one trip on which Bev joined him, her father offered the couple his old tent, that had a wall missing, and the wagga. The wagga was much appreciated as when the couple woke in the countryside, it was freezing, and they could see snow through the missing tent wall. From then on, the tent and the wagga were theirs. The wagga saw many more camping trips until the arrival of Bev’s “lovely new lightweight and down filled sleeping bag”. The wagga was made with a “make do, waste not, want not” attitude. The wagga started as an army issued blanket. The front layer has clothing and panels of mismatched material which has been added to over time. This includes an overcoat, two knitted garments, a panel from a skirt, and a panel from Old Harry’s Trousers. It also includes a man’s sleeveless knitted vest, and a knitted pram blanket. This is all stitched together with string, and the odd button. Bev said she would love to unpick the quilt to see what else is hiding inside but has resisted the urge to do so. All these layers have made the blanket incredibly warm, and heavy. The wagga has been within Bev’s family since creation and comes into the National Wool Museum Collection after serving the family well. It was used to keep everyone warm when not camping over many a winter’s night. Beverley is now getting on in years and donated the Wagga to the National Wool Museum in 2021. Her family referred to the wagga as a “collection of rags”, indicating to her that they did not wish to inherit the blanket. The wagga started as an army issue blanket. It has been made by stitching the khaki army blanket onto a hessian rear. The front layer has clothing and panels of mismatched material. This includes an overcoat, two knitted garments, a panel from a skirt, and a panel from Old Harry’s Trousers. It also includes a man’s sleeveless knitted vest, and a knitted pram blanket. This is all stitched together with string, and the odd button. It is thought that other materials are hiding within the layers of this wagga, however, uncovering these layers would involve unpicking the quilt. The wagga is 1360 x 1880mm, sized to suit a double bed. It is a heavy blanket, originating from all its panels of mismatched reused clothing. The wagga is well worn but has lasted almost 80 years. It has holes that have been lovingly re-stitched.wagga, quilt, upcycle

This was knitted by Marjorie Burton during WW11 in England. She used to knit while in an air raid shelter escaping the bombing with her young daughter. Marjorie Burton ( nee Whiteman), born 12 June, in Birmingham, England came to Orbost in 1995. In England she did office work – typing, shorthand and secretarial work - in accountants’ offices and also trained as a comptometrist with Burroughs in London. She came from middle-class working church-going family. Her mother was a milliner who made most of Marjorie’s clothes, hats and outfits. Marjorie married in 1938 to a salesman who later became a mechanic in the R.A.F. during WW11. Her father served in Civil Defence during the war. Marjorie was in Birmingham during the war and remembered sheltering with her young daughter, Anne (Quaadgras) in the air raid shelter during bombing. This item is an example of a handcrafted item and reflects the handcraft skills of women necessary during WW11 when clothing became scarce. Clothes rationing began on June 1, 1941, two years after food rationing started. Clothes rationing ended on 15 March 1949.Two hand-knitted lady's vests(singlets). Both have been knitted from left over wools. Both have crocheted necklines and ribbon straps and are fitted styles. 2483.12 is red and grey with a V neck. 2483.13 is pink, grey and blue with a V neck.ww11 knitwear handcraft nightgown sleepwear burton-marjorie

Cream coloured hand knitted woollen baby vest. All over ribbed pattern. Crocheted edge around neck and sleeves. Cream coloured satin ribbon tie at neck.This collection of knitted and sewn garments were made in the early 1940s and were intended for a baby that was stillborn.costume, children's, baby vest

Salmon pink hand knitted woollen baby vest. Patterned yolk with rib pattern body. Cap sleeves with crocheted edges. Neckline with crocheted edge. Twisted wool tie around neck.This collection of knitted and sewn garments were made in the early 1940s and were intended for a baby that was stillborn.costume, children's, baby vest

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

BHS CollectionHanro Stand Alone Counter Display Picture: A coloured picture of two men on the golf course playing golf modelling Hanro knitwear. One has on a beige long sleeve V necked cardigan. The pockets on either side have a pleat in the centre and a band at the top. The garment has a small vertical brown stripe running through out the fabric, it is buttoned up with five brown buttons. The other is a yellow V necked vest. The Vest is knitted in a small cable pattern with knit bands around the neck and arms. At the bottom on the picture is a label with white background and *Hanro in red and black print and Knitwear for men*. The very bottom printed in yellow is *'The Quality Is A Proud Tradition. The material for the front is plastic covered card. The back is green tin. A brown card rectangular strip used for a stand and has two metal holes with string attached. A sticker with Bellesini is stuck on the card stank. Box 116Aphotograph, person, hanro, hanro

This box was donated by Mary Gilbert who was the Orbost Red Cross Superintendent. Australian women's efforts on the home front to support the nation during WWI and WWII were monumental. They worked tirelessly for Red Cross in response to the national emergency, serving the humanitarian needs of the nation. Women produced millions of pounds worth of in-kind support through volunteer labour and goods, sending an astonishing volume of goods overseas to servicemen and prisoners of war. They knitted and sewed socks, towels and vests for soldiers.A black Red Cross box containing training cards, forms and badges. The box is made of card and covered in black fabric.red-cross gilbert-mary world-war-11

This knitting pattern book dates from about the 1940s. Garments made with a Fair Isle pattern, especially sleeveless vests for men, were popular at that time. In the early to mid 20th century in Australia many of the woollen garments worn were handmade. Today this is not the case and hand-knitted garments are rare. Miss McClure had a lingerie and babywear shop at 114 Liebig Street before the building was demolished in 1953. This book is of minor interest as an example of a 1940s knitting pattern book and as a memento of Miss McClure’s shop in Liebig Street at that time. This is a booklet of 16 pages. It has a white cover with a red edging and black and white photographs and black printing on the front and back cover. The pages contain instructions for knitting six garments.Fair Isles For the Family Miss McClure Liebig Streetmiss mcclure, liebig street, history of warrnambool, knitting pattern books

Unable to determine a specific company that manufactured this doll many Japanese companies manufactured dolls of this type for export and these were only marked "Nippon" to show country of manufacture. These dolls marked this way were in production from around 1920 until 1941 when Japanese toy factories began to manufacturing items for war.Unable to be determined provenance relating to specific Japanese manufacturer. The doll is an example of a children's toy from the 1920s-1940s.Porcelain Doll in white fabric dress Doll, female, has porcelain face, composite body with swivel head and limbs. Head has long brown curly mohair wig attached into a hole in the pate; several doll-sized hairpins hold hair in place. Face has open mouth showing two porcelain front teeth, brown eyes of hand blown glass and hand painted features. Back of neck has two pressed holes above maker’s mark. Doll has removable white silk socks and brown shoes with tied ankle strap and hard soles. Doll is wearing old fashioned cream coloured knitted woollen singlet, cream flannel vest with draw-string cotton bodice and scalloped edge. The doll also has a more modern style white cotton dress with pink smocking. Inscription pressed into back of neck, shaded with pencil, "Nippon"Maker’s Mark “NIPPON” (See media section this document for a list of possible manufactures of doll)flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, doll, nippon, nippon novelty company, porcelain, japanese doll manufacturer, porcelain doll, vintage doll

Cream coloured hand knitted woollen baby vest.Cream coloured cotton tie at neck. Patterned yolk and lower edge. Stocking stitch. This collection of knitted and sewn garments were made in the early 1940s and were intended for a baby that was stillborn.costume, children's, baby vest