Lee Palfrey collection. Refer Cat No 10263. These under garments were for fragmentation protection. This apparel issued to L.Palfrey during Op Catalyst - Iraq. AVG 2005-Feb 2006.Black garment - under wear, elastic waist, elastic legs at end.Makers printing: “Unisex Pelvic Protective, Anti-microbial Drawers. Main material: 95% Polyester 5% Elastane. Reinforcements 100% silk. Country of Origin: China” “PO No: 05242” Supplier ID No.: J20.lee palfrey, clothing, under garment, protection

Black camisole or under garment circa 1910flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, ladies undergarment, black camisole, underwear, lingerie

Small plastic doll with jointed arms, painted face, removeable yellow plastic under garments, moulded hair in French bun.Made in Hong Kongtoys, dolls, plastic

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. This book was produced by Patons and Baldwins and contains knitting patterns for womens dressing gowns, bed jackets and under garments.Patons / KNITTING BOOK / NO. 189 / "JANICE" / See page 10 / "CAMILLA" / See page 12 / 6d.knitting handicrafts - history, patons and baldwins (australia) ltd, knitting, handicrafts - history

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 produced by the Alexandria Spinning Mills, Sydney, during WWII and contains knitting patterns for womens bed jackets and under garments.Series 71 / 7d. / Sun-glo / Knitting Book / DESIGN No. 2933 / PAGE 3knitting handicrafts - history, alexandria spinning mills pty ltd, knitting, handicrafts - history

This is a photo of Beth and Ida Johnson (now Ida Stanton).The photo shows two women posed for a photo. The woman on the right is standing; she is wearing what appears to be frilly, full length under-garments, a rough cloth jacket and a lace cap. She is wearing glasses, has blond wavy hair and is holding an open, folding fan. The woman on the left is seated; she is wearing a dark coloured dress or tunic with a frilly petticoat showing from the knees down. She also has a frilly cap on and is wearing glasses. She has long hair tied in two ponytails or plaits and she has a book on her knee. Behind them is a corrugated iron wall and a tree fern.people, johnson

3 wooden darning mushrooms used for darning socks, by placing under the hold of garment. Two brown wood, one painted green.darners, sewing equipment

Photograph of an unknown elderly couple, the man is balding on top with tufts of hair out each side . He is wearing a suit coat with a sleeveless pullover underneath. The woman is also wearing a sleeveless pullover and what appears to be a hand knitted garment under thatperson, family, elderly couple, elderly couple

This article of clothing is specifically an undergarment to be worn under a skirt or a dress. The petticoat is a separate garment hanging from the waist. In the late 1920s, chiffon dresses with several sheer petticoats became fashionable. With the Great Depression in the 1930s, narrow skirts returned and petticoats again were unpopular until the end of the decade when revived for some evening, prom, and wedding gowns. World War II, with its rationing and general shortage of materials, brought an end to petticoats. Petticoats were revived by Christian Dior in his full-skirted "New Look" of 1947 and tiered, ruffled, stiffened petticoats remained extremely popular during the 1950. Most of the petticoats were netlike crinoline, Worn by Marjorie Burton. It may have been worn underneath dresses with full skirts or may have been designed for a short style wedding dress. 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 a middle-class, working, church-going family. Her mother was a milliner who mademany of Marjorie’s clothes, hats and outfits. Marjorie was married in 1938 to a salesman who later became a mechanic in the R.A.F. This item is an example of ahome-made item of clothing and reflects the needlework skills of women in the first half of the twentieth century.A coarse, net, white starched petticoat. It is short and has no bodice. It is home-made, machine stitched and fastens at the waist with metal hooks and eyes. It has four panelspetticoat women's-clothing burton-marjorie

This article of clothing is specifically an undergarment to be worn under a skirt or a dress. The petticoat is a separate garment hanging from the waist. In the late 1920s, chiffon dresses with several sheer petticoats became fashionable. With the Great Depression in the 1930s, narrow skirts returned and petticoats again were unpopular until the end of the decade when revived for some evening, prom, and wedding gowns. World War II, with its rationing and general shortage of materials, brought an end to petticoats. Petticoats were revived by Christian Dior in his full-skirted "New Look" of 1947 and tiered, ruffled, stiffened petticoats remained extremely popular during the 1950. Most of the petticoats were netlike crinoline, Worn by Marjorie Burton. It may have been worn underneath dresses with full skirts or may have been designed for a short style wedding dress. 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 a middle-class, working, church-going family. Her mother was a milliner who mademany of Marjorie’s clothes, hats and outfits. Marjorie was married in 1938 to a salesman who later became a mechanic in the R.A.F. This item is an example of a home-made item of clothing and reflects the needlework skills of women in the first half of the twentieth century.A coarse, net, white starched petticoat. It is short and has no bodice. It is home-made, machine stitched and fastens at the waist with metal hooks and eyes. It has four panelspetticoat women's-clothing burton-marjorie

This hooped petticoat or underskirt was worn in the 1950's under full skirted evening wear. Mt Beauty had a vibrant social life during this period with many balls and dances throughout the year.This garment was worn by Margaret McKendrick (nee Vyner) who was born and lived in Tawonga, then Mt Beauty.White cotton tiered under skirt with double hoops at the bottom. The skirt is gathered at the waist and falls to the floor. The waist has a drawstring (ribbon) which is tied at the back.The name "M.McKendrick Mt Beauty" is written in blue ink or texta around the inside of the waistband.petticoat. underskirt. hoop. evening dress. ball gown. mt beauty. entertainment.

Royal Australian Navy - Uniform belonged to LS MTP E Rayner.1. Jumper/Barathea - long sleeve white polyester/cotton fabric with Navy blue collar attached, side zip under arm. Insignia to left sleeve depicting rank. Right side insignia depicts category. 2. Trousers - white polyester/cotton fabric, bell bottom. 3. Shirt - white polyester/cotton fabric, short sleeve, navy blue trim to square neckline. Insignia to left sleeve. 4. Silk - Black polyester black fabric to arrange around the collar. 5. Bow - white cotton tape. 6. Lanyard - white cord to arrange around neck. 7. Lid - white with black "Tally" band, sailors cap with Navy blue tape - chin strap. 1., 2. - Hand embroidered red cotton - "E RAYNER", 7. Handwritten, black ink, "LS MTP RAYNOR inside on the crown, Tally band - Embroidered gold thread "HMAS DERWENT'", on black band. " RED ANCHOR/TAILORED GARMENTS/ 65% POLYESTER 35% COTTON/ DO NOT BOIL, DRIP DRY, WARM IRON"ran, uniform

In 1951 - in the context of the Cold War - the Menzies government established the 'National Service Act 1951', which called-up men for compulsory military training for a period of 176 days. The 14th Battallion was located in Victoria. The coat has historic significance in the wider context of Australia’s involvement in the Cold War (particularly in Vietnam) and in the establishment of a National Service Scheme. Olive green army man coat with four outside pockets - two on the chest, two at the bottom; each pocket has one metallic button attached. Coat has a metallic zip as well as metallic buttons; two velcro scratches at the wrist level. Extra removable padding inside, which is attached with plastic buttons. Two identical inscriptions on right and left shoulder reading '14 National Service Battalion'. Two identical inscriptions on right and left shoulder - reading '14 National Service Battalion' Manufacturing details on the inside reading: Coat, Cold weather, Man's, Field M-65. Olive green colour. Style 8120/8542 DSA 102-81-C1204. 1. Wear as outer garment or as under-layer in cold-dry climate. 2. Wear button-in liner for added insulation. 3. Adjust closures and drawcords to ventilate; avoid over-heating of body. 4. When hood is used, lower extension shall be worn over neck opening, preventing water. 5. Brush snow or frost from garments before entering opening. 6. For fast drying, remove liner from coat. 7. Do not expose to high temperature of a stove. 8. Lubricate slide fasteners with wax. 9. For cleaning and restoring of water repellency return to laundry for machine washing in accordance with established procedures for quarpel garments. 10. Do not starch. Do not remove this label. Black ink pen inscription on manufacturing label reading '3/715875' and 'N.Wain'war, army, coat, man's coat, australian army, military uniform, national service scheme, cold war, vietnam war

Worn and owned by Mrs Mary McKeown (nee Ford) a resident of the Orbost area.A size 27 corset of apricot coloured cotton fabric with small lines and flowers embroidered onto the fabric. It has a small elastic triangle panel in the middle front and two large panels at the sides. It appears to have stays (possibly whalebone), along suspenders hanging from the bottom.Size 27 Liberty female-costume under-clothes foundation-garments

Made and presumably worn by Mrs McKeown (nee Ford).A long plain cream or white silk sleeveless nightgown with a fine lace border around the neck line and around the bottom hem of the garment. The neckline is a "V" shape in front. Two white crocheted rosette decorations have been appliqued onto the top front. It has two cotton inserts under the arms. Two fine darts run downwards at the front. costume-female undergarment

This item of underclothing, called a "combination" is one of several linen and clothing items belonging to the deceased estate of Susan Henry OAM (nee Vedmore 1944 - 2021) that was donated to Flagstaff Hill Maritime Museum and Village. Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up in 2010 to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community. Combination undergarments combined the chemise and drawers into one garment. The combination is divided, or bifurcated, from the waist to the crotch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. Their primary use was to protect clothing from perspiration and because they were made with cotton or linen, were easy to wash. This particular item is made with lawn (a very lightweight fabric) and is sleeveless, making it suitable for hot weather. Although they were worn under the corset next to the skin (and therefore not meant to be seen), they were often decorated with lace or embroidery. This item is an example of the needlework skills of women in the late 19th century - using machine stitching and lace to personalise and embellish a practical item of clothing. It is also significant as an example of a practical solution to the difficulties that women of this era faced with regard to the washing of clothes and household linens.Lady’s white lawn and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has four buttons in the front and is trimmed with lace on the neckline, armholes, bodice (in a diagonal design) and legs. The left and right sides are divided from the waist to the crutch. The back of the garment is plain with a gathered section at the lower back.flagstaff hill maritime museum and village, great ocean road, combinations, lady's combinations, undergarment, lingerie, handsewn, underwear, clothing, victorian era undergarments, lady's garment, susan henry oam, vedmore foundation

This handmade women’s combination undergarment features hand-worked lace panels and trim, and fine pintucks. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The design of this combination undergarment, or ‘combination’, includes a chemise attached to a pair of drawers or bloomers. The combination is divided, or bifurcated, from the waist to the crutch for easier urinating. This one-piece type of underwear was worn by females from the 1860s and into the early 1900s. The 19th Century garments had front button closures like this one, and those made in the 1900s more often had back closures. Combination underwear was popular because the all-in-one design had far fewer gathers and bulk, making the other clothing look much smoother. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women’s white cotton and lace all-In-one combination undergarment. The handmade underwear is a combined chemise and bloomers. It has a front button closure and is trimmed with hand-worked lace panels on the bodice and lace edging around armholes, the neck, and the bottom of the legs. The left and right sides are divided from the waist to the crutch.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, combination undergarment, all-in-one underwear, combination, ‘combinations’, one-piece underwear, one-piece undergarment, chemise and bloomers, combination chemise and bloomers, divided, bifurcated, split, chemise and drawers, women’s underwear, ladies’ underwear, undergarment, women’s clothing, women’s fashion, lingerie, under-structure, 1900s undergarments, 19th-century undergarment, 20th century, handmade clothing, handmade lace, hand-worked lace, paton family, trefnant, yangery, lady's combinations, ladies combinations

This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's camisole, short sleeves and peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, collar, waist trim and yoke. There are five buttons and two ties down the front.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery

This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's camisole, short sleeves and peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, neck trim and waist trim. Drawstring, tie and button closure.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery

This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's camisole, short sleeves and peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, collar and waist trim. It has button closures down the front.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery

This handmade women’s pair of bloomers, or drawers, features hand-worked Broderie Anglaise and applique trim and a drawstring rear closure at the waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's bloomers or drawers, handmade from white cotton fabric, with hand-worked Broderie-Anglaise trim around the bottom of legs with applique motifs. Bloomers have a drawstring, back of waist closure.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, broderie anglaise, hand-made broderie anglaise, paton family, trefnant, yangery, bloomers, drawers, underpants

This handmade women’s camisole features hand-worked lace yoke and trim and a drawstring peplum waist. It is one of seven handmade items of white cotton underwear, all made with beautiful needlework and embroidery skill. The lingerie once belonged to the donor’s great-grandmother’s family, the Paton family of ‘Trefnant’, Yangery, in southwest Victoria. The collection of women’s late-19th-century undergarments is an example of clothing that women would include in their wardrobes. The garments add to the study of the evolution of women's fashions and practicality for the early Australian settlers. The fine linen fabric and the careful needlework in these handmade garments and hand-worked lace trims reflect the maker’s dedication to making even serviceable garments beautiful to look at and wear. Women's camisole, short sleeves and drawstring peplum waist. Handmade from white cotton fabric, with hand-worked lace sleeve tips, collar and waist trim. Front closure.flagstaff hill maritime museum and village, maritime museum, maritime village, warrnambool, great ocean road, southwest victoria, victorian era, women’s underwear, ladies’ underwear, undergarment, under-structure, 1900s undergarments, 19th-century undergarment, women’s clothing, women’s fashion, lingerie, 19th century, handmade clothing, handmade lace, hand-worked lace, camisole, paton family, trefnant, yangery

Ringwood Mail newspaper article clipped from pages 9 and 14, 23 December, 1958.Norwood's First Speech Night FOR its first Annual Speech Night Norwood High School put on a remarkably smooth and entertaining performance. It even broke new ground for these occasions by staging a junior Mannequin Parade. In the appreciative audience were the Mayor and Mayoress of Ringwood (Cr. and Mrs. R. 0. Spencer), Cr.and Mrs. Peter Vergers, Cr.and Mrs. Doug Baxter, Cr.and Mrs. Ben Hubbard, and Mr. George Ormandy (Head Master of Ringwood High School) and Mrs. Ormandy. After the singing of the Norwood High School Song,'Fidelis', the Mayor, as Chairman, gave high praise to the school for its 'mighty effort on its first Speech Night.' It was an historic night, he said, an event which would live in the minds of the boys and girls of the school for as long as they lived. Education was a live issue today, the Mayor said, and it was as well to reflect on what the teaching staff of a school was asked to do. They were asked to teach the children how to play their part in life, to make decent men and women of them. And if the children were a future disappointment to their parents the Head Master and the staff could not be blamed. On behalf of the Council and citizens of Ringwood, the Mayor offered congratulations and good wishes for a happy Christmas. In his report the Head Master (Mr. J. A. Gibson, B.A.) said the school colours of purple and gold had been appropriately chosen because of the golden wattle and purple sarsaparilla which rioted through the district. The badge design was a transition of Nowood to Northward, a symbolic representation of the magnetic compass which formed the central motif of the badge. The fact that the compass is used by travellers as a reliable guide gave the school the motto 'Fidelis' which combined the ideas of faithfulness trustworthiness and dependability. The word was easy to remember and to say, and its meaning set a worthy ideal which the boys and girls of the school could strive to attain. For House names native words had been chosen and they were associated with features of the district. The names Kalinda, Maroondah, Mullum and Yarra had already acquired a special significance for everyone associated -with the school. School traditions were also being established, the report went on, by the holding of annual swimming and athletic meetings and the awarding of prizes, and the school had been helped here by the generosity of certain good people of the community who had presented trophies. In the field of inter-house activities the Couche family had presented to the school the Couche Cup for Swimming Contests, and the Warrandyte cup for aggregate points earned in all sports; Mr. Avison had presented the Norwood Cup. for Athletics Contests, and Mr. and Mrs. Jack Godbehear the Rosebank Shield for award to the House gaining the highest aggregate score each year. Members of the Mackinlay family had perpetuated the name of the early owner of the property on which the school is built by donating a sum of money, the interest of which would provide the William and Elizabeth Mackinlay Prize each year for the Dux of Norwood High School. ATHLETIC SUCCESS The gross enrolment of 117, included 52 boys and 65 girls, who were divided into three forms of approx equal ability. The curriculum had been broadened to include excursions to the Art Gallery and Museum, to Orchestral concerts, and trips to Warrandyte, the Maroondah Dam and Healesville Wild Life Sanctuary. The school had taken part in inter-school sports contests during the year and came first in their section of the Swimming Contests held at Olympic Pool, also gaining second place at the Athletic Meeting at Olympic Park late in the year. A Social Service League had been formed in the school and had raised £36/7/3. This had been distributed to the Anti-Cancer Campaign, the Lord Mayor's Hospital Appeal, and Yooralla Crippled Children's Appeal. A Parents and Citizens Association had also been formed which had already raised more than £90 towards school funds. Mr. Gibson expressed the school's appreciation to the Head Master, staff and pupils of Boronia High School where Norwood pupils had been guests, and hoped that Norwood would be able to look after Mitcham High School as well in the coming year. After an informative explanation of the 'Importance and Responsibilities of a High School Advisory Council given by Inspector of Schools, Mr. H. W. Hopkins, B.A., the big moment of the evening arrived—the presentation of prizes and certificates by the Hon. J. W. Manson, MLA. Mr. Manson said the purpose of a school was twofold. It was to teach the children to fend for themselves and to live with one another. He congratulated Norwood High on its good start for the year and also those who didn't win prizes because, he said, they had learnt the most important lesson of all — not to win but to keep on trying. Second half of the program was purely entertainment. The School Drama Club presented a Christmas Nativity tableau and an adaptation of Charles Dickens' 'Christmas Carol' with considerable talent. The unique Dress Parade, conducted on the usual professional lines with a running commentary, was both amusing in its sophistication and delightful for the youthful charm of the mannequins and the excellence of the garments displayed. Attractive winter and summer school uniforms were displayed by boys and girls and featured the purple and gold colouring of the school. The girls' summer uniforms were fresh and cool looking with narrow lavender and white stripes. Gold Cesarine sports frocks were distinguished by a purple cord sash. Garments were made by girls in the Needlework Classes and reflected the greatest credit on both pupils and teachers. Cooking aprons, skirts, frocks and knitted sweaters and cardigans showed a wide variety and charm and the school uniforms were practical and smart. There was a bracket of rollicking folk dancing and a Making Music Interlude in which a group of boys and girls, in full hillbilly rig put on a turn with home-made instruments, penny whistles and their own fresh young voices. Teamwork was very good and the whole thing most amusing. Under the direction of Mr.J. A. Collins, the School choir sang delightfully; the traditional 'Greensleeves' and 'Gaudeums Igitur' being particularly effective. PRESENTATION PRIZES FORM 1A PASS CERTIFICATES — Margaret Forder, Noala Fullarton,Karen Gill, Jeanette Hamilton, Maureen Ing, Phyllis Kellar, Marie Knee, Norma Leslie, Mary Mackay, Valerie Quaife, Beverley Rimmer, Elizabeth Stubbs, Heather Trout, Gail Waugh, Brigitte Wieneroider, Jacqueline Wilson, Jeffrey Barnes, Stuart Dickson, Donald Duff, Brian Fitzgrald, Patrick Ford, Ian .Holt, Robert Jenkins, Allan Meyland, Ross Perkins, David Pullen, Denis Wise, John Wright. HONOUR CERTIFICATES; Lois Dewar, 89; Pauline Harmer 86.9, Brian Horswell 87.2. PASS CERTIFICATE and MOST IMPROVED: Willy Hoogstraat. HONOUR CERTIFICATE and DUX: Anne Luscombe, 94.9. FORM IB PASS CERTIFICATES: Faye Alsop, Helen Ashton, Joan Bedford, Carole Bonnett, Hazle Collins, Eileen Gunn, Gloria Lander, Meryn Longmire, Dianne Mclntyre, Geraldine McWilliam, Leslie Mahoney, Dawn Marley-, Judith Miller, Ann Morgan, Lucia Pruis, Dianne Whitehead, Jeffrey Aus, Peter Buckthorpe, Donald Falkingham, Brian Girvan, Nicholas Lobb, Graham Prime, Keith Purdie, Ronald Ryan, Colin Standfield, Kerry Stuart, Michael Toppin, Ian Weist, Terrence West, James Wilson. HONOLTR CERTIFICATES: Anne Couche 85.2; Susan Rule, 93.1; Dianne Thompson 92.1. PASS CERTIFICATE and MOST IMPROVED: Anne Bottomley. HONOUR CERTIFICATE and DUX: Arno Haemmerlea. FORM 1C PASS CERTIFICATES: Caroline Andrew, Ann Blower, Dianne Brown, Glenda Farrall, Judith Gibson, Jane Godbehear, Deidre Harding, Helen Morris, Margaret Patterson, Beverley Vergers, Heike Wenzel, Naomi Willshire. Beverley Wilson, Linda Woolan, Geoffrey David, Rowan Don, Timothy Donovan, Anthony Johnston, Michael Lavey, Frank Noble, Michael Parks, Graham Rogers, Gordon Stark, Angus Stark, David Williams. HONOUR, CERTIFICATES: Jennifer Coombs 87.1; Janice Cooke, 85.3; Merlyn Robertson 89.4; Richard Bell, 88.5; Peter Van Den Heuvel, 92.9; John Kerr, 89.3. PASS CERTIFICATE and MOST IMPROVED: Phillip Brown. HONOUR CERTTFICATE and DUX; Helena Lobb. ART PRIZE: Merlyn Robertson, 1C. NEEDLEWORK PRIZE: Judith Gibson, 1C. WILLIAM and ELIZABETH MACKINLAY PRIZE for Dux of the School: Anne Luscombe, 34.8. ATHLETICS CHAMPIONS. Norma Leslie (Mullum) under 13, girls. Dianne Whitehead (Yarra), 13 yrs and over girls, Don Falkingham (Kalinda), under 13, yrs, boys, Denis Wise (Maroondah), 13 years and over. HOUSE AWARDS Couche Cup for House Swimming Competition: Maroondah. Norwood Cup for House Athletics; Mullum. Warrandyte Cup for House Sport: Yarra. Rosebank Shield, for total House Points scored during year: Mullum.

Melber sewing machines were first sold in Australia in the late 1870s. The 'Box Cottage' Melber Treadle Sewing Machine was owned by Mary Box, nee Kloster / Closter, wife of Alonzo Box , the nephew of William and Elizabeth Box who purchased 'Box Cottage' in 1865 from a pioneer settler The machine was bought in 1909, and is a good example of its kind. This type of sewing machine was widely used in many homes, in an era when hand-made clothes were the “norm.”, and clothes were mended, or ‘re-made’ into another garment. The cottage has both the Receipt, cat 00004.1 and Guarantee, cat 00004.2, for the sewing machine. This machine was possibly built by Wertheim Pty Ltd Hugo Wertheim (1854 – 1919) arrived in Melbourne in 1875. He became a successful agent for sewing machines manufactured by his father’s cousin Joseph Wertheim in Frankfurt, Germany. Hugo married Joseph’s daughter Sophie Emilie and they settled in Richmond Melbourne Australia. Hugo made many trips back to the main factory in Germany and, with extensive advertising, established a thriving business for sewing machines, bicycles, pianos under various ‘brand names’ - Wertheim, Electra, Planet, Griffin, Hapsburg. It has been said that Dame Nellie Melba preferred a Wertheim piano for her performances. In 1908 Hugo opened a large piano factory in Bendigo St Richmond, Victoria and his son Herbert maintained the business until 1935 The sewing machine was donated in 1985 by, a descendant of the Box family. The machine is complete, and in good condition. William and Elizabeth Box purchased 'Box Cottage' in 1865 from a pioneer settler who had bought part of the land noted in Dendy's Special Survey 1841 Brighton. They raised their family there and established a market garden to supply produce to the population of Melbourne. Their nephew Alonzo married Mary Kloster/ Closter in 1918 and she brought with her this 'Melber' sewing machine that she used to provide clothing for the family. 'Melber'Treadle Sewing Machine that was owned by Mary Box, nee Kloster/ Closter. It was bought in 1909, and it is a good example of its kind. This type of sewing machine was widely used in many homes, in an era when hand-made clothes were the “norm.”, and clothes were mended, or ‘re-made’ into another garment. The Box Cottage Museum has both the Receipt, and Guarantee for the sewing machine. 'MELBER' stamped on sewing machine.dendys special survey, treadle sewing machine, box cottage, mary kloster, alonzo box, melber, wertheim hugo, wertheim sewing machine manufacturer, richmond melbourne victoria,

Gladys Reed was a member of the Ormond Choral Society c 1950. who performed plays and musicals the City of Moorabbin and she was skilled in hand knitting, crochet and dressmaking. Her garments were used by her family and the Ormond Choral Society . Patons' & Baldwin Ltd began as two separate companies: J & J Baldwin and Partners, founded in the late 1770s by James Baldwin of Halifax, West Yorkshire, England, and John Paton Son & Co., founded in 1814 by John Paton of Alloa, Scotland. Both men had formed their businesses using the spinning mule developed by Samuel Crompton. They mainly produced yarns for commercial knitting machines. The two companies merged in 1920 and diversified into producing wool for home knitters, as well as publishing knitting patterns under the "Patons Rose" and "Baldwins Beehive" trademark. By the mid-1930s, the company had establishments across Scotland and Northern England, Canada, New Zealand, Launceston, Tasmania, Australia. The company branched out into various related lines of business, and the development of new products such as nylon and Terylene. In 1961, the company was merged with J & P Coats Ltd. The Patons trademark is still in use today.The yarn production facility at Alloa was closed in 1999 and the large factory in Launceston, Tasmania, Australia,closed in 1997. In 1952 J. & P. Coats and the Clark Thread Co. merged.and in 1961 a merger with Patons and Baldwins created Coats Patons. In 2015 the business returned to the market as "Coats Group".Patons' knitting books have been used by hand knitters in many countries since they were published early in 20thC Gladys Reed and other residents of the City of Moorabbin used these pattern guides to make clothing for their families and community c1950A printed paper booklet with 64 pages of knitting and crochet patterns, instructions, photographs bound by 2 metal staplesFront Cover ; UNIVERSAL/ KNITTING BOOK / SIXTH / ED / ITION / PRICE / NINE / PENCE / Photo of lady knitting / Trade Mark / JOHN PATON, SON & CO. / BRANCH OF PATONS & BALDWINS LTD. / ALLOA / LONDON, MANCHESTER / MELBOURNE / MONTREAL Written top right ; G Reed Back Cover ; Trade Mark / Registered / THIS TRADE MARK / IS YOUR GUARANTEE / WHEN BUYING / PATONS' ALLOA / KNITTING WOOLS knitting, crochet, craftwork, john paton son & co., baldwin j &j ltd, aloa scotland, launceston tasmania, melbourne, knitting mills, knitting books, coates j&p ltd, early settlers, moorabbin shire, mechanics institute cheltenham, ormond choral society, postworld war 11 settlers, housing estates moorabbin 1950, bentleigh, ormond, moorabbin, cheltenham, drama societies, musical society cheltenham, clark judy, reed gladys, reed george

Gladys Reed was a member of the Ormond Choral Society c 1950. who performed plays and musicals the City of Moorabbin and she was skilled in hand knitting, crochet and dressmaking. Her garments were used by her family and the Ormond Choral Society . Patons' & Baldwin Ltd began as two separate companies: J & J Baldwin and Partners, founded in the late 1770s by James Baldwin of Halifax, West Yorkshire, England, and John Paton Son & Co., founded in 1814 by John Paton of Alloa, Scotland. The two companies merged in 1920 and diversified into producing wool for home knitters, as well as publishing knitting patterns under the "Patons Rose" and "Baldwins Beehive" trademark. By the mid-1930s, the company had establishments across Scotland and Northern England, Canada, New Zealand, Launceston, Tasmania, Australia.Patons' knitting books have been used by hand knitters in many countries since they were published early in 20thC Gladys Reed and other residents of the City of Moorabbin used these pattern guides to make clothing for their families and community c1940A printed black and white booklet with 31 pages of knitting instructions and photographs c 1940Front Cover ; Patons / Knitting Book / No. 182 / 'Rhumba' See page 14 'Swing" See page 15 / 6d ( decimal = 5cents) Back Cover ; Patons / No. 182 / Knitting Book / 'Fandango ' /See page 17 / 'Tarantella' /See page 18knitting, crochet, craftwork, john paton son & co., baldwin j &j ltd, aloa scotland, launceston tasmania, melbourne, knitting mills, knitting books, coates j&p ltd, early settlers, moorabbin shire, mechanics institute cheltenham, ormond choral society, postworld war 11 settlers, housing estates moorabbin 1950, bentleigh, ormond, moorabbin, cheltenham, drama societies, musical society cheltenham, clark judy, reed gladys, reed george

Clothing. Twelve shaped panels form the body of the jacket, which is dramatically ''shaped in'' at the waistline, and flared out toward the hipline. Four black fabric covered buttons form the closure, with hand-stitched button holes, all ''hidden away'' under an overlay of the beaded velvet, of which the jacket is made. The long sleeves, narrow at the elbow, flair out to an embroidered and beaded cuff, 35 cm in circumference. Sleeves are gathered at the shoulderline, giving fullness, and featuring an elaborate ribbon, cord, and beaded embroidery. The embroidery is repeated around the revere collar, and on the right-hand side of the bodice, and the full length of the back of the garment, and around the hemline, and also trims the opening edge of the left-front bodice. Lined with black silk. It feels as if there is extra to support beaded areas.GEORGE STIRLING & SONS, THE RICHMONDcostume, female, black velvet long sleeved jacket

Clothing. Cream polished cotton, full length half slip petticoat. Plackett at the back, fastens with two metal hooks, and hand-stitched loops. The back features a 'crinolette', where two rows of tapes are gathered in to give volume to the back of the garment. As the crinoline started to subside at the end of the 1860's. The centre front panel features 6 angled bands of lace 4.5 cm wide and angled to form a V shape. (1) A 9.5 cm band of pleated linen gauze-like fabric, edged with a 5 cm band of linen lace. (2) A 15 cm double layered frill-top layer 2 cm wide silk like pleats, lined with linen muslin type fabric, and an under frill of polished cotton, pleated in one cm wide knife pleats. The top frill is of fine cream cotton lace. At the top edge is a 3.5 cm wide band of floral cotton lace, and adjoined at the lower edge with a 9 cm deep pleated trim of exquisite cotton "floral and swirls" lace. The top frill is 42 cm wide, and extends over the centre front panel only. A cotton covered " stiffening- possibly bamboo or whale bone, extends 31.5 cm ;long at the crinolette. An unusual 'pocket like bag' is sewn into the right side seam 14 cm below the waist. This has rounded corners, and is 8 cm wide at the top, 17.5 cm wide at the lower edge, which is then rounded slightly. Overall length of the 'pocket' is 38 cms.costume, female, crinolette full length half slip