Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Grey wool Jumper with Blue and grey cable design on front. Vertical cable pattern is two sets of intertwining grey blue cable pairs on a purl stitch background in alternating rows of blue and grey. Front panel of jumper has five cable panels separated by smooth stocking stitch panels. Jumper has long sleeves and crew neck with thick ribbed collar and cuffs. Style B/110, Colourway Silver/Denim, Size 8 .2) 2 Sample tags stapled together with manufacturing information, including sizes and colours available, as well as knit swatch samples for colourways Brown/Woodgrain, Denim/Blue Shadow and Pebble/Oyster.1) [white label at back neck with green and black printed writing] ROBERT BLAKE Size 8 / knitwear HEIGHT 130cm MADE IN AUSTRALIA .2) [blue sample label] STYLE B/110 Crew Neck Wool Pullover SIZES: 2 4 6 8 10 PRICE: $10 [amended to $11 in blue pen] $[written over in blue pen so as to be illegible] [handwritten in blue pen] $12.55 SIZES: 12 14 PRICE: [printed] $12.30 [handwritten over top in blue pen] $13.15 COLORS: Silver/Denim, Brown/Woodgrain, Denim/Blue Shadow, Pebble/Oyster. Dec on Del. [cream brand label] [OBVERSE] ROBERT BLAKE [REVERSE] ROBERT BLAKE KNITWEAR MELBOURNE, AUSTRALIAknitwear, clothing, children's clothing, jumper, manufacturing, fashion textile production, machine knitting

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Brown and Grey children’s jacket with brown accents at pockets and shoulder, centre front zip, curved pocket detail.Style B/117, Colourway Woodgrain/Pebble, Size 8 .2) Sample tags stapled together with manufacturing information, including sizes and colours available, as well as knit swatch samples for colourways Green/Silver, Burgundy/Denim, Navy/Denim, and Rust/Pebble.1) [white label at back neck with green and black printed writing] ROBERT BLAKE Size 8 / knitwear HEIGHT 130cm MADE IN AUSTRALIA .2 [blue sample label] STYLE B/117 Jacket. Zip. Birdseye. Wool. SIZES: 2 4 6 8 10 PRICE: $11.75 [amended to $12.80 in blue pen] $13.85 [amended to $15.05 in blue pen] SIZES: 12 14 PRICE: [printed] $14.95 [amended to $16.15 in blue pen] COLORS: Woodgrain/Pebble Green/Silver [drawn through in black pen] Burgundy/Denim, Navy/Denim, Rust/Pebble Dec on Del. [cream brand label] [OBVERSE] ROBERT BLAKE [REVERSE] ROBERT BLAKE KNITWEAR MELBOURNE, AUSTRALIAknitwear, clothing, children's clothing, jumper, manufacturing, fashion textile production, machine knitting, children's knitwear

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. The decoration on this garment was embroidered by hand by a skilled worker at the Kathryn Knitwear factory. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Grey children’s cardigan with embroidered flowers and human figures in folk costume, and crocheted design around neck in green, yellow and red. Left panel has embroidered figure of man with blue lederhosen and yellow shirt, black shoes and hat, hat has red accent. Right front panel depicts woman wearing red skirt with white stripe, white shirt, and green headscarf with black stockings and shoes. Flowers are embroidered in pink, white and blue with green and yellow accents for stems and flower centres. Cardigan closes in front with five marbled grey plastic buttons[Label at back neck with blue lettering woven into label] KATHRYN REGD / 22 ALL WOOL CREATED BY ROBERT BLAKEchildren's knitwear, knitwear, clothing, children's clothing, cardigan, manufacturing, fashion textile production, machine knitting, embroidery, embroiderer, folk art, folk embroidery

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Cotton is a common material for knitwear worn in the warmer months, as it is very breathable and absorbs moisture easily. While we mostly associate knitwear with keeping us warm in the cold, the market for Australian knitwear would be very limited without options to wear all year round. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Royal blue double breasted cardigan 'Reefer Jacket' with short sleeves in a textured rib stitch with six chrome metal buttons in two rows down centre front. Style 319/J .2 is sample tag with manufacturing information, including sizes and colours available.1) [white label at back neck with blue stitching] KATHRYN REGD. CREATED BY ALL COTTON / 24 / ROBERT BLAKE .2) [sample label] [OBVERSE] STYLE: 319/J – Reefer Jacket – Combed Cot. SIZE: 22” 24” 26” 28” 30” 32” PRICE: 20/- 21/- 22/6 24/- 26/- 27/6 COLOR: NAVY ONLY. [REVERSE] KATHRYN Garments are • PRE-SHRUNK • STANDARD MEASUREMENTS • FIT EXACTLY • LAUNDER PERFECTLY Designed and Manufactured by ROBERT BLAKE, MELBOURNEknitwear, children's knitwear, clothing, children's clothing, cardigan, manufacturing, fashion textile production, machine knitting, fashion cotton

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Orange jumper with multicoloured heathered tweed effect, white stripe accent on neck, upper arm and sleeve cuffs, two patch pockets mounted on diagonal outlined in thread matching accent colour .2 Sample tags with manufacturing information, including sizes and colours available, as well as knit swatch samples in colourways Blue Tweed/Sky/Magnolia and Cream Tweed/Magnolia/Pine.1) [tag stitched into back neck] KATHRYN REGD PURE NEW WOOL/ SIZE 6 HEIGHT 120cm MADE IN AUSTRALIA .2) [blue sample label] STYLE 589/Pullover S.47. Wool Tweed. SIZES: 2 4 6 8 PRICE: $9.80 [amended to $10.75 in blue pen] $0.35 [handwritten in blue pen] $11.40 COLORS: Pink Tw/Ochre/Mag, Blue Tweed/Sky/Magnolia Cream Tweed/Mag/Pine. [Crossed out in black ink] March on Del.children's knitwear, children's clothing, clothing, knitwear, jumper, manufacturing, fashion textile production, machine knitting, heathered yarn, tweed yarn, flecked yarn, colourwork

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Children’s jumper with fair isle pattern in shades of cream and orange. Pale orange tweed yarn on chest and shoulders is flecked throughout with red, yellow, blue and green. Vent at centre front closes with three cream plastic buttons. .2 is a swing tag with manufacturer care instructions retail tags size 8 .3 is a sample tag with manufacturing information, including sizes, prices, and colours available .4 is a swatch sample for Magnolia/Navy/Blue Tweed colourway[tag stitched into back neck] KATHRYN REGD PURE NEW WOOL/ SIZE 8 HEIGHT 190cm MADE IN AUSTRALIAchildren's knitwear, children's clothing, knitwear, clothing, jumper, manufacturing, fashion textile production, machine knitting, variegated yarn, variegated, colourwork, stranded colourwork, fair isle, fair isle colourwork, fair isle knitting

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. The decoration on this garment was embroidered by hand by a skilled worker at the Kathryn Knitwear factory. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Pale Blue embroidered jumper featuring a Koala on a tree branch, with green and red foliage and a yellow butterfly embroidered on centre front chest. Jumper has long sleeves and a round collar with ribbed collar and cuffs.[Label at back neck with blue lettering woven into label] KATHRYN REGD ALL WOOL / 24 /CREATED BY ROBERT BLAKEknitwear, children's knitwear, clothing, children's clothing, jumper, manufacturing, fashion textile production, machine knitting, embroidery, embroiderer, koala, australiana

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. The decoration on this garment was embroidered by hand by a skilled worker at the Kathryn Knitwear factory. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Brown children’s cardigan with embroidery of four baby chicks in yellow and red on green grass at bottom of front panels. Closes at centre front with three brown plastic buttons[Label at back neck with blue lettering woven into label] KATHRYN REGD / 20 ALL WOOL CREATED BY ROBERT BLAKEchildren's knitwear, children's clothing, clothing, knitwear, manufacturing, fashion textile production, machine knitting, embroidery, embroiderer, chickens, chicks, baby animals, cute animals

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. The decoration on this garment was embroidered by hand by a skilled worker at the Kathryn Knitwear factory. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Red cardigan embroidered with decorative tuck stitches and floral motifs on front panel, crochet around collar in blue, white and green. Closes at centre front with 5 plastic buttons[Label at back neck with blue lettering woven into label] KATHRYN REGD ALL WOOL / 20 /CREATED BY ROBERT BLAKEchildren's knitwear, knitwear, children's clothing, clothing, cardigan, manufacturing, fashion textile production, machine knitting, embroidery, hand embroidery, floral embroidery, floral motif, tuck stitch

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Cotton is a common material for knitwear worn in the warmer months, as it is very breathable and absorbs moisture easily. While we mostly associate knitwear with keeping us warm in the cold, the market for Australian knitwear would be very limited without options to wear all year round. The decoration on this garment was embroidered by hand by a skilled worker at the Kathryn Knitwear factory. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.White diaper set. Short sleeved white top with two inverted box pleats along whole length, stitched at shoulder and mid chest. Embroidered in half cross stitch with two blue dogs on front. Closes in centre back with three plastic pearlescent buttons. White baby diaper shorts with ribbing at waist and leg holes .3 is a sample tag with manufacturing information, including price, size and colours available .4 is a swing tag with manufacturer care instructions.1 [label at back neck of top] Kathryn Reg’d / All Cotton / 18 .3 [sample label] [Obverse] STYLE: 314. Diaper Sat [sic] – Emb top. Combed Cotton. SIZE: 18” PRICE: 26/- COLOR: BLUE. LEMON. WHITE. [reverse] KATHRYN Garments are •PRE-SHRUNK •STANDARD MEASUREMENTS •FIT EXACTLY •LAUNDER PERFECTLY Designed and Manufactured by ROBERT BLAKE, MELBOURNE .4 [retail label] [obverse] Kathryn PRE-SHRUNK KNITWEAR Style: 314 [handwritten] DESIGNED & MANUFACTURED BY Robert Blake MELBOURNE [reverse] IMPORTANT. Special care should be taken with white and pastel shades. Rinse thoroughly. Do NOT dry in sunlight. WASHING INSTRUCTIONS 1.Wash frequently to AVOID HEAVY SOILING 2.Wash garment BY HAND, in lukewarm Velvet Soap suds. ON NO ACCOUNT RUB SOAP ON GARMENT. 3.Squeeze suds gently through garment but DO NOT RUB. Rubbing will cause garment to thicken. 4.RINSE AT LEAST TWICE IN CLEAN WATER TO REMOVE ALL SOAP. 5.To dry, roll garment in a towel to remove excess moisture, turn garment inside out and pull it lengthwise, then safety-pin to line through shoulder tape. 6.To keep Brushed Wool garments like new brush frequently with nylon brush.children's knitwear, children's clothing, knitwear, clothing, manufacturing, fashion textile production, embroidery, embroiderer, hand embroidery, dog embroidery, animal embroidery, animal motif, dog motif, dog, animal, baby clothes, baby knitwear, baby clothing

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Three-piece brown and yellow outfit consisting of jumper, pants and hat. Jumper is long sleeved with a high crew neck and five yellow stripes above ribbing along bottom. Pants are brown with wide legs that dramatically taper into the ribbed cuff at bottom. Body of hat is brown and tapers into a long point and has a brown and yellow pompom at the tip. The hat is shaped with a tuck at the back neck near cuff..1 [Label at back neck of jumper with blue lettering woven into label] KATHRYN REGD / 24 ALL WOOL CREATED BY ROBERT BLAKEknitwear, clothing, children's knitwear, children's clothing, manufacturing, fashion textile production, machine knitting, clothing set, pom poms, wool

Kathryn Knitwear Collection A Psychrometer is an instrument used to measure humidity using two thermometers, one of which is wet and one is dry. A similar example is housed at laboratoire d'histoire des sciences et des techniques (LHST). Inventory number 603.0509 Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Black metal measuring instrument with clear window to view gauge for displaying humidity. Reference table listing values for different fibres is printed in red and white on a black metal plate that is screwed onto the front of the psychrometer. The instrument is housed in brown leather case with zip. It includes a printed paper instruction book with black text and greyscale figures.psychrometer, measuring instrument, humidity, textile manufacturing, fashion textile production

Series of 15 colour route maps for various tram lines or groups of tram lines for the MMTB. Some have the Transport Information Centre telephone printed on them, others have a label stuck on. Some are finished with a plastic laminate finish on either one or both sides. Show the major cross streets, parks, schools, other tram routes, major stop numbers and railway lines. Two copies of each held unless noted otherwise. .1 - Mont - Albert City - R11/77, shows routes 43. 47. 45. 44 .2 - Malvern, East Malvern, Carnegie and East Brighton Tram Routes (from St Kilda Junction) - R1/79 - shows routes 5, 3, 67, 66, 61, 62 and 64. .3 - Swanston St tram guide - R1/79 - lists all routes and route numbers that branch or cross Swanston St between Grattan St and St Kilda Junction. .4 - St Kilda Rd Tram Routes R12/77 - details South Melbourne Beach, route 1 and route 2 and St Kilda Beach routes 15, 16 and 55 otherwise shows were the various routes branch off St Kilda Road. Copy 1 has "P14909" in pencil in the bottom right hand corner. .5 - Kew - St Kilda Beach - R1/79 - Route 69. .6 - Footscray - Moonee Ponds - R3/81 - Route 82 .7 - Flinders St tram routes - R5/78 - North Balwyn, East Burwood, routes 48, 40, 41, Hartwell, 28, 74 and 75 .8 - William St tram routes - Route 55, 56 and 63 - South Melbourne Depot and Domain. copy 2 has "P14913" in bottom right hand corner. .9 - Toorak Camberwell and Glen Iris tram routes with Camberwell Junction and Malvern Town Hall, R1/79, routes 8, 7, 6, 72 and 73 shown. .10 - Swanston St tram routes - R12/77 - shows all the Swanston St routes, including East Coburg and Moreland. .11 - Bourke St tram routes - R4/77 - East Brunswick Blyth St and East Preston Tyler St and intermediate routes, routes 95, 96, 97, 90, 89 and 88. .12 - as for .11, dated 1/85, showing extension to La Trobe University - has Metropolitan Transit logo. Only 1 copy held. Also shows route 92 and 87. .13 - Batman Ave tram routes - R9/77 - Wattle Park, North Richmond and Prahran - routes 70, 71, 78 and 79. .14 - City route guide - R9/77 - showing all route numbers and destinations that passed through the CBD. .15 - Elizabeth St tram routes - R12/77 - Essendon Airport, West Maribyrnong, North Coburg lines, routes 50, 58, 60, 54, 57, 52. 49, 59, 18, 20 and 19. Copy 1 has "P14905" in pencil in bottom left hand corner.trams, tramways, maps, route guide, route numbers, routes, mont albert, route 43, route 47, route 45, route 44, route 42, malvern burke rd, east preston, carnegie, east brighton, south caulfield, route 5, route 3, route 67, route 62, route 64, route 66, glenhuntly tram depot, swanston st, st kilda rd, south melbourne beach, st kilda beach, route 1, route 2, route 15, route 16, route 55, kew- cotham road, route 69, route 79, route 82, footscray, moonee ponds, flinders st, north balwyn, kew, east burwood, burwood, hartwell, richmond, route 48, route 40, route 41, route 28, route 74, route 75, route 56, route 63, william st, west coburg, toorak, camberwell, glen iris, malvern town hall, route 72, route 73, route 7, route 8, bourke st, route 6, route 95, route 96, route 97, route 90, route 89, route 89, east preston, east brunswick, la trobe university, clifton hill, route 92, route 87, route 70, route 71, route 78, route 79, north richmond, prahran, wattle park, essendon airport, west maribyrnong, north coburg, route 50, route 58, route 60, route 54, route 57, route 52, route 49, route 59, route 18, route 20, route 19, batman ave

1903 or 1908 Moorabbin Australian Rules Football Club. Philip Jones, a relative of James Jones who was a pioneer settler in Moorabbin Shire, is holding the football. In the late 1850s Melbourne's schools are first recorded organising football games modeled on precedents at English schools The earliest known such match was played on 15 June 1858 between Scotch College and Melbourne Grammar School on the St Kilda foreshore. On 10 July 1858, the Melbourne-based Bell's Life in Victoria and Sporting Chronicle published a letter by prominent Victorian cricketer Tom Wills, calling for the formation of a "foot-ball club" with a "code of laws" to keep cricketers fit during winter. The Melbourne Football Club's rules of 1859 are the oldest surviving set of laws for Australian football. The ten simple rules were drawn up on 17 May at a meeting chaired by Tom Wills and in attendance were journalists W. J. Hammersley and J. B. Thompson, and Thomas H. Smith. The rules were signed by Tom Wills, William Hammersley, J. Sewell, J. B. Thompson, Alex Bruce, T. Butterworth and Thomas H. Smith. Importantly, the rules were widely publicised and distributed. Having been codified in 1859, this means that Australian football is an older sport than most other football codes in the world, including soccer. As Geoffrey Blainey states, "soccer has no club that matches the antiquity of the early Victorian clubs." In 1859 several new football clubs formed including the Castlemaine Football Club, Geelong Football Club and the Melbourne University Football Club. The first football match played at the Melbourne Cricket Ground (MCG) was not until 1876. Cricket authorities soon saw the opportunity to capitalise on the rapid growth of Australian football, however, and soon most grounds in Victoria were expanded to accommodate the dual purpose, a situation that continues to this day. Football matches between 1859 and 1899 were played in a 20-per-side format. n 1896, delegates from the stronger and wealthier Victorian Football Association clubs—Carlton, Collingwood, Essendon, Fitzroy, Geelong, Melbourne, St Kilda and South Melbourne—met to form a breakaway competition and in 1897, the Victorian Football League (VFL), was born as an eight-team competition. Popularity of the VFL grew rapidly and by 1925 with 12 teams, had become the most prominent league in the game and would dominate so many aspects of the sport from that point on. Moorabbin Football Club, nicknamed the Kangaroos, was the name of two distinct Australian rules football clubs which played in the Victorian Football Association (VFA). The first club, founded in the early 20th century, joined the VFA in 1951 and played there until 1963 with great success; they played home matches at Moorabbin Oval and wore royal blue and white hooped jerseys. The second club played in the VFA from 1983 to 1987. Moorabbin played initially in the Federal Football League, making their debut in 1909 and competing until 1950. During this time the club won 12 premierships, including winning all six premierships staged over the nine years between 1940 and 1948 (the competition was in recess from 1942 until 1944). The club entered the VFA in 1951. Its Federal League home ground, the Dane Road Reserve, was not up to VFA standards; so, in 1951 the club played at Cheltenham, and in 1952 moved into the Moorabbin Oval, which the Moorabbin Council had developed during 1951. The Kangaroos made the 1954 and 1955 finals series without success but in 1957 they helped eliminate premiership favourite Williamstown after defeating them by two points in the Semi Final. Moorabbin, who were coached by Bill Faul, took on Port Melbourne in the Grand Final, whom they had not once beaten since joining the league. In another upset, Moorabbin won comfortably to claim their maiden VFA premiership. In the early 1960s, the Moorabbin Council was very keen to bring a Victorian Football League team to Moorabbin Oval. 1964, the Moorabbin City Council secured a deal with St Kilda, who moved to Moorabbin Oval starting in 1965. The club originally intended to seek readmission for the 1965 season, but in July the club committee decided to withdraw permanently from the Association,and disbanded.Photograph is Black and White. Three rows of Australian Rules Football players in a typical team photograph. Some are wearing striped jumpers, either the stripes are going horizontal or parallel. There is a known man in this photo, named Philip Jones, who is holding the football in front row. There are two men wearing suits at the left, on the end of the third row. Hewitt, Photographer, 92 Regent St. North Richmond.moorabbin, football club, 1903, 1908, philip jones, james jones, early settlers, market gardeners, pioneers, herron john, australian rules foorball, victorian footbal league, victorian football association, moorabbin city council, moorabbin shire, city of moorabbin, st kilda football club,

.0 - Autumn 1980 - Passenger counting, Survey provides data, We lead the way with Z3, Wattle Park, transport in Moscow, Spike Milligan, Melbourne's decorated trams, transporting art, sports, training, and Raymond Stock, Assistant Traffic Manager Revenue .1 - Winter 1980 - Bourke St Mall is popular, Senior citizens help design new tram (Z3), A bus-only lane in Johnstone St., Depot Employees' Social and facility Melbourne. Has a profile on Mr R. C. Drummond, Traffic Manager. .2 - Spring 1980 - Christmas Message, supporting those children with polio in 1938, Trolley buses, Z3 trams being built, use of parafil in overhead, cleaning truck. Has a profile on Ken Hall, Assistant Chief Engineer - Mechanical and Reg Robinson who was the organiser for the 1938 polio event - bus driver / instructor. .3 - Summer 1981 - MMTB involvement with Australia Day pageant, note involvement of TMSV, Bendigo, BTPS 27 (26 Jan. 1981), film on apprentices, tram stop shelters, resilient track work, trolley buses, the supply and systems department including Hawthorn clothing workroom and printing department (photos) and profile on Mr Jerry Compton, Supply and systems department. (Two copies held) .4 - Autumn 1981 - new buildings at Footscray, South Melbourne, trolley buses for Melbourne?, building MAN buses, why join the Tramways Benefit Society, article that looks at the Engineering Branch and profile of John Grigg, Chief Engineer. (Two copies held) .5 - Winter 1981 - New passenger shelters, image of the Elizabeth St shelter proposal, where do old trams go?, "Around the Clock" Emergency Service (item on R10) (See Reg item 1004 for photo), formation of Tramway's Sporting Associations, retirement of Board's driver Peter Savage, bus driving school transferred to Hawthorn, Apprentices and Profile on Bill Sibbison, Depot Manager North Fitzroy. .6 - Spring 1981 - 8 pages - Making of Squizzy Taylor film - Flinders St station, Engineering Amenities at South Melbourne opened, traverser at Preston Workshops, track work - pressing curves at South Melbourne, Conductresses re-union, model tramway at the Royal Show, retirements, sporting association, tramway band, AVM, reducing noise levels, lists Editorial committee. .7 - Summer 1982 - 8 pages - Its Christmas Party time, want to charter a tram or bus?, portable radios, MMTB role in Paraplegic Games, MMTB Architect Gene Marshall retires, photo of WW2 most popular conductresses ball, MMTB Highlights, O-Bahn. Has a profile on Rob Downing - Deputy Chairman. Also Dick Newnham - lift operator at head office, Bob Moffatt - driver turned actor. Also has a follow up on the making of the Squizzy Taylor film "What's wrong with Squizzy" and a photo of the Editorial team and their names. .8 - Autumn 1982 - 8 pages - item on "Taking Melbourne by Storm", photo of Austerity bus 500, Radio Centre, Clifton Pugh tram 504, Essendon Depot (see Reg Item 1005) includes of photos of managers, revenue etc, story on the most popular conductress photo by Win Gibson (see Reg item 180 and 181), new apprentices, John Murdoch model train (Diamond Valley) builder, Sunday vintage tram service (V214) and L class to the zoo. Has a profile on Mr. Peter Saul, Architect. (two copies held) (see image 1178i5 for cover) .9 - Winter 1982 - 8 pages - changes to Doncaster bus - Eastern Free extension, changes to Ministry will affect Board - Steve Crabb, new uniforms, Footscray Depot, apprentice awards, follow up on Austerity buses, Norm Cross and Destination City, Profile on Alan Nolan Runningsheds Engineer, and Mike McLeod MMTB Photographer. (two copies held) .10 - Spring 1982 - book - see Melbourne by tram, Bundoora tramway work, new articulated vehicles (B class trams), Elizabeth St modal interchange shelter, Brunswick depot, demise of the F class bus (Mark VI), profile of Daryl Meade bus engineer, Joe Saccasan carpenter building branch and a list of Jargon. (two copies held).Demonstrates a MMTB employee newsletter, early 1980sMagazine, two colour printed on A2 sheet, folded to A3, "METRA News", published by the MMTB. Each issue unless noted otherwise four pages. Major items listed. Each issue has personnel news, including new staff, promotions, overseas items;trams, tramways, mmtb, z3 class, bourke st, track equipment, overhead, most popular conductress competition, hawthorn depot, clothing, trolley buses, fund raising, footscray, welfare, sale of trams, recovery, r10 vehicle, flinders st, films, radio centre, essendon depot, theatre, transporting art, austerity buses, footscray depot, doncaster, minister for transport, shelters, bundoora, brunswick depot, buses, mont albert, route 42

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Forest Green Childrens jumper with geometric ‘alpine’ pattern with long sleeves and ribbed cuffs and round neck collar. Textured geometric pattern is created with purl stitches and extends both on the front and back of the jumper, as well as down the sleeves.[white label at back neck printed with blue ink] KATHRYN REGD SIZE 1 / LENGTH 84cm / WEIGHT 12kg / Made in Australia ACRYLIC/WOOLchildren's knitwear, knitwear, clothing, children's clothing, jumper, manufacturing, fashion textile production, machine knitting

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Cream short sleeved jumper with overall open lace design, front yoke with accent lacework and applied lace ruffle edging .2 is a retail tag with style code and size, reverse has washing instructions for acrylic and cotton.1) [white tag back neck, printed blue letters] KATHRYN REGD POLYESTER/VISCOSE MADE IN AUSTRALIA .2 [retail swing tag, numbers handwritten in blue ink] KATHRYN Children’s Knitwear STYLE [handwritten] 363 PRICE SIZE [handwritten] 6children's knitwear, children's clothing, knitwear, clothing, manufacturing, fashion textile production, machine knitting, machine lace

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.White lacework baby romper suit with long sleeves and legs, and enclosed feet. Closes at centre back with two plastic buttons. Zips open around leg inseam. Size 00 .2 is a retail tag marked with the price and size, and refers to the label sewn into the garment for washing instructions..2 [Retail Swing Tag] [Obverse] KATHRYN Children’s Knitwear STYLE PRICE [handwritten] $18 SIZE [handwritten] 00 [Reverse] WASHING INSTRUCTIONS Refer to label sewn in Garment Designed and manufactured by ROBERT BLAKE PTY. LTD., Melb., Aust.children's knitwear, children's clothing, baby clothing, baby knitwear, clothing, knitwear, romper, jumpsuit, manufacturing, fashion textile production, machine knitting, machine lace, baby clothes

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Long sleeved cream baby romper suit with patterned stitch on bottom half and diamond emblem on chest. Closes with two pearlescent plastic buttons at centre back and with three pearlescent plastic buttons at crotch.Kathryn Reg’d / 100% orlon / 20 [handwritten]children's clothing, children's knitwear, clothing, knitwear, romper, jumpsuit, baby clothing, baby clothes, manufacturing, fashion textile production, machine knitting

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.White baby’s swimming shorts with stripes on front in navy, cyan and yellowchildren's knitwear, children's clothing, knitwear, clothing, manufacturing, fashion textile production, machine knitting, colourwork, swimwear, baby swimwear

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Pink three piece legging suit, consisting of cardigan, lettings and beanie. Cardigan is knitted with textured stitch and has stocking stitch panel bordered with garter stitch at centre front. Two rows of buttons on garter stitch tab, with a fifth button under left collar. Leggings are plain garter stitch with an elastic waistband and a flap that extends onto the top of the foot with elastic to keep it held under the sole. Hat is in same patterned stitch as cardigan, has ear flaps with ties and a white pompom.1) [Label at back neck with blue lettering woven into label] KATHRYN REGD ORLON / 20 /CREATED BY ROBERT BLAKE [sample label] [OBVERSE] STYLE LS/PWO – 3 PCS – LEGGING SUIT – PEARL PATT. – 80% ORLON 20% WOOL SIZE 18” 20” PRICE 48/6 51/6 COLOR BLUE. LEMON. PINK. WHITE. [REVERSE] KATHRYN Garments are • PRE-SHRUNK • STANDARD MEASUREMENTS • FIT EXACTLY • LAUNDER PERFECTLY Designed and Manufactured by ROBERT BLAKE, MELBOURNEknitwear, clothing, children's knitwear, children's clothing, manufacturing, fashion textile production, machine knitting, clothing set, pom poms

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Cream baby dress with long sleeves, blue stripe and cream faux cable textured details at yoke and hem. Body is gathered and attaches at yoke. Dress has a drawstring tie at neck accented with cream pompoms and closes at centre back with three pearlescent plastic buttons. Back opening is reinforced with grosgrain ribbon. .2 is a sample tag with manufacturing information, including sizes and colours available .3 is a retail tag with style, care instructions and brand marketing[label stitched into back neck] KATHRYN 100% Orlon .2 [sample label] [Obverse] 802/F – BABIES ORLON FROCK. 16” – LENGTH 24/6 BLUE/WHT LEMON/WHT PINK/WHT WHT/BLUE WHT/LEMON WHT/PINK .3 [Obverse] KATHRYN Children’s Knitwear STYLE [handwritten] 802/F SIZE PRICE [reverse] KATHRYN Garments are •PRE-SHRUNK •STANDARD MEASUREMENTS •FIT EXACTLY •LAUNDER PERFECTLYclothing, children's clothing, knitwear, children's knitwear, manufacturing, fashion textile production, colourwork, pom-pom, pom poms

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Children’s two-piece outfit set, consisting of a top and leggings. Knitted in colour blocks of navy, red and white. Top has ribbed navy bodice section with white stripe separating red skirt and closes at back neck with two navy plastic buttons. Leggings are primarily red, with a white stripe at the ankle and navy-blue feet. Leggings are constructed primarily as one piece and seamed up at centre back and inseam, with additional gusset piece..1) [tag stitched into back neck of top] KATHRYN REGD 100% ACRYLIC FIBRE SIZE 0 WEIGHT 10 LENGTH 76 MADE IN AUSTRALIA .3) [blue sample label] STYLE 574/ Pop Top and B’tts S.26. Acrylic. SIZES: 00 0 PRICE: $8.95 COLORS: Navy/Wht/Red Red/Wht/Navy P.Blue/Wht/Navy Dec on Del.knitwear, clothing, children's knitwear, children's clothing, manufacturing, fashion textile production, machine knitting, clothing set

Sample of Kathryn Knitwear Collection, Label style suggests it may not be manufactured by Kathryn Knitwear, but was retained as a sample. Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Two Piece pale blue suit, consisting of jumper and leggings with all-over pattern in double moss stitch and garter stitch border. Jumper opens down the back and closes with three pearlescent plastic buttons. Scalloped motif at bottom and cuff has white accent. Leggings have closed feet and decorative ties at ankle, and are constructed primarily as one piece and seamed up at centre back and inseam, with additional gusset piece.1) [ label at neck of cardigan] SIZE 000 .2) [some letters cut off label] FIT AGE 0-3 MONTHS WEIGHT 6KG ACRYLIC HAND WASH OR GENTLE MACHINE WASH COLD RINSE [D]O NOT TUMBLE DRY WARM IRON [D]RY CLEANABLE (A) [MA]DE IN AUSTRALIAknitwear, clothing, children's knitwear, children's clothing, manufacturing, fashion textile production, machine knitting, clothing set

Mainly Pictorial record of Carlton's GF 1979 win over Collingwood by 5 points 1979 Summary After the early season problems with coaching staff in 1978, the Carlton team seemed to really gel under the stewardship of Alex Jesaulenko after he took over as coach early in the season. In fact, Jesaulenko had won 14 of his 18 games in charge. This late season form certainly carried over into the 1979, Jesaulenko's team winning its first 6 matches, before a narrow 4 point loss to North Melbourne in Round 7. Carlton would be the dominant team of the season, losing only two more games, to Geelong by 6 points in Round 12 and to Collingwood in Round 21 by 19 points. Measures of the Blues dominance include being on top of the ladder in 20 of 22 rounds, finishing 2 games in front of second place on the ladder, winning by at least 50 points eight times and having an average winning margin of over 40 points in the team's 21 victories. It topped 100 points in all but 2 matches (one of which was the Grand Final in muddy conditions)- a feat never achieved by any team before. After finishing clearly the best side of the home and away season, the team had a week break in the first week of finals before taking on North Melbourne in the first Semi Final. After a tense first quarter in which both sides kicked only a goal a piece, Carlton started to exert its dominance in the second quarter, but poor kicking for goal left the Kangaroos still in the match, with the Blues having a 14 point half-time lead. Carlton's seven goals in the thrid quarter killed the game as a contest, and 38 point winning margin probably flatters North considering that the Blues had 36 scoring to 18. This victory would give the team a place in the Grand Final and another week break. Collingwood defeated North Melbourne in the Preliminary Final to setup a Grand Final clash between the two old enemies. After a slow start Carlton would trail by 10 points at quarter-time, but would lead by 1 point going into half-time. A 5 goal third quarter gave the Blues a handy 21 point lead going into the last quarter, but poor kicking would again threaten the chance of victory for the team. Kicking 1.4 for the last quarter Carlton hung on to win by only 5 points and claim our 12th Premiership, equalling both Collingwood and Essendon for the most VFL premierships at the time. Coupled with the Premiership was the Norm Smith Medal to Wayne Harmes. Incredibly, the only Carlton goal for the quarter was the infamous Harmes tap to Sheldon, where Wayne Harmes followed up his terrible kick, knocking the ball with an amazing sliding punch to Ken Sheldon in the goal square who kicked the goal to win the match. To this day the debate about whether the ball Harmes tapped back was out of bounds or not. In the final analysis the Blues would win 11.16 (82) to 11.11 (77) in our first Grand Final appearance since 1973 to end our glorious 1970's era as it started, with a Premiership. Jesaulenko now had the enviable record of 35 wins and a premiership from 42 games as coach in less than two seasons in the position. Unbelievably he wouldn't be the Carlton Coach in the following season. Former Melbourne Lord Mayor Ian Rice issued a challenge to incumbent President George Harris for control of the club. Jesaulenko threw his support behind Harris, who had appointed him Coach the previous season. In a bitter and hard fought election, Rice would win and Jesaulenko would cross to St Kilda as their coach. Jesaulenko would again coach the Blues, being appointed after Robert Walls mid season sacking in 1989 until the end of the 1990 season. You may have noticed that the Round orders in this year appear to be slightly out of order. Please click here to find out why. At the lower levels, Carlton also won the Under 19's Premiership for the 6th time in 1979, following on from the Under 19's Premiership in 1978. The team list has been scanned in and can be viewed here. This was Carlton's last Under 19's Premiership with the competition disappearing after 1991. Overall, Carlton with 6 premierships was behind only Richmond with 11 and the Kangaroos with 7.A mainly pictorial record of 1979 Carlton Triumph over Collingwood. Includes an autograph page of many 1970s Carlton Players.A4 Coverless Scrap Book

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. The colourwork dogs from this design are a very popular motif, and were available in both wool and Orlon in multiple styles from at least 1961-1972, including a cardigan and a pullover, selling 4346 of these in winter 1961. This example most likely dates from 1962-1966. An Illustration depicting this style is catalogued under NWM-09026. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Red children’s machine-knit jumper with white dog motif and green grass colourwork, closes with three red plastic buttons at left shoulder .2 and .3 are sample tags with manufacturing information, including sizes and colours available .4 is a swing tag with manufacturer care instructions.1) [label stitched at back neck] KATHRYN REGD. / 100% ORLON / 24 .2) STYLE: 44/OP – ORLON PULLOVER – ANIMAL MOTIF / SIZE: 18” 20” 22” 24”/ PRICE: 18/6 21/3 25/- 27/6 / COLOR: 18” PALE BLUE. LEMON. WHITE. / 20” – 24” SKY BLUE. LEMON. WHITE. REDCOAT. BOTANY BLUE. SULTRY GREEN. NUTTY BROWN. OATMEAL .3) STYLE: 44/PW – WOOL PULLOVER – ANIMAL MOTIF / SIZE: 18” 20” 22” 24”/ PRICE: 18/6 21/3 25/- 27/6 / COLOR: 18” PALE BLUE. LEMON. / 20” – 24” SKY BLUE. LEMON. REDCOAT. BOTANY BLUE. / SULTRY GREEN. NUTTY BROWN. NED KELLY GREEN. / .4) Obverse: [handwritten] 5/10 (unintelligible) Kathryn / ORLON KNITWEAR / Style : 44/OP / DESIGNED & MANUFACTURED BY / Robert Blake / MELBOURNE Reverse: STANDARD MEASUREMENTS / FIT EXACTLY / LAUNDER PERFECTLY / HOT WATER WILL DAMAGE / THIS GARMENT / WASHING INSTRUCTIONS / 1. Use lukewarm water and mild soap. / 2. Squeeze water out by hand – DO / NOT WRING. / 3. DO NOT ROLL. Hang on / Clothes hanger to dry. / To keep brushed garments like / new, brush frequently with / Nylon brush. / IRONING [m (handwritten)] ORLON garments require little / or no ironing if drip-dried. If / ironing is necessary, it may be done damp or dry, using / a warm iron. / DO NOT USE / STEAM IRON /knitwear, clothing, children's knitwear, children's clothing, manufacturing, fashion textile production, machine knitting, clothing set, dog motif, animal motif, colourwork

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. This style of “brushed wool leginette suit” was produced by Kathryn from at least 1953-1964, though this example likely dates from before 1962. In the winter of 1961, the brand sold 4376 suits of this style. It came with an included nylon brush in order to keep the brushed finish of the garments, which can be found under NWM-09016 Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history. This style of “brushed wool leginette suit” was produced by Kathryn from at least 1953-1964, though this example likely dates from before 1962. In the winter of 1961, the brand sold 4376 suits of this style.Four-piece legging suit consisting of cardigan, leggings, hat and mittens in fuzzy yellow brushed wool. Cardigan is double breasted and closes with two rows of yellow plastic buttons, with a fifth button under the collar. Fold-over collar and cuffs are not brushed wool and provide contrasting texture. Leggings have elastic at waist and ankle to go under foot. Bottom of leg has foot flap. Hat is in a bonnet style and has turnback around face and ties under neck. Mittens are each construced in one piece with no additional thumb pocket, and tie at wrists..1) [label at back neck of cardigan] KATHRYN REGD. CREATED BY PURE WOOL / 20 / ROBERT BLAKE .5) [sample label] [OBVERSE] STYLE: LS/W. LEGGING SUIT – BRUSHED WOOL SIZE: 18” 20” PRICE: 39/9 42/6 3 PCE: 42/9 45/6 4 PCE: COLOR: BLUE. LEMON. PINK. WHITE.knitwear, clothing, children's knitwear, children's clothing, manufacturing, fashion textile production, machine knitting, clothing set, brushed wool, wool, fluffy

Set of 15 issues of Yarra Trams Magazine "Tramlines" All folded A3 unless noted otherwise. 1 - Issue 1 - August 2004 - staff event, message from CEO Hubert Guyot, new control centre, route 96, Olympic torch relay, tram 431, new livery, meet Johnpaul tram attendant. .1A - Issue 2 - December 2004 - customer satisfaction, tram attendants, remembrance day, CEO message, new routes, Camberwell depot, staff profile and tramways band. .2 - issue 3 - May 2005 - Fleet operations control centre opens, (photo), Balaclava Junction upgrade, grand union, Melbourne Uni superstop, fund raising. .3 - issue 4 - August 2005 - Congratulations to Lenny Bates 50, departure of Hubert, route 75 extended to Vermont South, fare evasion, trackwork and Superstops in Flinders St and Bourke St, East Preston Depot and think tram project. .4 - Issue 5 - December 2005 - folded A3 sheet, plain paper, colour photos - with articles on congestion, advertising campaign success re fare evaders, new platform stops in Flinders St, Network improvements and getting ready for the 2006 Commonwealth games featuring a cartoon poster of a tram in a race (see Reg item 1235 for the actual poster). Has a message from Dennis Cliche - new CEO. .5 - Issue 6 - May 2006 - folded A2 sheet, gloss paper, items re Commonwealth games, Karachi W-11 tram, Remembrance day, network improvements, Grand Prix, good Friday appeal, and the forthcoming centenary celebrations. Centre page spread has a large number of photos of staff during the Commonwealth Games. .6 - Issue 7 - October 2006 - folded A2 sheet, gloss paper, colour photos of the Centenary Art Tram (5006), Myki, network improvements, memories of 1906, Luna Party Tram (1011) with centre page spread of a photo of 5006 outside Luna Park, and the various tram images featured on the tramcar. See also Reg Item 864 for details of the making of the art work. .7 - Issue 8 - December 2006 - folded A3 sheet, gloss paper, colour photos of the "Tram It 2006" event, light rail, TramTracker being launched, Essendon, Centenary celebrations and "for the love of trams". .8 - Issue 9 - May 2007 - six pages - traffic condition, green depots, Joyce Barry, plaque at Brunswick Depot, fund raising, platform stops, trackwork, TramTracker, Police tram. .9 - Issue 10 - September 2007 - MSO tram, students travels, Transport Challenge 2007, website, TramTracker by SMS. .10 - Issue 11 - Melbourne trams a heritage icon, fund raising, TramTracker, cable tram tracks in Abbotsford St, route 86 to the Waterfront City Docklands, hailing trams. 11 - Issue 12 - Mulhouse tram, Bumblebee, on the docks, fundraising, St Kilda Road upgrades, TramTracker. .12 - Issue 13 - Bumblebee C2 class trams, traffic congestion, wind power tram, Flinders St trackwork. .13 - Issue 14 - Silver Paralympians on tram, green wind powered trams. .14 - Issue 15 - TramTracker Jake, film festival, Public Transport Ombudsman - Simon Cohen, Operations Centre, .15 - Issue 16 - 6 pages - tram performance, TramTracker at tram stops and iPhones, Mike Talks, Myki. All have the Yarra Trams logo on the front cover.trams, tramways, yarra trams, tickets, commonwealth games, flinders st, grand prix, karachi w-11 tram, construction, luna park, essendon depot, centenary, tramtracker, olympic games, control centre, balaclava junction, trackwork, grand union, melbourne university, superstops, vermont south, route 75, flinders st, bourke st, brunswick depot, cable trams, docklands, mulhouse, c2 class, flinders st, environment, ombudsman, myki, tramways band

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Wool has been renowned for its excellent properties for thousands of years, by people from all over the world. Not only good for thick winter woollens, it can help keep you cool in summer, as well as being durable and resistant to water, fire, ultraviolet light, stains and odour. In a world where wool garments all had to be washed by hand, the invention of machine-washable acrylic fibres and widespread adoption of washing machines in ordinary Australian homes in the 1950s and 60s posed a major risk to the wool industry, and by extension the entire Australian economy. With the price of wool falling, the CSIRO and the Australian Wool Board worked together from the 1950s on a number of developments to keep Australian wool competitive and desirable to the public, many of which came out of the Geelong research labs. While progress had been made in the preceding decades, 1970 saw a major breakthrough; the invention of a new method of making wool washable and shrink-proof, most commonly known as ‘Superwash’. It is a technology that is still highly used to this day, and is very recognisable to those who use commercial wool yarn to knit or crochet. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.Blue wool turtleneck ‘skivvy’ jumper in all over rib pattern with long sleeves. .2) swing tag with woolmark logo for ‘Superwash Wool’1.)[white label at back neck with blue writing] KATHRYN REGD. (Woolmark Logo) PURE NEW WOOL Superwash SIZE 2 HGT. 92cm MADE IN AUSTRALIA 2.)[retail swing tag for ‘Superwash Wool’] [OBVERSE] [woolmark logo] [handwritten in blue pen] 314 [printed] PURE NEW WOOL [handwritten] 2 Superwash Wool Machine Washable [INTERNAL] [woolmark logo] PURE NEW WOOL YOU ARE NOW THE OWNER OF A SUPERWASH WOOL GARMENT That has been specially treated to withstand a lifetime of machine washing. SUPERWASH WOOL has all the desirable qualities of wool – soft handle, comfort, warmth and style. Not all wool knitwear has the SUPERWASH treatment so remember always to look for the special “SUPERWASH” label and swing ticket. To was SUPERWASH WOOL just follow the instructions of the garment label. [woolmark logo] PURE NEW WOOL SUPERWASH WOOL THE WOOL YOU WASH IN THE MACHINE.knitwear, children's knitwear, clothing, children's clothing, jumper, manufacturing, fashion textile production, machine knitting, csiro, national wool board, superwash, australian wool innovation

Brad ‘Nails’ Sholl Born: 10/11/1972 From: Geelong College via North Melb Height: 184cm Weight: 84kg Natural kicking foot: Right Guernsey number: 12 First senior match for Geelong: Round 1, 1995 v Melbourne at Kardinia Park The attacking small defender delighted fans with his adventurous attacks on the ball and dashes out of the danger area. He was an excellent mark for his size and lacked nothing in courage and determination. His ability to rush to space to create a viable target for a team-mate was another of his trademarks. Occasionally, he was moved forward with success, where he took great delight in booting important goals. Total Brownlow Medal votes for Geelong: 54 Runner-up in club B&F count: 1996 Fourth in club B&F count: 1997, 1998, 2000 Fifth in club B&F count: 1995 Seventh in club B&F count: 1999 GFC Hall of Fame inductee (2002) GFC Life Membership (2001) Career span for Geelong: 1995-2002 Total matches for Geelong: Premiership 169, Night/Pre-Season Series 12, Interstate 1 Total goals for Geelong: Premiership 46, Night/Pre-Season Series 5, Interstate 0 Finals matches for Geelong: 7 Finals goals for Geelong: 0 Last senior match for Geelong: Round 19, 2002 v St Kilda at Docklands Stadium Jason Snell Born: 27/07/1977 From: Upwey-Tecoma/Eastern U18 Height: 181cm Weight: 81kg Natural kicking foot: Right Guernsey numbers: 25 (1996-97) & 4 (1998-2001) First senior match: Round 1, 1996 v Melbourne at the MCG The courageous mid-fielder/small forward possessed sound skills and an excellent football brain. Opposition coaches experienced difficulty in finding suitable match-up opponents to counter him. In a match at Kardinia Park against Port Adelaide in 1997 he scored a match-winning five goals after spending the first half on the bench. He won the club most improved player award in 1999. Tragically, a shocking leg injury sustained at the MCG prematurely terminated his highly promising career. Total Brownlow Medal votes: 5 Career span: 1996-2001 Total matches: Premiership 68, Night/Pre-Season Series 8 Total goals: Premiership 62, Night/Pre-Season Series 3 Finals matches: 3 Finals goals: 1 Last senior match: Round 3, 2001 v Melbourne at the MCG Glenn ‘Killer’ Kilpatrick Born: 29/08/1972 From: Studfield via North Melb Reserves, West Adelaide (SA) & Essendon Height: 184cm Weight: 85kg Natural kicking foot: Right Guernsey number: 13 First senior match for Geelong: Round 5, 1996 v Richmond at Kardinia Park No-one could accuse the dogged half-back flanker and mid-fielder of not giving his all in every match that he played. He used courage and determination to win the ball, negate an opponent or block for a team-mate. Often, his repeated efforts would inspire his fellow Cats. Although effective disposal by foot did not come easy for him, he worked hard on the training track to improve. Total Brownlow Medal votes for Geelong: 27 Runner-up in club B&F count: 1997 Seventh in club B&F count: 2000 Eighth in club B&F count: 1999 (equal) Career span for Geelong: 1996-2002 Total matches for Geelong: Premiership 120, Night/Pre-Season Series 12 Total goals for Geelong: Premiership 31, Night/Pre-Season Series 1 Finals matches for Geelong: 3 Finals goals for Geelong: 0 Last senior match for Geelong: Round 20, 2002 v Fremantle at Subiaco Garry ‘Buddha’ Hocking Born: 08/10/1968 From: Cobram Height: 182cm Weight: 84kg Natural kicking foot: Right Guernsey numbers: 51 (1987) & 32 (1988-2001) First senior match: Round 3, 1987 v Melbourne at Kardinia Park As one of football’s genuine tough and skilful performers, he gave the Cats magnificent service. Undoubtedly, he became one of the code’s all-time greats. His ability to make perfect position, fix eyes on the ball at all costs, seize the ball in packs, mark with vice-like fingers and dispose by hand and foot on either side of his body to bring team-mates into the play made him a nightmare opponent. He delighted in applying gorilla-like tackles and bone-shattering bumps to open up opportunities for his allies. During the last few seasons of his career a severely damaged knee saw him ignore agonizing pain to continue to contribute. He just loved footy! Total Brownlow Medal votes: 133 Captain: 21 matches (1994-95; 1999) Third in Brownlow Medal count: 1991, 1994 Club Best & Fairest: 1991, 1993, 1994, 1996 Runner-up in club B&F count: 1990, 1998 Sixth in club B&F count: 1989, 2000 Seventh in club B&F count: 1997 Ninth in club B&F count: 1995 Tenth in club B&F count: 1992 All Australian selection: 1991, 1993, 1994, 1996 GFC Team of the Century selection (ruck-rover) GFC Hall of Fame inductee (2002) GFC Hall of Fame Legend GFC Life Membership (1995) Career span: 1987-2001 Total matches: Premiership 274, Night/Pre-Season Series 19, Interstate 8 Total goals: Premiership 243, Night/Pre-Season Series 6, Interstate 10 Finals matches: 21 Finals goals: 21 Last senior match: Round 22, 2001 v Carlton at Princes Park Liam Pickering Born: 09/09/1968 From: Stawell via North Melb Height: 184cm Weight: 85kg Natural kicking foot: Right Guernsey number: 23 First senior match for Geelong: Round 3, 1993 v North Melb at Kardinia Park After being unable to command regular senior selection with the Kangaroos, the dogged mid-fielder quickly gained the respect of Geelong coaching staff and team-mates with his faultless reading of the play and ability to bring others into the game. Although not fleet of foot, he was capable of instant decision-making and quick, accurate disposal. He knew how to restrict talented opponents with disciplined manning-up, while having a positive influence on play himself. A series of injuries terminated his career prematurely. Total Brownlow Medal votes for Geelong: 12 Captain: 3 matches (1996-97) Club Best & Fairest: 1997 Third in club B&F count: 1995 Eighth in club B&F count: 1994 Career span for Geelong: 1993-99 Total matches for Geelong: Premiership 102, Night/Pre-Season Series 3, Interstate 1 Total goals for Geelong: Premiership 46, Night/Pre-Season Series 1, Interstate 0 Finals matches for Geelong: 9 Finals goals for Geelong: 8 Last senior match for Geelong: Round 20, 1999 v Carlton at the MCG Peter Riccardi Born: 17/12/1972 From: West St Peters Height: 183cm Weight: 89kg Natural kicking foot: Left Guernsey number: 15 First senior match: Round 4, 1992 v West Coast at Subiaco Few players with more natural pace have represented the club. He is a crisp ball-handler, a safe mark and a long raking left-foot kick. Many of his goals have been registered in spectacular fashion from a long way out, on the run. His versatility as a mid-fielder/forward has been a valuable asset. In recent season he has improved his team-play by improving his tackling and chasing techniques. Total Brownlow Medal votes: 60 Club Best & Fairest: 1998 Runner-up in club B&F count: 1999 Third in club B&F count: 2002 Fifth in club B&F count: 1996 Sixth in club B&F count: 1995 Ninth in club B&F count: 2000 GFC Hall of Fame inductee (2002) GFC Life Membership (1999) Career span: 1992-2006 Total matches: Premiership 288, Night/Pre-Season Series 26, Interstate 2 Total goals: Premiership 286, Night/Pre-Season Series 24, Interstate 1 Finals matches: 19 Finals goals: 13 Last senior match: Round 19, 2006 v St Kilda at Docklands Stadium Leigh ‘Spider’ Colbert Born: 07/06/1975 From: Golden Square Height: 192cm Weight: 92kg Natural kicking foot: Right Guernsey numbers: 35 (1993) & 2 (1994-98) First senior match for Geelong: Round 7, 1993 v West Coast at Kardinia Park Although not strongly built, he was a fearless competitor who performed well at centre half-back. His versatility allowed him to be effective anywhere on the field. Reliable marking, sure ball handling and accurate disposals were features of his play. In 1999 he was appointed captain but a serious knee injury sustained in a pre-season practice match caused him to miss that season. He left the club in controversial circumstances. Total Brownlow Medal votes for Geelong: 10 Captain: 3 matches (1998) Third in club B&F count: 1996 Fifth in club B&F count: 1997 Sixth in club B&F count: 1998 Career span for Geelong: 1993-98 Total matches for Geelong: Premiership 105, Night/Pre-Season Series 7, Interstate 3 Total goals for Geelong: Premiership 50, Night/Pre-Season Series 3, Interstate 1 Finals matches for Geelong: 10 Finals goals for Geelong: 4 Last senior match for Geelong: Round 22, 1998 v Essendon at the MCG Transferred to North Melb in 2000 Tim ‘Bluey’ McGrath Born: 07/10/1970 From: North Dandenong via North Melb Height: 190cm Weight: 94kg Natural kicking foot: Right Guernsey number: 17 First senior match for Geelong: Round 1, 1992 v Hawthorn at Waverley Park He has been one of several players recruited from the Kangaroos to give the club excellent service. His first match for the Cats was a hectic one at full-back opposed to a rampant Jason Dunstall. The selectors showed faith in the strong red-headed defender and he rewarded them with a long string of highly serviceable performances. His determination, safe marking, sound defensive skills and leadership qualities were great assets. Often, he was able to outpoint champion opponents. Around the club he was a valuable role-model with his general attitude. Total Brownlow Medal votes for Geelong: 26 Captain: 8 matches (1999) Runner-up in club B&F count: 1998 Third in club B&F count: 1993, 1999 Seventh in club B&F count: 1998 Eighth in club B&F count: 1995, 1997 Ninth in club B&F count: 2001 Tenth in club B&F count: 1996 GFC Hall of Fame inductee (2002) GFC Life Membership (1998) Career span for Geelong: 1992-2002 Total matches for Geelong: Premiership 219, Night/Pre-Season Series 15, Interstate 1 Total goals for Geelong: Premiership 18, Night/Pre-Season Series 3, Interstate 0 Finals matches for Geelong: 14 Finals goals for Geelong: 1 Last senior match for Geelong: Round 2, 2002 v Adelaide at Football Park Barry Stoneham Born: 09/02/1968 From: St Josephs (VCFL) Height: 194cm Weight: 98kg Natural kicking foot: Right Guernsey numbers: 53 (R 6, 1986) & 26 (R 7, 1986-2000) First senior match: Round 6, 1986 v Footscray at Kardinia Park A fanatical Geelong supporter all his life, the determined big man was in his element at centre half-forward. Excellent positioning, agility, magnificent marking, a mean streak and endless determination were his trademarks. He was able to bring crumbing team-mates into the play and score goals regularly. He was sufficiently versatile to play successfully in any key position or as a relief ruckman. Tragically, in 1994 a badly broken leg severely restricted his mobility and kicking power. Despite such restrictions, he retained his effectiveness by developing additional team skills. Total Brownlow Medal votes: 21 Captain: 59 matches (1991-93; 1996-98) Club Best & Fairest: 1990 Runner-up in club B&F count: 1989 Third in club B&F count: 1992 Fourth in club B&F count: 1991, 1993 Tenth in club B&F count: 1997, 1999 All Australian selection: 1989, 1992 GFC Hall of Fame inductee (2002) GFC Life Membership (1994) Career span: 1986-94; 1996-2000 Total matches: Premiership 241, Night/Pre-Season Series 21, Interstate 7 Total goals: Premiership 223, Night/Pre-Season Series 14, Interstate 2 Finals matches: 15 Finals goals: 14 Last senior match: First Elimination Final, 2000 v Hawthorn at Docklands Stadium Michael Mansfield Born: 08/08/1971 From: St Josephs (VCFL) Height: 183cm Weight: 85kg Natural kicking foot: Left Guernsey numbers: 49 (1990) & 21 (1991-99) First senior match for Geelong: Round 18, 1990 v Essendon at Kardinia Park The well-balanced performer played mostly as an attacking half-back flanker but was capable of being used effectively on the forward line. His exceptional strength, reliable marking and considerable mobility made him a difficult opponent who did not lack courage. His performances in finals matches were outstanding. Total Brownlow Medal votes for Geelong: 28 Captain: 9 matches (1997-99) Third in club B&F count: 1994, 1997 Fourth in club B&F count: 1995 Sixth in club B&F count: 1996 Eighth in club B&F count: 1998 GFC Hall of Fame inductee (2002) GFC Life Membership (1998) Career span for Geelong: 1990-99 Total matches for Geelong: Premiership 181, Night/Pre-Season Series 10, Interstate 4 Total goals for Geelong: Premiership 100, Night/Pre-Season Series 0, Interstate 1 Finals matches for Geelong: 15 Finals goals for Geelong: 9 Last senior match for Geelong: Round 22, 1999 v Fremantle at Kardinia Park Transferred to Carlton in 2000 Historical information provided by GFC Historian Col Hutchinson The print consists of ten player photographs and a Geelong Cat Mascot in the top centre of the print with the words - GEELONG/CATS - below the picture. In the top left are action photographs of Sholl and Snell. In the top right corner are action photographs of Kilpatrick and Hocking. Along the bottom of the print from left to right are action photographs of Pickering, Riccardi, Colbert, McGrath, Stoneham and Mansfield. Each photograph has the player's surname in white text in the bottom left hand corner. Has a wire along the back for hanging. 1990s players Sholl, Brad: Snell, Jason: Kilpatrick, Glenn: Hocking, Garry: Pickering, Liam: Riccardi, Peter: Colbert, Leigh: McGrath, Tim: Stoneham, Barry: Mansfield, Michael.