Early settler women in Moorabbin Shire c1900, were skilled in crochet and made these doilies to cover milk jugs, and other food containers, to protect the contents from flies and other insects while on the kitchen table.The women of the early settler families in Moorabbin Shire c1900, were very skilled with craftwork, crochet, knitting, sewing, needlework.A crocheted cotton doily with raised decoration of a cup and saucer. Coloured beads anchor the points to add weight to keep the doily in place when protecting contents of a cup or jugpioneers, earley settlers, haberdashery, craftwork, crochet, doileys, kitchen equipment, moorabbin shire, bentleigh, moorabbin, ormond, cheltenham,

Early settler women were skilled craft workers and crocheted doilies and other napery for their household. This Doiley is a cover for a jug or cup, with the glass beads providing the weight to secure it, to protect the contents from flies, insects and dust while on the kitchen table.Early settler women were skilled in dressmaking, crochet, knitting as they made clothes, furnishings, drapery and tableware for their families c1900A cotton, crocheted doily with a teapot pattern and green beads at edges to keep it in place when protecting contents of a jug or cupkitchen equipment, crochetwork, napery, doilies, milk jugs, early settlers, market gardeners, cooking utensils, kitchenware, castiron cooking pots, blacksmiths, slow cooking, moorabbin shire, bentleigh, mckinnon, highett, cheltenham,

Early settlers and market gardeners established their families in Moorabbin Shire and this item shows the skill and craftsmanship of the women of these familiesThe skill and craftsmanship shown in these infant's bibs, bonnet and bootees is an example of the clothing made by the pioneer settlers and market gardeners in Moorabbin Shire Baby's bibs, bootees and bonnet (i) booties crocheted silk (ii) 2 x embroidered bibs (iii) bonnet & bootees wool clothing, craftwork, knitting, crochetwork, moorabbin, cheltenham, early settlers, pioneers, market gardeners

This baby’s bonnet is an example of the skills and craftwork of the women of the pioneer families in Moorabbin Shire A fine wool baby’s bonnet, hand -knitted with crocheted edges and hand sewn flowers at crown and around face edge. C1900 knitting, crochetwork, craftwork, clothing, pioneers, early settlers, moorabbin brighton bentleigh, embroidery

Needlework Illustrated is issue 196 and cost 1/-. it was published quarterly. Australian Home Journal is the May 1963 issue. Women’s magazines just after WWII played a “reflecting role,” including topics of readers’ interests as well as containing news items. Women’s employment rate had grown during WWII. However, even though the number of women working outside the home grew rapidly most of them were still engaged entirely in homemaking. Therefore women’s magazines centered mostly home crafts. Articles as well as advertisements presented information on keeping the family healthy with guidelines for thrifty shopping and advice on how to look good through it all. Patterns and instructions were provided for women to create home articles and clothing. The main sources for kntting and needlework designs available to women were in journals, magazines and pattern books. Embroidery was an affordable way to personalise and add aesthetic value to domestic linen and examples of embroidered and crocheted pieces could be found in most Australian homes. These are examples of women's magazines. They give practical advice on needlework / knitting and evidences the widespread interest in contemporary fashion. In doing so it shows what were the fashionable, but broadly affordable, women's and children's clothing styles of their day. These magazines also reflect women's interests --------------------------------------------------------------------------------------------------------------------------------------------------------- Two magazines. 3097.1 contains patterns, instructions, advertisements and photographs. It has a coloured cover - a pink background, black print an drawings of a woman wearing a top embroidered with roses and examples of needlework. 3097.2 contains patterns, advertisements, correspondence, and stories. It has a coloured cover with a photograph of a woman wearing a knitted jumper and three sewing patterns.magazine- needlework-illustrated magazine-australian-home-journal

This bed jacket was crocheted for Carmela Materia (1931-2018) by her mother, Giuseppa Auditore, around the time they emigrated from Italy to Melbourne. Both women were longtime Brighton locals, residing in the area from the 1950s until their deaths. Carmela Auditore was the first woman from her home village of Scaletta, Italy to emigrate to Australia. Setting sail alone in 1950 at the age of 19, she joined her brother John and uncle Frank in McCallum St, Brighton. Frank had arrived some years earlier and had spent the duration of the First World War in an internment camp. John worked at the Brighton Case Company, a box manufacturer on Nepean Highway, and paid for her passage. Carmela found a job sewing children's clothing at Drummonds, a small factory in Church St. Working eight hours a day, five days per week, netted her a weekly wage of three pounds. To earn a little extra, she washed dishes at a St Kilda Road restaurant for ten shillings a shift. Her parents, Salvatore and Giuseppa Auditore, joined her in Brighton in 1952. They rented a house behind an antique shop in Bay Street. Salvatore had been a fisherman in Scaletta, but quickly adapted to the job he found helping around the Garage at Brighton Motors in Male Street. On 14 February 1953, Carmela married her sweetheart, Salvatore Materia, at St James Catholic Church in Gardenvale. Salvatore had been living with his aunt in Well Street and worked on the wharves. Both Carmela and Salvatore were hard workers. They owned a fruit shop in Church Street where Woolworths now stands, and years later Carmela recalled the familiar 6am tap on her window each morning when her husband returned from the market. On dark winter mornings, she felt as if her hands would freeze as she helped Salvatore unload cold cabbages and cauliflowers from his truck. They later owned a shop in Ludstone Street in Hampton. After Salvatore died suddenly at the age of 48, Carmela returned to sewing, working at the Willow Fashions knitting mill in Gardenvale. She later went into partnership with her sister and brother-in-law, this time in the delicatessen business. Her parents, Giuseppa and Salvatore, spent the rest of their days with Brighton. Carmela recalled her father cheerfully walking the streets, greeting people by name. He knew everybody. He loved being in Australia and enjoyed life to the last, insisting on having bread and wine on the table at every meal.Cream crocheted wool bed jacket. Loose around bust with wide sleeves and open sides. Fastens at collar with thin braided ties, and at waist with two pearlescent plastic buttons.bed jacket, migration, 1950s, carmela auditore, carmela materia, giuseppa auditore

Placemat made with the in 'wrapping' technique taught by Hucker. Hucker began working with unspun wool and making dyes from the natural sources from her garden and the farm trees around her. From knitting and croceting articles, she progressed to felting and a 'wrapping' technique, always using unspun wool. She was a successful exhibitor at many craft shows and was always willing to pass on her experience and knowledge to others, often travelling widely to help groups requiring a demonstration.Placemat made with the 'wrapping' technique developed by Joyce Hucker.crochet, hucker, mrs joyce

Conatiner made with the 'wrapping' technique developed by Hucker. She began working with unspun wool and making dyes from the natural sources from her garden and the farm trees around her. From knitting and croceting articles, she progressed to felting and a 'wrapping' technique, always using unspun wool. She was a successful exhibitor at many craft shows and was always willing to pass on her experience and knowledge to others, often travelling widely to help groups requiring a demonstration.Toy (container and pig) crocheted by Joyce Hucker.crochet, hucker, mrs joyce

Crochet example by Joyce Hucker. Hucker began working with unspun wool and making dyes from the natural sources from her garden and the farm trees around her. From knitting and croceting articles, she progressed to felting and a 'wrapping' technique, always using unspun wool. She was a successful exhibitor at many craft shows and was always willing to pass on her experience and knowledge to others, often travelling widely to help groups requiring a demonstration.Crochet example by Joyce Hucker.crochet, hucker, mrs joyce

Example of wrapping technique of crochet by Joyce Hucker. Hucker began working with unspun wool and making dyes from the natural sources from her garden and the farm trees around her. From knitting and croceting articles, she progressed to felting and a 'wrapping' technique, always using unspun wool. She was a successful exhibitor at many craft shows and was always willing to pass on her experience and knowledge to others, often travelling widely to help groups requiring a demonstration.Example of wrapping technique of crochet by Joyce Hucker.crochet, hucker, mrs joyce

Crocheted example by Joyce Hucker. Hucker began working with unspun wool and making dyes from the natural sources from her garden and the farm trees around her. From knitting and croceting articles, she progressed to felting and a 'wrapping' technique, always using unspun wool. She was a successful exhibitor at many craft shows and was always willing to pass on her experience and knowledge to others, often travelling widely to help groups requiring a demonstration.Crocheted example by Joyce Hucker.crochet, hucker, mrs joyce

Crocheted example by Joyce Hucker. Hucker began working with unspun wool and making dyes from the natural sources from her garden and the farm trees around her. From knitting and croceting articles, she progressed to felting and a 'wrapping' technique, always using unspun wool. She was a successful exhibitor at many craft shows and was always willing to pass on her experience and knowledge to others, often travelling widely to help groups requiring a demonstration.Crocheted example by Joyce Hucker."Jaunty Pair" Cap. J. Hucker Lake Bolac Viccrochet, hucker, mrs joyce

Crocheted example by Joyce Hucker. Hucker began working with unspun wool and making dyes from the natural sources from her garden and the farm trees around her. From knitting and croceting articles, she progressed to felting and a 'wrapping' technique, always using unspun wool. She was a successful exhibitor at many craft shows and was always willing to pass on her experience and knowledge to others, often travelling widely to help groups requiring a demonstration.Crocheted example by Joyce Hucker.crochet, hucker, mrs joyce

Crocheted example by Joyce Hucker. Hucker began working with unspun wool and making dyes from the natural sources from her garden and the farm trees around her. From knitting and croceting articles, she progressed to felting and a 'wrapping' technique, always using unspun wool. She was a successful exhibitor at many craft shows and was always willing to pass on her experience and knowledge to others, often travelling widely to help groups requiring a demonstration.Crocheted example by Joyce Hucker.N.F.S. samplecrochet, hucker, mrs joyce

Crocheted example by Joyce Hucker. Hucker began working with unspun wool and making dyes from the natural sources from her garden and the farm trees around her. From knitting and croceting articles, she progressed to felting and a 'wrapping' technique, always using unspun wool. She was a successful exhibitor at many craft shows and was always willing to pass on her experience and knowledge to others, often travelling widely to help groups requiring a demonstration.Crocheted example by Joyce Hucker.crochet, hucker, mrs joyce

Crocheted example by Joyce Hucker. Hucker began working with unspun wool and making dyes from the natural sources from her garden and the farm trees around her. From knitting and croceting articles, she progressed to felting and a 'wrapping' technique, always using unspun wool. She was a successful exhibitor at many craft shows and was always willing to pass on her experience and knowledge to others, often travelling widely to help groups requiring a demonstration.Knitted example by Joyce Hucker.crochet, hucker, mrs joyce

Crocheted example by Joyce Hucker. Hucker began working with unspun wool and making dyes from the natural sources from her garden and the farm trees around her. From knitting and croceting articles, she progressed to felting and a 'wrapping' technique, always using unspun wool. She was a successful exhibitor at many craft shows and was always willing to pass on her experience and knowledge to others, often travelling widely to help groups requiring a demonstration.Crocheted item by Joyce Hucker.crochet, hucker, mrs joyce

Crocheted example by Joyce Hucker. Hucker began working with unspun wool and making dyes from the natural sources from her garden and the farm trees around her. From knitting and croceting articles, she progressed to felting and a 'wrapping' technique, always using unspun wool. She was a successful exhibitor at many craft shows and was always willing to pass on her experience and knowledge to others, often travelling widely to help groups requiring a demonstration.Crocheted item by Joyce Hucker.crochet, hucker, mrs joyce

This knitting pattern book was published by the Villawood Textile Company, Sydney and contains knitting patterns for toys.BOOK 159 / By Villawool / Pattern directions / for TOYS - / 7 knitted and / 1 crocheted. / 28cknitting handicrafts - history, villawood textile company, knitting, handicrafts - history

This knitting pattern book was published by The New Idea magazine and contains crochet patterns for accessories and novelties."THE NEW IDEA" / SMART ACCESSORIES / IN CROCHET / 6D. / CROCHET BOOK NO. 4 / 15 Lovely and / Simple Designs.crochet handicrafts - history, the new idea, crochet, handicrafts - history

This book was produced by F.W. Hughes Industries Ltd at the Alexandria Spinning Mills, Sydney. It was owned by Billie Rech, the aunt of the donor, who was a great knitter.HUGHES / KNITTING BOOK / 1'6 / FWH / SYDNEY / BOOK No. / 207 / LADIES DESIGNS 32-36" / INCLUDING TWO SMART HAT DESIGNS / Featuring / Twinprufe CROCHET, 3 PLY CREPE, / DOUBLE CREPE & Bulkyknit / F.W. HUGHES INDUSTRIES LTD., 30 GROSVENOR STREET, SYDNEY, N.Shandicrafts - history knitting, alexandria spinning mills pty ltd f.w. hughes industries ltd, handicrafts - history, knitting

This book and a number of others like it were owned by the mother and aunts of the donor, Mrs Dorothy Boyle. They were prolific producers of hand knitted and hand made items of clothing and also knitted and sewed for the armed forces during the Second World War. This book is a monthly journal of fashion published by Madame Weigel's Pty Ltd.Registered at the General Post Office Melbourne, for transmission by post as a Newspaper. / 4D / Published / Monthly. / MADAME / WEIGEL'S / JOURNAL OF FASHION / A Delightful Home Journal / Vol. LVIII., No. 686. / APRIL 1, 1937. / Illustrated at Right:- /knitting handicrafts - history fashion crochet, madame weigel pty ltd, knitting, handicrafts - history, fashion, crochet

One of a collection of 56 knitting pattern books donated by Mrs Hilma Carruthers. These books had been used by Mrs Carruthers, her mother and her two daughters. This book was produced by F.W. Hughes Ltd and contains knitting patterns for childrens garments.HUGHES / KNITTING BOOK / 1'6 / FWH / SYDNEY / CHILDREN'S DESIGNS / 8-14 YRS. / Featuring / Twinprufe CROCHET, 4-PLY, KwicKnit, / Bulkyknit & Kooba 4-PLY / Book No. / 211 / F.W. HUGHES INDUSTRIES LTD., 30 GROSVENOR STREET, SYDNEY, N.S.W.handicrafts - history knitting, f.w. hughes industries ltd, handicrafts - history, knitting

Fifty four page magazine featuring black and cream printed graphics and text. The colour cover shows a woman and child both dressed in matching knitted jumpers.front: [printed] MAY 12, 1965 / 1'. / New Idea / The USELESS SEX / The year's most / talked about book / 8 / ADORABLE / COLLARS / TO CROCHET / MOTHER-DAUGHTER / COVER GIRL / SWEATERS TO KNIT / Instructions inside / Registered in Australia for trans- / mission by post as a newspaper. front: [handwritten] Abbsknitting, pattern, fashion, knitwear, children, women, new idea

Twenty page colour knitting pattern book. The cover shows a woman and girl on a roller coaster, one is wearing a pink knitted jumper, the other a crochet pink vest.front: [printed] HOW TO KNIT AND CROCHET / Patons / Book C.25 / 45cfashion, design, knitwear, home made, wool, pattern book, patons

Twenty page knitting pattern book featuring black and white text and images. The colour cover shows a woman leaning on a chair and holding a stick, wearing a crochet top and silk skirt.front: [printed] Patons / charm / BOOK No. 756 / COMING FASHIONS / Knit and crochet a dress, / top and bonnet - an / evening blouse (or beach / cover-up) - a cable- / trimmed jumper - and / three collar and cuffs sets. / 2'6 / 25 CENTSfashion, design, knitwear, home made, wool, pattern book, patons

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.Red children's wool jumper with green and white geometric tartan/plaid pattern on front. Has long sleeves with ribbed cuffs and ribbed crew neck and closes with four red plastic buttons at back neck. Coloured pattern is worked in lines on top of finished fabric in surface crochet in pattern of green, white, green[white label at back neck with blue stitching] ALL WOOLknitwear, 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. 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

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. 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