Grace James, the creator of the items in the Grace James collection, designed and created costumes over a 19 year period (1969-1988) for her daughter Ceri. The collection of clothing ranges from evening wear to knitted garments. All the items display exemplary dressmaking skills. The designs are of the period and reflect evolving fashions of the time. Some items are copies of published designs whereas others are original creations. The collection was donated in 2006.While most of the items in the Fashion & Design Collection of the Kew Historical Society are commercially designed items of clothing, there are also items made by home dressmakers. Many of these exhibit outstanding design knowledge and technical skills. A large and important group of these items of women's clothing is contained in the Grace James collection of outfits created for the dressmaker's daughter. The items have additional significance due to information about the purpose of the creation and the date when it was constructed.Loosely knitted cream jumper with ribbed bands at the neck, cuffs and waist. The jumper is overlaid with the outline of stitched woollen butterflies. Coloured lines of wool are knitted into the body of the jumper. There is a drawstring at the waist to tighten it if requiredgrace james, women's clothing, australian fashion 1969-1988, dressmakers - surrey hills (vic), knitted jumpers, fashion design

Letter written to Collins Bros Mills in Geelong from Gum Farinol Company in England. The letter details the instructions, use and benefits of gum farinol in woollen textiles. Letter consisting of two pages of cream paper with printed and typed black text. The second page has hand written text in pencil written on back. Both page show a letter head graphic image of a building with people and vehicles out the front. GUM FARINOL COMPANY / W. G. WEST. / Sole Manufacturers of Gum Farinol. / MILLS: WILSON STREET & PARK STREET / STOCKPORT, / ENGLAND. / Messrs. Collins Bros. Pty. Ltd. / Woollen Manufacturers, / Latrobe Terrace, / Geelong, Victoria, / Australia. / October 4th 1933letter, correspondence, company records, gum farinol company, textile industry, wool industry, wool mills, collins bros mill pty ltd, technology

Knitting was for shows. Part of the Heather & Isobel McNamara collection.- Cream woollen babies' jacket - Four buttons on yoke - Fine pattern on sleeves and around hem and front wool, handknitted, mcnamara collection, baby clothes

Four page knitting pattern booklet featuring black and white text and colour images. The colour cover features an image of a man wearing brown shoes, brown corduroy pants and a cream knitted jumper.front: [printed] SIRDAR / Alpaca / Classique / 7430 / PRICE / CODE / Cfashion, design, knitwear, home made, wool, pattern book, sirdar

Twelve page knitting pattern book featuring black and white text and colour images. The colour cover features an image of a woman wearing long brown boots, tan corduroy pants and a cream knitted jumper.front: [printed] Swift & / Simple / SIRDAR / BOOK 523 / PRICE / CODE / Dfashion, design, knitwear, home made, wool, pattern book, sirdar

Four page knitting pattern booklet featuring black and white text and colour images. The colour cover features an image of a woman wearing a cream shirt and knitted cardigan in tones of brown.front: [printed] SIRDAR / Panache / 7417 / PRICE / CODE / Cfashion, design, knitwear, home made, wool, pattern book, sirdar

Sixteen page knitting pattern book featuring black and white text and colour images. The colour cover features a woman wearing a cream knitted cardigan with floral detail.front: [printed] 1001 / PRICE / CODE / H / Patons / H A N D K N I T S / BLUEBELL 5 PLY / 5 PLY MACHINEWASH / PURE NEW WOOLfashion, design, knitwear, home made, wool, pattern book, patons

The Orchid Tables were on display as part of the Ten Years of Dowel Jones exhibition at the National Wool Museum in 2024. The exhibition label reads: Sitting just outside this exhibition in the National Wool Museum is a 1910 Axminster Jacquard Carpet Loom. This loom was operating at Brintons factory in Geelong from 1960 to 1975, and then at the Melbourne College of Textiles, until it was donated to the museum. In the 1990's the museum commissioned an exclusive pattern called the Manor House Rug. Based on earlier designs from Brintons UK Persian Rug Archive Library, the museum continues to make this rug through the expertise of Loom Technician Michael Farquhar. The Manor House Rug features a central medallion with floral pattern. Working with illustrator Beci Orpin, and referencing Margaret MacDonald & Angair's book 'Orchids of the Anglesea District', we identified regional orchids. By a process of removal and addition, the original floral medallion was replaced with local species as decorative motif. Ten Year of Dowel Jones presents three altered Manor House Rugs, each with different orchids tufted in wool and placed in the centre of each rug. The rugs have been attached by cotton thread to three table frames at different heights to create the Orchid Tables.Three tables consisting of powder coated steel frames, with a woven carpet top. The table tops are made from wool with a jute backing, and feature a red, green, blue, black and cream floral design with an orchid in the centre. Each table is a different height.dowel jones, ten years of dowel jones, national wool museum, axminster loom, carpet, manor house rug, orchids, anglesea, design, art, furniture, beci orpin, brintons, geelong, melbourne college of textiles

"Dean Swift" was in the Army Reserve. Last rank was LT.COLONEL.1.Khaki wool polyester jacket. It has four front pockets. All four pockets are missing their buttons. There are four button holes on the front - these are also missing the buttons. Epaulettes are held down with a gold button. Corps = RACT. The jacket is lined with a cream nylon material. 2. Trousers - wool/poly, khaki, zip fly, cuffless. Two side pockets, one hip pocket.1. Inside jacket on the label is typed "CAPT SWIFT". 2. Inside trousers on label "CAPT SWIFT".dean swift, army reserve, ract, passchendaele barracks trust

Name on drycleaning ticket - "SHARPE".RAN Winter ceremonial uniform Officers. 1. Jacket, black colour wool/polyester fabric. Double breasted with six buttons, collar, two inset lower pockets with flap. Shoulder patches/flashes at top - black fabric, gold lettering "AUSTRALIA". in middle of sleeve black fabric with gold thread embroidered Queen's Crown, with real inserts and crossed anchors. Attached below are three gold stripe chevrons on black fabric. indicates Petty Officer with years of service. Buttons - gold colour metal buttons with shank with raised lettering and emblem - Queen's Crown, Anchor and "AUSTRALIA" (one missing). Lining - black colour polyester/ cotton fabric. Two concealed pockets. Sleeves - two gold buttons. Right sleeve - shoulder patch - black colour fabric with gold embroidery "S" in six pointed star surmounted by Queens crown with red inserts. Petty Officer - Steward. 2. Trousers - black colour wool/polyester fabric with fob pocket, two inset side pockets, one inset back pocket. Black and white colour buttons for waist adjustment and braces. cream colour cotton fabric lining waistband and pockets. Black colour ribbon stripe down outside seam. Metal zipper fly. Manufacturers information - gold embroidery. 1. "C.G.C.F.", on back of metal buttons "STOKES & SONS/ MELB".ran, uniform, steward

various 1893 company letterhead receipts2403.86 (A to G) Abbott Collection: Jan to Jun 1893: records and receipts for purchases by J.H. Abbott & Co. from a wide range of generally Melbourne based companies 2043.86A 40 records held by J.H. Abbott & Co. Jan to Jun 1893: for purchases (or sales) 2403.86B 10 receipts for purchases by J.H. Abbott & Co. from Thomas P. Power, Saddlers, Ironmongers & Manufacturers398-400 Little Bourke St Melbourne 2403.86C 10 receipts for purchases by J.H. Abbott from The India Rubber, Gutta Percha & Telegraph Works Co. 106 Cannon St London 2403.86D 4 receipts for purchases by J.H. Abbott & Co. from Cashel, Baxter & Co., 508 Collins Str Melbourne 2403.86E 7 receipts for purchases by J.H. Abbott from Ullathorne & Co., 269 Lonsdale St Melbourne 2403.86F 5 receipts for purchases by J.H. Abbott from Michaelis, Hallenstein & Co, Tanners, Curriers & Leather Merchants, Importers of Grindery, 382-384 Lonsdale St Melbourne 2403.86G 14 receipts for purchases by J.H. Abbott from a variety of companies: Nobel's Hamburg Dynamite Co. Ltd. - gelignite Thomas Mitchell, Paint & General Brush Manufacturers357 Lonsdale St Melbourne R.M. Watson & Co. 345 Flinders Lane Melbourne; Paper Makers, Agents, Stationers and Importers (two receipts) Wm Dodgshun & Sons, 258 &260 Flinders Lane, East Melbourne; Importers & Warehousemen (two receipts) The New Zealand Loan & Mercantile Agency Company Limited, Collins Street West, Melbourne; Melbourne Wool & Grain Warehouses Walter H. Carwardine, Bendigo Soap, Soda Crystal & candle Works, near the Municipal Cattle Yards J. Kitchen & Sons & Apollo Company; 326 Flinders Lane, Melbourne J. Kennon & Sons, Tanners, Curriers & Leather Merchants; Tannery, River St., near Hawthorn Bridge Innes - Noad V. Halfden (!!!), Tea Merchants & Importers; 201 1to 205 William Street, Melbourne The Indian Company, Lubricating Oil Merchants; Normanby Road, South Melbourne; 375 Flinders Lane, corner Queen Street, Melbourne A. Spooner Manufacturer of Improved Harness Composition, Improved Black Oil, Harness Liquid, Waterproof Harness Blacking, saddle Soap, Boot Top Powder (all colours), Polishing Cream, Breeches Paste, Universal Cream and Embrocations. Australian Asbestos Mfg Co. 266 Flinders St Easttrade company purchases 1893

Active service knitwear - during World War II years.Small cream booklet "Australian Comforts Fund" Victorian Division, A.C.F, Guide to Knitting standard socks, spiral stacking (navy), long-sleeve pullover, scarf, round-neck sleeveless pullover, balaclava cap, wrist-mittens for active service January 1940 Printed in black printing.As aboveknitting, wool, australian comforts fund

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. ‘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. ‘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

R.A.M.C. - Royal Army Medical Corps - British. Uniform issued to "Captain McKenzie". Refer Cat No. 7874.2 and 7876.2.1. Jacket - Mess Dress style. Black and crimson colour wool fabric. Crimson colour fabric on rolled collar and sleeve cuffs. On collar are two gold and silver metal collar badges - crown, snake on pole, laurel wreath and ribbon scroll with lettering "ROYAL ARMY MEDICAL CORPS" British - Tailor made. Shoulder epaulettes - fabric with three tarnished gold, blue and green metal rank pips = Captain. Gold colour buttons with shank, raised emblem and lettering (same as collar badges). Lining - crimson colour body of jacket with concealed internal pocket. Sleeves - white colour cotton fabric. Manufacturers label on white colour cotton fabric, back, inside collar. 2. Vest - crimson colour wool fabric, front two inset pockets and four buttons (as above). Back - crimson colour cotton sateen fabric with strap and brass metal buckle for size adjustment. Lining - cream colour cotton fabric. 3. Trousers - black colour wool fabric with five button fly, fob pocket cream colour cotton lining to waistband and fob pocket. Black colour Bakelite buttons. Two silver colour metal buttons at back. Manufacturers label on white colour cotton label with black ink print and handwritten details - back, inside below waistband lining. 4. & 5. Part of crimson colour wool fabric three 1.5 cm strips on black colour wool fabric backing. These have been removed from a garment.Manufacturers information. 1. & 3. Black ink print 'HOLT 7 SON/Military Tailors/ 20 Sackville Street, PICCADILLY W." Black ink pen, handwritten "T.F.C.. McKenzie/RAMC".captain mckenzie, uniform, ramc, british, ww1, mess dress

Hand-stitched tapestry by Monica Baker in 2001. Tapestry represents part of the family history of working in the wool industry as owners of a sheep property for five generations. The family ran Corriedale sheep in Lismore, Victoria.Brown timber framed woollen tapestry with cream mounting board. Tapestry is handstitched and features various colours. Scene depicts four men and a woman in a shearing shed. Two of the men are handling sheep, one man is weighing a fleece while the last man and woman look on. Back of frame has a horizontal hanging wire, a framers stamp at the bottom centre and a handwritten creators name and date at the top right corner.Back: [handwritten] "WEIGHING THE FLEECE" / BY MONICA BAKER / 02/03/01lismore, sheep breeding, tapestry, monica baker, shearing, hand made, corriedale

Item re Frederick Gardner DAVEY DFC No 410533 RAAF. Refer Reg No 3536P for his service details.RAAF issue mending kit. Rectangular, khaki, cotton drill material which can be rolled & secured with 2 white cotton ties. Inside the roll is a long white pouch divided into 3 sections. At the opposite end to the ties is a khaki pouch with a piece of grey flannel attached. Contents include 2 needles, 1 thimble, 3 silver metal buttons, 2 brown bakelite buttons, 2 hanks of navy wool, 1 hank of khaki wool, 1 hank of black, cream & green thread.Handwritten in black ink on outside near ties: 410533 RAAF.sewing, kit, military, accessory