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

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

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

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

Naturally, we tend to take commonplace objects for granted, because they have always been there. Yet how many of you actually have thought “hey, where do forks come from?” Well, it takes one trip to China and a 3-year-old laughing at your face because of your desperate attempt to eat with chopsticks to finally appreciate something so ordinary such as a fork. So, where do forks come from? The early history of the fork is obscure. As a kitchen and dining utensil, it is believed to have originated in the Roman Empire, as proved by archaeological evidence. The personal table fork most likely originated in the Eastern Roman (or Byzantine) Empire. Its use spread to what is now the Middle East during the first millennium AD and then spread into Southern Europe during the second millennium. It did not become common in northern Europe until the 18th century and was not common in North America until the 19th century. Carving fork from 1640. Source: Wikipedia/Public Domain Carving Fork from 1640. Source: Wikipedia/Public Domain Some of the earliest known uses of forks with food occurred in Ancient Egypt, where large forks were used as cooking utensils. Bone forks had been found on the burial site of the Bronze Age Qijia culture (2400–1900 BC) as well as later Chinese dynasties’ tombs.The Ancient Greeks used the fork as a serving utensil. Read also: Steven Spielberg to Remake the Classic Musical ‘West Side Story’ In the Roman Empire, bronze and silver forks were used. The use varied according to local customs, social class and the nature of food, but forks of the earlier periods were mostly used as cooking and serving utensils. The personal table fork was most likely invented in the Eastern Roman (Byzantine) Empire, where they were in everyday use by the 4th century (its origin may even go back to Ancient Greece, before the Roman period). Records show that by the 9th century a similar utensil known as a barjyn was in limited use in Persia within some elite circles. By the 10th century, the table fork was in common use throughout the Middle East. Bronze forks made in Persia during the 8th or 9th century.Source: Wikipedia/Public Domain Bronze forks made in Persia during the 8th or 9th century.Source: Wikipedia/Public Domain The first recorded introduction of the fork to Western Europe, as recorded by the theologian and Cardinal Peter Damian, was by Theophano Sklereina the Byzantine wife of Holy Roman Emperor Otto II, who nonchalantly wielded one at an Imperial banquet in 972, astonishing her Western hosts.By the 11th century, the table fork had become increasingly prevalent in the Italian peninsula. It gained a following in Italy before any other Western European region because of historical ties with Byzantium and continued to get popularity due to the increasing presence of pasta in the Italian diet. At first, pasta was consumed using a long wooden spike, but this eventually evolved into three spikes, design better suited to gathering the noodles. In Italy, it became commonplace by the 14th century and was almost universally used by the merchant and upper classes by 1600. It was proper for a guest to arrive with his fork and spoon enclosed in a box called a cadena; this usage was introduced to the French court with Catherine de’ Medici’s entourage. In Portugal, forks were first used at the time of Infanta Beatrice, Duchess of Viseu, King Manuel I of Portugal’s mother around 1450. However, forks were not commonly used in Western Europe until the 16th century when they became part of Italian etiquette. The utensil had also gained some currency in Spain by this time, and its use gradually spread to France. Nevertheless, most of Europe did not adopt the use of the fork until the 18th century. Read also: The 8 Most Famous ‘Functioning Alcoholics’ in History Long after the personal table fork had become commonplace in France, at the supper celebrating the marriage of the Duc de Chartres to Louis XIV’s natural daughter in 1692, the seating was described in the court memoirs of Saint-Simon: “King James having his Queen on his right hand and the King on his left, and each with their cadenas.” In Perrault’s contemporaneous fairy tale of La Belle au bois dormant (1697), each of the fairies invited for the christening is presented with a splendid “fork holder”. The fork’s adoption in northern Europe was slower. Its use was first described in English by Thomas Coryat in a volume of writings on his Italian travels (1611), but for many years it was viewed as an unmanly Italian affectation. Some writers of the Roman Catholic Church expressly disapproved of its use, St. Peter Damian seeing it as “excessive delicacy.” It was not until the 18th century that the fork became commonly used in Great Britain, although some sources say that forks were common in France, England, and Sweden already by the early 17th century. Spaghetti fork By Lady alys - Own work, CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=6414948 Spaghetti Fork By Lady alys – Own work, CC BY-SA 3.0, The fork did not become popular in North America until near the time of the American Revolution. The curved fork used in most parts of the world today was developed in Germany in the mid 18th century while the standard four-tine design became current in the early 19th century. The fork was important in Germany because they believed that eating with the fingers was rude and disrespectful. The fork led to family dinners and sit-down meals, which are important features of German culture. https://www.thevintagenews.com/2016/08/31/priority-fork-came-italy-european-country-pasta/?chrome=1Serving fork, two prongs, with a shaped wooden handle. Badly rusted.None.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, food, meat, carving

For historical information refer to notes attached to Cat No 2755.4 See attached sheets for the remainder of pages.Black plastic folder, ring binding with 20 clear plastic sleeves. .1) Photocopy of cover for personnel documents for Herbert Trangmar ALLAN, MC, NX12229, N60005, Captain 2nd Garrison Battalion. A4 page size. .2) Photocopy of WWII attestation form dated 2.5.1940 for NX12229, Herbert Trangmar ALLAN. .3) Photocopy of Medical Exam Section. .4) Photocopy of Medical Exam Section with black & white ID photo. .5) Enlarged photocopy of ID photos of Herbert Trangmar ALLAN. .6) Photocopy of Mobilization attestation form dated 6.10.39 for Herbert Trangmar ALLAN. .7) Photocopy of Termination of Officer's Appointment dated 2.4.1946 for Herbert Trangmar ALLAN, OBE, NX12229. .8) Photocopy of Officers Record of Service for Herbert Trangmar ALLAN. Address at time was Wali, New Guinea .9) Photocopy of Officers Record of Suc for Herbert Trangmar ALLAN OBE MC ED NX12229. Address at time was Wali, New Guinea. First entry: 16.6.1914. Last entry: 1.11.1945. .10) Photocopy of Officers Record of Service, dated 29.8.1950. For NX12229 Herbert Trangmar ALLAN MC OBE ED. Last address Watsons Bay NSW. .11) Photocopy of Determination of Demobilization Priority for NX12229 Herbert Trangmar ALLAN. Dated 5.10.1945. .12) Photocopy of sheet showing service early WWII for Herbert Trangmar ALLAN. .13) Photocopy of sheet showing early WWII service of N60005, Herbert Trangmar ALLAN. .14) Photocopy of Officer's Record of Service sheet for Herbert Trangmar ALLAN OBE MC NX12229. First entry: 17/2/1943. Last entry: 24.8.1944. .15) Photocopy of Record of Service sheet. First entry: 28.9.1944. Last entry: 25.5.1945. .16) Photocopy of Officer's Record of Service for Herbert Trangmar ALLAN OBE MC NX12229. First entry: 1.6.1945. Last entry: 14.3.1946. .17) Photocopy of Record of Service sheet. Mentions MID in SWPA & rank changes. First entry: 21.3.1946. Last entry: 30.9.1950. .18) Photocopy of Officer's Record of Service sheet for NX12229 Herbert Trangmar ALLAN 2nd Garrison Battalion. First entry: 6.9.1944. Last entry: 7.5.1946 .19) Photocopy of Recommendation for an OBE for NX12229 Herbert Trangmar ALLAN MC Major. Tobruk period April / October 1941. .20) Photocopy of a sheet showing medals & awards for N60005 NX12229 Herbert Trangmar ALLAN OBE MC ED MID. .21) Photocopy of a letter to Deputy Commissioner - Repatriation on AIF letterhead. Re: Captain ALLAN H T 17 Battalion. .22) Photocopy of an AIF letterhead Canberra dated 1.5.1950. To Secretary HQ Repat Commission. Re: Capt ALLAN H T 17 Battalion. .23) Photocopy of a sheet showing telephone note re awards, dated 2.7.1955. Re: ALLAN H T. Address Mullaway, Woolgoolga, NSW. .24) Photocopy of ranks & dates for ALLAN H T NX12229. DOB 5.1.1895. Served in 14-18 Yes. First entry: 16.6.1914. Last entry: 29.1.1944. .25) Photocopy of ranks & dates for above. First entry: 13.2.1942. Last entry: 1.4.1945. .26) Photocopy of ranks & dates for ALLAN H T NX12229. DOB 5.1.1895. OBE MC. First entry: 23.7.1945. Last entry: 15.8.1951. .27) Photocopy of a note showing Colonel H T ALLAN, address Mullaway, Woolgoolga, NSW. Written on a note pad with British Aluminium stamped on it. .28) Typed sheet showing a brief (biography) story of the life of Herbert Trangmar ALLAN (Blue). .29) Colour top view photo on A4 paper showing a huge pair of Japanese binoculars mounted on a tripod. .30) Colour R side view photo on A4 paper of Japanese binoculars. .31) Colour rear view photo of huge Japanese binoculars. .32) Colour front view photo on A4 paper of huge Japanese binoculars mounted on a tripod. .33) Colour L side view photo of huge Japanese binoculars. .34) Colour photo of tripod with timber legs & brace to suit binoculars above. .35) Black & white photo of a manufacturers plate featuring Japanese writing & numbers. .36) Colour photo on A4 paper showing manufacturers plate on rear of support brace on the tripod head. .37) Copy of WM Collection photo number 058101 showing an Australian soldier looking into the binoculars, Finschafen New Guinea .38) Menu card. TobrukDay Dinner 2/17th Sgts Mess. Dated Wed 19.11.1941. .39) Christmas card with red ribbon in its fold. Shows a signpost Syria - Australia - & a Rising Sun, a kangaroo with smoke & fire, a laughing kookaburra on a sign post. Stamp. HQ 20 Aust Inf Bde AIF. .38) On rear: Two autographs. .39) Inside: “Best wishes for year 1942-1943 from Brig W (T) V Windeyer and staff”recorrds, certificcats, folders

Newspaper clippings 1991-1993. 1. Teachers' strike: Major disruptions as 500 stop work [Ballarat] Paper: The Courier Date: 2 December 1992 2. Strikes in 3 sectors [Ballarat] Paper: The Courier Date: 3 December 1992 3. Letter to the editor: Change priorities for a better city [Ballarat] Paper: The Courier? Author: P. Murphy Date: n.d. 4. Traynor's comments criticised [regarding penalty rates] Paper: The Courier? Date: 27 July 1991 5. Trades Hall seeks urgent talks on health funding [Ballarat] Paper: The Courier? Date: 29 July 1991 6. Stewart condemns weekend shearing [Ballarat] Paper: The Courier Date: 1 August 1991 7. Working class poet [Geoff Goodfellow] recites with the power of language Paper: The Courier Date: 8 August 1991 8. Budget '91: Budget brings little local joy Paper: The Courier? Date: 21 August 1991 9. State Budget '91: Budget hits low income earners Paper: The Courier? Date: 28 August 1991 10. Job cuts face local bakery [Sunicrust, Ballarat] Paper: The Courier? Date: 29 August 1991 11. Factory closure will put 50 out of work [Vitclay, Ballarat] Paper: The Courier? Date: 3 September 1991 12. Protest for jobs urged [Ballarat] Paper: The Courier Date: 7 September 1991 13. Bank staff cuts 'astound' Trades Hall secretary [Ballarat] Paper: The Courier? Date: 12 September 1991 14. Pixelated black and white portrait photo of Graeme Shearer 15. Abattoirs picket line supported [Camperdown] Paper: The Courier Date: n.d. 16. Shearers to set up AWU committee [Ballarat} Paper: The Courier Date: 19 September 1991 17. Group fights for Ballarat national rail freight link Paper: The Courier Date: 1 October 1991 18. National jobless rate 10.2.% [Ballarat] Paper: The Courier? Date: 11 October 1991 19. Shearers establish committee [Ballarat] Paper: The Courier Date: 23 October 1991 20. Wage decision backed by employers, unions [Ballarat] Paper: The Courier Date: n.d. 21. Meeting to focus on aged care: QEGC budget cuts spark local concern [Central Highlands] Paper: The Courier Date: 4 December 1991 22. Mayor urges jobless to rally to the cause [Ballarat] Paper: The Courier? Date: 7 December 1991 23. New dole record: District's jobless queue lengthens again [Ballarat] Paper: The Courier? Date: 13 December 1991 24. Begonia bans: Unions act on retirement village [Ballarat] Paper: The Courier? Date: 24 December 1991 25. Another stoppage over WorkCare [Ballarat] Paper: The Courier? Date: 5 August 1990 26. BTHC hits anti-strike proposal Paper: The Courier Date: 16 November 1991 27. Businesses eager; unions more wary. Paper: The Courier? Date: 22 November 1991 28a. Project halted: review of $60m retirement village [Ballarat] 28b. Retirement Group 'too big, too fast' [Ballarat] 28c. Retirement village work halted [Ballarat] Paper: The Courier? Date: n.d. 29. QEGC managers criticised over budget cutbacks [Ballarat] Paper: The Courier? Date: n.d. 30. Unions' aid call [Ballarat] 30a. How unions want the $6 billion spent Paper: The Courier? Date: 11 February 1991 31. Threat to bread: Bunge strike action escalates [Ballarat] Paper: The Courier? Date: 27 February 1992 32. Bunge moves rye to Albury: Workers walk out [Ballarat] Paper: The Courier? Date: 26 February 1992 33. Merry makers' labours worry Trades Hall [Kryal Castle, Ballarat] Paper: The Courier? Date: 21 February 1992 34. Agreement will put end to retirement village dispute [Ballarat] Paper: The Courier Date: 22 February 1992 35. Mill strikers call for reinstatements [Ballarat] Paper: The Courier Date: 27 February 1992 36. No debate for BRB [Ballarat] Paper: The Courier? Date: n.d. 37. Statement will be our only hope [Ballarat] Paper: The Courier Date: 12 February 1992 38. Union hits catering [Ballarate & Victoria] Paper: The Courier? Date: ?? February 1992 39. Thanks - Bunge strikers thank you to Graeme Shearer et al Paper: The Courier? Date: n.d. 40. ANZ under fire from Trades Hall Secretary [Ballarat] Paper: The Courier Date: 19 March 1992 41. Assurance sought over Melb rail line [Ballarat] Paper: The Courier Date: 18 March 1992 42. In and out of town: Premier to visit [Ballarat] Paper: The Courier? Date: n.d. 43. Regional board wants to improve its image [Ballarat] Paper: The Courier? Date: n.d. 44. Time to amalgamate (letter to the editor) [Ballarat] Paper: The Courier Date: 13 May 1992 45. Another unemployment record for Ballarat Paper: The Courier? Date: 8 May 1992 46. Trouble brews in Ballarat (opinion) Paper: The Courier? Date: 9 May 1992 47. Trades Hall warns of student exploitation [Ballarat] Paper: The Courier Date: 29 February 1992 48. Bunge unions stay firm [Ballarat] Paper: The Courier? Date: 12 March 1992 49. Workers, Bunge settle dispute [Ballarat] Paper: The Courier? Date: 4 March 1992 50. Proposal could end Bunge strike [Ballarat] Paper: The Courier? Date: 3 March 1992 51. Village payment / payment at village Paper: The Courier? Date: 6 March 1992 52. Public outcry over hike in milk price [Ballarat] Paper: The Courier? Date: n.d. 53. Workers dig deep to help Somalia [Ballarat] Paper: The Courier? Date: 10 October 1992 54. 'Callous attack on the poor': union chief [Ballarat] Paper: The Courier? Date: 13 October 1992 55. No Labour swing, says Shearer [Ballarat] Paper: The Courier? Date: 6 October 1992 56. Ballarat joins strike Paper: The Courier Date: 24 October 1992 57. Workers would revolt against Libs: Shearer Paper: The Courier? Date: 28 September 1992 58. Wage rise disgraceful [Ballarat] Paper: The Courier? Date: 31 October 1992 59. Shearer seeks guarantees for rail link [Ballarat] Paper: The Courier? Date: 19 September 1992 60. Cleaners ready to tackle Coalition [Ballarat] Paper: The Courier? Date: 19 September 1992 61. The Ballarat strike (picture) Paper: The Courier? Date: 11 November 1992 62. Workers voice their concern [Daylesford] Paper: The Courier? Date: 11 November 1992 63. The Ballarat strike Paper: The Courier Date: 11 November 1992 64. 53 railway jobs to go: union chief [Ballarat] Paper: The Courier? Date: 23 November 1992 65. Trades Hall urges support for rally [Ballarat] Paper: The Courier? Date: 25 November 1992 66. Doubt cast on our unemployed rate [Ballarat] Paper: The Courier Date: 20 August 1992 67. Wage claim justified: Shearer Paper: The Courier? Date: 20 August 1992 68. Pool plan for jobs money attacked Paper: The Courier Date: 22 August 1992 69. Fight for rail link [Geelong-Ballarat] Paper: Geelong Advertiser Date: 18 September 1992 70. Rail pledge demand Paper: Geelong Advertiser Date: 1 October 1992 Condition: very poor 71. Union calls for railway guarantee [Ballarat] Paper: n.a. Date: 21 October 1992 72. A strike is the last thing Victoria needs Paper: The Courier Date: 27 ? 1992 73.Industry turmoil: Ford plant is up for sale [Ballarat] Paper: The Courier? Date: 20 August 1992 74. Regional Board retains job counsellor [Ballarat] Paper: The Courier Date: 20 August 1992 75. Jobless figures need special consideration [Ballarat] Paper: The Courier Date: 20 August 1992 76a. Local strike chaos: All services likely to be affected [Ballarat] 76b.Strike is an act of hypocrisy [Ballarat] Paper: The Courier Date: 10 November 1992 77. Ronaldson angered by union attack blunder [Ballarat] Paper: The Courier Date: 11 November 1992 78. Ballarat rally against Govt Paper: The Courier Date: 4 November 1992 79.Payouts a form of 'blackmail' [Ballarat] Paper: The Courier? Date: 27 November 1992 80. Union leader gives job loss breakdown [Ballarat] Paper: The Courier? Date: 27 November 1992 81. Deficit levy protest: Unions seize on wide discontent [Ballarat] Paper: The Courier? Date: 26 November 1992? 82. WorkCover under fire at city rally [Ballarat] Paper: The Courier Date: 26 November 1992 83. Coalition is 'cruel': Shearer Paper: The Courier? Date: 22 August 1992 84. Policy to 'decimate unions' Paper: The Courier? Date: 26th August 1992 85. Review immigration call Paper: The Courier? Date: 16 July 1992 86. Union boss blasts Libs' proposals [Ballarat] Paper: The Courier Date: n.d. 87. Both towns could win rail link: NRC [Geelong-Ballarat] Paper: The Courier? Date: n.d. 88. Teachers rally against cuts [Ballarat] Paper: The Courier? Date: 20 May 1993 89. Five workers die in 2 years Paper: The Courier Date: 14 October 1996Significant collection of press articles that include comment from Unions Ballarat Secretary, Graeme Shearer, around the period when Jeff Kennett (Liberal Party Victoria) became premier of Victoria. Focus upon a variety of social and industrial issues impacting the Ballarat region.Newspaper articles - scanned.btlc, ballarat trades and labour council, shearer graeme, kennett jeff, railway link geelong-ballarat, liberal party victoria, industrial action - rallies, workcover, various, ballarat trades and labour council - secretary

'Whose Ethics?':Codifying and enacting ethics in research settings Bringing ethics up to date? A review of the AIATSIS ethical guidelines Michael Davis (Independent Academic) A revision of the AIATSIS Guidelines for Ethical Research in Indigenous Studies was carried out during 2009-10. The purpose of the revision was to bring the Guidelines up to date in light of a range of critical developments that have occurred in Indigenous rights, research and knowledge management since the previous version of the Guidelines was released in 2000. In this paper I present an outline of these developments, and briefly discuss the review process. I argue that the review, and the developments that it responded to, have highlighted that ethical research needs to be thought about more as a type of behaviour and practice between engaged participants, and less as an institutionalised, document-focused and prescriptive approach. The arrogance of ethnography: Managing anthropological research knowledge Sarah Holcombe (ANU) The ethnographic method is a core feature of anthropological practice. This locally intensive research enables insight into local praxis and culturally relative practices that would otherwise not be possible. Indeed, empathetic engagement is only possible in this close and intimate encounter. However, this paper argues that this method can also provide the practitioner with a false sense of his or her own knowing and expertise and, indeed, with arrogance. And the boundaries between the anthropologist as knowledge sink - cultural translator and interpreter - and the knowledge of the local knowledge owners can become opaque. Globalisation and the knowledge ?commons?, exemplified by Google, also highlight the increasing complexities in this area of the governance and ownership of knowledge. Our stronghold of working in remote areas and/or with marginalised groups places us at the forefront of negotiating the multiple new technological knowledge spaces that are opening up in the form of Indigenous websites and knowledge centres in these areas. Anthropology is not immune from the increasing awareness of the limitations and risks of the intellectual property regime for protecting or managing Indigenous knowledge. The relevance of the Declaration on the Rights of Indigenous Peoples in opening up a ?rights-based? discourse, especially in the area of knowledge ownership, brings these issues to the fore. For anthropology to remain relevant, we have to engage locally with these global discourses. This paper begins to traverse some of this ground. Protocols: Devices for translating moralities, controlling knowledge and defining actors in Indigenous research, and critical ethical reflection Margaret Raven (Institute for Sustainability and Technology Policy (ISTP), Murdoch University) Protocols are devices that act to assist with ethical research behaviour in Indigenous research contexts. Protocols also attempt to play a mediating role in the power and control inherent in research. While the development of bureaucratically derived protocols is on the increase, critiques and review of protocols have been undertaken in an ad hoc manner and in the absence of an overarching ethical framework or standard. Additionally, actors implicated in research networks are seldom theorised. This paper sketches out a typology of research characters and the different moral positioning that each of them plays in the research game. It argues that by understanding the ways actors enact research protocols we are better able to understand what protocols are, and how they seek to build ethical research practices. Ethics and research: Dilemmas raised in managing research collections of Aboriginal and Torres Strait Islander materials Grace Koch (AIATSIS) This paper examines some of the ethical dilemmas for the proper management of research collections of Indigenous cultural materials, concentrating upon the use of such material for Native Title purposes. It refers directly to a number of points in the draft of the revised AIATSIS Guidelines for Ethical Research in Indigenous Studies and draws upon both actual and hypothetical examples of issues that may arise when requests are made for Indigenous material. Specific concerns about ethical practices in collecting data and the subsequent control of access to both the data itself and to published works based upon it are raised within the context of several types of collections, including those held by AIATSIS and by Native Title Representative Bodies. Ethics or social justice? Heritage and the politics of recognition Laurajane Smith (ANU) Nancy Fraser?s model of the politics of recognition is used to examine how ethical practices are interconnected with wider struggles for recognition and social justice. This paper focuses on the concept of 'heritage' and the way it is often uncritically linked to 'identity' to illustrate how expert knowledge can become implicated in struggles for recognition. The consequences of this for ethical practice and for rethinking the role of expertise, professional discourses and disciplinary identity are discussed. The ethics of teaching from country Michael Christie (CDU), with the assistance of Yi?iya Guyula, Kathy Gotha and Dh�?gal Gurruwiwi The 'Teaching from Country' program provided the opportunity and the funding for Yol?u (north-east Arnhem Land Aboriginal) knowledge authorities to participate actively in the academic teaching of their languages and cultures from their remote homeland centres using new digital technologies. As two knowledge systems and their practices came to work together, so too did two divergent epistemologies and metaphysics, and challenges to our understandings of our ethical behaviour. This paper uses an examination of the philosophical and pedagogical work of the Yol?u Elders and their students to reflect upon ethical teaching and research in postcolonial knowledge practices. Closing the gaps in and through Indigenous health research: Guidelines, processes and practices Pat Dudgeon (UWA), Kerrie Kelly (Australian Indigenous Psychologists Association) and Roz Walker (UWA) Research in Aboriginal contexts remains a vexed issue given the ongoing inequities and injustices in Indigenous health. It is widely accepted that good research providing a sound evidence base is critical to closing the gap in Aboriginal health and wellbeing outcomes. However, key contemporary research issues still remain regarding how that research is prioritised, carried out, disseminated and translated so that Aboriginal people are the main beneficiaries of the research in every sense. It is widely acknowledged that, historically, research on Indigenous groups by non-Indigenous researchers has benefited the careers and reputations of researchers, often with little benefit and considerably more harm for Indigenous peoples in Australia and internationally. This paper argues that genuine collaborative and equal partnerships in Indigenous health research are critical to enable Aboriginal and Torres Islander people to determine the solutions to close the gap on many contemporary health issues. It suggests that greater recognition of research methodologies, such as community participatory action research, is necessary to ensure that Aboriginal people have control of, or significant input into, determining the Indigenous health research agenda at all levels. This can occur at a national level, such as through the National Health and Medical Research Council (NHMRC) Road Map on Indigenous research priorities (RAWG 2002), and at a local level through the development of structural mechanisms and processes, including research ethics committees? research protocols to hold researchers accountable to the NHMRC ethical guidelines and values which recognise Indigenous culture in all aspects of research. Researching on Ngarrindjeri Ruwe/Ruwar: Methodologies for positive transformation Steve Hemming (Flinders University) , Daryle Rigney (Flinders University) and Shaun Berg (Berg Lawyers) Ngarrindjeri engagement with cultural and natural resource management over the past decade provides a useful case study for examining the relationship between research, colonialism and improved Indigenous wellbeing. The Ngarrindjeri nation is located in south-eastern Australia, a ?white? space framed by Aboriginalist myths of cultural extinction recycled through burgeoning heritage, Native Title, natural resource management ?industries?. Research is a central element of this network of intrusive interests and colonising practices. Government management regimes such as natural resource management draw upon the research and business sectors to form complex alliances to access funds to support their research, monitoring, policy development, management and on-ground works programs. We argue that understanding the political and ethical location of research in this contemporary management landscape is crucial to any assessment of the potential positive contribution of research to 'Bridging the Gap' or improving Indigenous wellbeing. Recognition that research conducted on Ngarrindjeri Ruwe/Ruwar (country/body/spirit) has impacts on Ngarrindjeri and that Ngarrindjeri have a right and responsibility to care for their lands and waters are important platforms for any just or ethical research. Ngarrindjeri have linked these rights and responsibilities to long-term community development focused on Ngarrindjeri capacity building and shifts in Ngarrindjeri power in programs designed to research and manage Ngarrindjeri Ruwe/Ruwar. Research agreements that protect Ngarrindjeri interests, including cultural knowledge and intellectual property, are crucial elements in these shifts in power. A preliminary review of ethics resources, with particular focus on those available online from Indigenous organisations in WA, NT and Qld Sarah Holcombe (ANU) and Natalia Gould (La Trobe University) In light of a growing interest in Indigenous knowledge, this preliminary review maps the forms and contents of some existing resources and processes currently available and under development in the Northern Territory, Queensland and Western Australia, along with those enacted through several cross-jurisdictional initiatives. A significant majority of ethics resources have been developed in response to a growing interest in the application of Indigenous knowledge in land and natural resource management. The aim of these resources is to ?manage? (i.e. protect and maintain) Indigenous knowledge by ensuring ethical engagement with the knowledge holders. Case studies are drawn on from each jurisdiction to illustrate both the diversity and commonality in the approach to managing this intercultural engagement. Such resources include protocols, guidelines, memorandums of understanding, research agreements and strategic plans. In conducting this review we encourage greater awareness of the range of approaches in practice and under development today, while emphasising that systematic, localised processes for establishing these mechanisms is of fundamental importance to ensuring equitable collaboration. Likewise, making available a range of ethics tools and resources also enables the sharing of the local and regional initiatives in this very dynamic area of Indigenous knowledge rights.b&w photographs, colour photographsngarrindjeri, ethics, ethnography, indigenous research, social justice, indigenous health

Awarded to Alan Bowers (A236814) who was a R.A.A.F. dental mechanic who serverd during WWII including service in Darwin, and then continued in the R.A.A.F. for some years after the end of WWII The Royal Australian Air Force (and all Commonwealth Air Forces) Long Service and Good Conduct Medal: Awarded to NCOs and ORs of the RAAF (RAF, RCAF etc) for 15 years service. A cupro-nickel plated medal, the obverse features the sovereign's head, the reverse features the crown and eagle emblem of the RAAF (and RAF). Officers are eligible for the award provided they have served a minimum 12 years in the ranks. The riband is dark blue and maroon with white edges. This medal ceased to be awarded in Australia in 1975 when it was replaced by the National Medal (and sbsequently the DFSM and DLSM) in the Australian system of honours and awards. http://www.heritagemedals.com.au/medals-1/service-long-service/air-force-long-service-and-good-conduct-medal.html History of the RAAF Dental Branch It took six years following the formation of the RAAF in 1921 for the first Dental Clinic to be established at Point Cook, Victoria. On 10th June 1927 Flying Officer James Carl Rosenbrock commenced work as an RAAF Dental Officer for the FlyingTraining School at Point Cook. As personnel numbers were still relatively small, Rosenbrock was also responsible for the dental care of all Victorian RAAF units, which involved treating members at 1AD Laverton, as well as Air Force Headquarters at Victoria Barracks in Melbourne. As Army Dental Officers were currently caring for RAAF personnel at Richmond, NSW, the Senior Dental Officer of the 3rd Military District in Victoria (SDO 3MD) requested through the military board that a similar arrangement be established, where that the newly appointed RAAF Dentist provide part time dental services to the Army units stationed at Queenscliff. This was seen as an effective reciprocal arrangement, with both units having a Dental Officer in attendance for, in total, around 3-4 weeks a year. Rosenbrock continued to serve as the sole RAAF Dental Officer until the middle of 1933, when the Air Board asked for his service to be terminated following ‘behaviour unbecoming of a RAAF officer'. He had borrowed several sums of money, of around 40 Pounds or so, from junior ranks on base (as well as from the Regimental Sergeant Major) and had failed to pay the money back. He was replaced by a fellow Victorian, FLGOFF Norman Henry Andrews, on the 18th Sep 1933, who went on to become our first Director of Dental Services, and was instrumental in establishing the organisations and conditions of the Branch that are still present today. Through a fair amount of persistence and hard work on the part of Norman Andrews, the RAAF Dental Branch began to expand from 1937, with the introduction of 2 additional positions, at RAAF station Richmond, and at the FlyingTraining School at Point Cook. This gave the RAAF 3 uniformed Dental Officers, which was expanded to 5 in the months leading up to WW2. 4 of these Dental Officers were based in Victoria and 1 at Richmond, with the other two RAAF units being cared for by the Army (as in the case of Pearce in WA) or by civilians (as in Darwin). With the sudden increase in RAAF personnel required at the outbreak of WW2, the number of RAAF Dental Officers increased dramatically, from 5 in 1939, 28 in 1940, 64 in 1941, 147 in 1942, 193 in 1943, 219 in 1944, and peaking at 227 in 1945. RAAF Dental Officers were required to work in a variety of locations, both in and out of Australia. Between 1940 and 1942 a massive construction programme occurred, with new dental clinics being established around Australia. Priority was given to aircrew training units in order to get these personnel dentally fit for operational deployment, but Dental Officers could equally find themselves posted to recruit depots, fixed stations, medical clearance stations, mobile dental sections, and RAAF and civilian hospitals. RAAF Dental Officers were posted to the large dental centres at Ascot Vale (Vic) and Bradfield Park (NSW) when first appointed, where they received military and clinical training, before being deployed to their needed location. Mobile Dental Units When Japan entered the war in 1941, the rapid deployment of troops to northern operational areas with less than ideal dental fitness was extremely high. As a result, the RAAF deployed a range of mobile dental units, either alone or with medical sections, to support the increasing number of isolated deployed personnel within Australia and overseas. There were three types of mobile unit used: a. Mobile Dental Unit – relied on using either a semi-trailer to get around or by building a surgery directly on to the truck chassis, and installing hydraulic chairs, units, x-rays, and laboratory equipment. They were able to move around between small units, such as RAAF radar stations, where they could plug into the local power supply and work immediately. b. Transportable Dental Units – used for stops of longer duration, where field equipment was carried in panniers from one unit to another by road or rail and housed in whatever accommodation was available at the destination. They were often carried within Australia on Tiger Moths and Dakota aircraft. c. Itinerant Dental Units – in some areas, the dental equipment was installed at the RAAF unit and the Dental Officer and their staff would travel from unit to unit, using the equipment available at each location. RAAF Dental BadgeAs the war developed in Europe, it soon became obvious that the RAF Dental support was not capable of supporting the increasing numbers of RAAF aircrew that were being sent for service with the RAF, with only enough Dental Officers available to provide one to every 2000 men ( instead of the preferred 1 to 600). As a result, the RAAF provided a mobile dental unit, fitted out in a caravan and pulled by a Ford V8 Coupe, to travel around England in support of RAAF personnel at various squadrons. Some degree of tact was needed to ensure that the RAF did not take this as a comment on the treatment they were providing, but it proved successful in maintaining a satisfactory state of dental fitness in RAAF personnel, and a second mobile unit was soon dispatched. They were also set up with a laboratory on board as well as the surgery, which was a major difference between the RAF and RAAF, as the RAF did not provide dentures for their troops (the RAAF would, providing they had served for 6 years). In 1943 the RAF was no longer able to provide Dental support to Australian troops in the Middle East, which resulted in the need for a transportable dental unit to be deployed from Australia. It functioned in a similar manner to the RAF, by moving from one squadron to another. It served in the Middle East and Africa, from Cairo across North Africa, to Italy, and eventually back to England to treat returned prisoners of war. GPCAPT Norman Andrews The growth and development of the RAAF Dental Branch owes a debt to one man in particular, GPCAPT Norman Andrews. As the second RAAF Dental Officer to enlist on 18 Sep 1933, Andrews became the principal architect of the structure and organisation of the RAAF Dental Branch leading up to and during WW2. Until early 1940, the RAAF Dental Branch was administered by the Director of Medical Services (Air), which placed it under the control of the Army Medical staff. The Army would provide their Inspector of Dental Services for advice whenever needed. In April 1940, the RAAF Medical service separated from the Army, resulting in the control of the RAAF Dental Branch shifting back to the RAAF. Andrews became the first Director of Dental Services, when the position was created in 1943 as recognition of the higher profile the Dental Branch was now playing in the RAAF Medical service. Until this time, Andrews's title had been as the Dental Staff Officer to the RAAF Medical Service. Andrews was responsible for the establishment of the war-time structure of the Dental service, establishing new dental centres at all major bases, creating mobile and transportable dental units, ensuring the continual growth of the Branch, maintaining professional development of staff through the establishment of a professional journal, and by organising renowned lecturers to speak at RAAF bases. He also believed in visiting as many dental units as possible to see for himself what conditions were like and to talk first-hand to staff in remote units. His itinerary during the war years, both in and out of Australia, shows a large number of trips in a variety of modes of transport in order to reach remote areas where units were serving. He was promoted to GPCAPT in July 1944, as the numbers of Dental Officers soon peaked at 227 towards the end of the war (1 GPCAPT, 9 WGCDRs, 60 SQNLDRs, and 157 FLTLTs). After the war, with the reduction in RAAF personnel required in uniform, the Dental Branch also reduced its numbers significantly. By 1947 there were only 18 Dental Officers serving (many part-time), with 1 GPCAPT, 1 WGCDR, 10 SQNLDRs, and 6 FLTLTs, and only 13 by 1950. With the decrease in Branch personnel numbers, the ‘powers to be' saw fit to reduce the Director of Dental Service rank to WGCDR, and as a result Norman Andrews found that in order to continue serving in the RAAF he would have to wear a reduced rank. This appears to have been a contributing factor in his decision to discharge at the relatively early age of 43 and accept an administrative job as Director of the Victorian Government's School Dental Service. Norman Andrews holds the proud honour of being the founder of the RAAF Dental Branch, which during the war was instrumental in educating servicemen of the importance of dental health and maintaining the dental fitness of troops in a variety of areas. Dental Orderlies (Assistants) The dental orderly mustering was first introduced in 1937. Until that time, medical orderlies were assigned to assist the Dental officer with their duties. As early as 1931 it had been noted by both RAAF and Army Dental Officers working in Victoria and Richmond that a lot of the troubles they were having would be solved by appointing a permanent Dental Orderly. Often they would find that the medical orderly they were assigned was a different one each day, and as a result the administration and work in general was very inefficient. By 1937, with the increase in Dental Officers to 3, it was realised that a Dental Orderly mustering needed to be created. Dental Mechanics/Technicians Before WW2, dental laboratory work was provided by civilian laboratories, as most RAAF units were stationed around metropolitan areas. At this time, service personnel were still required to pay for their own dentures, unless they had served for six years or had their dentures damaged during performance of their duties. In July 1940, mainly in response to the development of more remote RAAF dental units and the increasing demand for dental prostheses, the Dental Mechanic mustering was established. Unfortunately there was a very limited pool of civilian dental mechanics to recruit from, and as a result the RAAF set up a training school at Laverton (which was later moved to Ascot Vale) in June 1941 which conducted an intensive 6 month course in Dental mechanics. Dental mechanics were quickly in demand. In all fixed and mobile dental units at least 1 Mechanic was supplied for each Dental Officer, and indeed the RAAF supplied Dental Mechanics throughout all its deployments, something the RAF were unwilling, or unable, to do. Two grades of dental mechanic existed: the Senior Mechanic (with the rank of NCO), who was competent in all phases of laboratory work; and the Junior Mechanic, who could only handle routine work and not more advanced denture work. The progression to Senior required a further trade test in techniques including setting up, clasp-forming, casting and backing teeth. During the course of the War, two special courses were held for Mechanics. The first, directed at senior mechanics so that they could instruct others, was in 1942 when Acrylic Resin was first introduced as a denture base material, as an alternative to the current option of vulcanite. Later, towards the end of the War, a ‘refresher' course was provided for those that had served for the greatest period of time in order to allow them retraining in techniques that they had not practised during their service and which were common in civilian life. This included cast base dentures, crowns and bridges, partial dentures, and retainers. Towards the end of the War, a course was held with WAAAF trainees to train them as Mechanics. However, as the War was soon to end they never had the opportunity to progress within the mustering to become Senior Mechanics. The RAAF Dental Branch has survived 75 years of turbulence, with reviews of its viability occurring regularly every few years from as early as 1937. The Branch continues to provide excellent service to the ADF community and, despite reduced manpower, will continue to play an important role in Air Force Health operations. http://www.defence.gov.au/health/about/docs/RAAFDental.pdf40cm cupro-nickel plated medal, the obverse features the sovereign's head, the reverse features the crown and eagle emblem of the RAAF (and RAF). A23814 BOWERS.A. A. F.r.a.a.f long service medal, r.a.a.f good conduct, r.a.a.f. dental service medal

Made by students and staff at the School of Mines Ballarat in 1983 and donated to the then fledgling ATCV. Photo attached shows staff Robert Brouwers and Gayle Spicer accepting the donation.........The boxes have been in the safe keeping of Terry Peacock at the Adelaide CVA office.....terry recalls that the only injury treated using the box he recalls was when the box slammed forward when the bus stopped abruptly and hit his head...Basic safety was important from the very first projects. ATCV/CVA later developed a formidable safety culture.Wooden boxes for storage and transport of First Aid materials on ATCV/CVA tasks/projects.Grey cross in white circle on sideof, school, ballarat, peacock, mines, safety, first, aid, terry

Twice yearly School Inspectors reports on facilities, organisation, instruction at Yendon School No. 719 from 1914 to 1925Shows the priorities and values in education during this time. Gives a record of who the inspectors and teachers were at Yendon School No 719 during 1914 to 1925Yendon School 719 Inspector's Report Book 1914 - 25 is stapled bound book issued to all schools by the Department of education."Yendon 719" on coverschool, buildings, yendon school, no 719, inspectors, inspector reports, school instruction, school organisation, school furniture, school grounds

This Timing Relay is quite a large (industrial type) apparatus. The Timer is started by having a voltage of 250 volts direct current (as supplied by batteries). A DC motor then rotates driving into a clockwork mechanism, the output of which is an arm rotating at the same speed as a minute hand on a clock. Attached to this arm is a mercury switch which tips and makes an electrical circuit operate in a sequence control system. The sequences that use these timers are when starting and stopping Hydro Generators. They check that the machine has connected to the power system grid before 20 minutes duration. Brakes must go on for a set time when shutting down a generator slowing at the right speed as measured by this apparatus. These generators are powered by the hydro force of "stored" water at a higher altitude. The establishment of both the NSW and Victorian Hydro schemes was achieved from the mid 1900's to the 1960's. At this point in time the need for additional power sources to quench both an industrial and domestic demand for electricity was purely an economic and not and environmental (carbon reduction) factor. This Timing Relay apparatus is very significant to the Kiewa Valley as its use was introduced during the Kiewa Hydro Scheme. Although only a relay apparatus, it was however part of the explosion of human resources into the valley. This influx of population transformed the region from that of a basically quiet rural region to one which evolved into both an industrial and a larger residential community. This evolution in the valley created a change, not only in the "physical" landscape but also the socio-economic expansion which permitted other "tourist" based industries into the valley. This Hydro Scheme was instigated by "the Government of the day" as a bold move and was the major force behind the acceptance of World War II refugee and "technical" workforce. Inclusion of skilled and unskilled migration into the Australian environment was of a higher priority than a selective quota system of later years.. Although this mass "invasion" of workers with families was thought of in some circles as intrusive, the expansion of population post war years and its integration into the Australian rural sector, produced the multi- lingual, multi-cultural diversity of later years.sec vic kiewa hydro scheme, alternate energy supplies, alpine population growth

This document (dated 1911), is a receipt covering the compensation for the three acres of land required to establish the Tawonga School from its original site (since 1880) to a more central site (since 1911), within the township. This receipt clearly shows the era in which the community involvement and social commitment of landholders was at a higher level, in the early 20th century, than at the latter part. Matters involving community welfare in relatively isolated rural regions was of high priority to every person whether town folk or grazier/farmer or miner. The letter of acceptance of the amount of twenty one pounds for three acres was signed by John Cooper on behalf of Ada Ryder (parent at the school), did not require State Government Compulsory Acquisition process (as it may have, had it been in the latter part of the century and if it were in a city or large town. This social benevolency was part of the period (up to the late 1900's) of the rural Australian environment. This was well before international land investments changed the picture of the socio-economics of country towns.A4 letter of confirmation of payment on pre-lined paper and with a margin. Both margin and lines are coloured in light grey. The page has been folded four times and shows faintly, horizontal lines, of manufacture. The letter is framed with a glass front.This receipt for the compensation of money is hand written in ink and reads: "Tawonga Dec 2 1911, I have this Day Received from the Residents and other People interested in the new State School the Sum of (Pounds sign) 21-0-0 twentyone Pounds being value of compensation for three Acres of land on which is erected the new State School No.2282 Paid by Cash & Cheques with thanks 2/12/11 (Signed) John Cooper" Below this is affixed a Victoria 1 pence stamp duty stamp, on which is written(freehand) Paid 2/12/11 Initialed J Cfinancial letters, receipts, school acquisitons, stamp duty