The Six Degrees works are hand-spun human hair yarn woven on a 4-shaft table loom with a cotton warp. The names of the people who have donated the hair are written above the weavings. They were traced with graphite carbon paper directly on to mount board. Six Degrees is about the connections between individuals and the groups they are part of, emphasised by the names of the donors of the hair being included above the weavings. Wangaratta Art Gallery Collection. Donated by the Artist.A small weaving made from cotton and human hair mounted on a board marked with the names of the people who donated their hair to be woven.rodney love, human hair, textile, weaving

The Six Degrees works are hand-spun human hair yarn woven on a 4-shaft table loom with a cotton warp. The names of the people who have donated the hair are written above the weavings. They were traced with graphite carbon paper directly on to mount board. Six Degrees is about the connections between individuals and the groups they are part of, emphasised by the names of the donors of the hair being included above the weavings. Wangaratta Art Gallery Collection. Donated by the artist.A small weaving made from cotton and human hair mounted on a board marked with the names of the people who donated their hair to be woven.rodney love, human hair, textile, weaving

In Slovenia, there were no vacuum cleaners until 1970s to perform the jobs so housewives have been beating the dust out of mattresses, blankets and carpetsA woven wooden(willow wood tied together with wire) dust beater to be used in spring cleaning for beating the carpets, mattresses and blankets, dust beater, willow wood, cleaning mattresses, blankets, carpets

Patchwork quilt consisting of small hexagons, printed and woven cottons with red cotton border. Embroidered with feather stitch. Backed with cottonhandcrafts, needlework, manchester, bedding

This item is from the private collection of George Shirling of Red Onion, Falls Creek. The first nutcracker tow at Falls Creek was the Nissen Tow. Operated by Toni and Skippy St. Elmo, it had a capacity of five people at one time and cost 6/- day in 1951. The Nissen Tow was powered by a Buick engine and operated from 1951 until 1960. George Shirling arrived in Falls Creek in 1962. He engaged Phil Nowell to build the original Koki Alpine Lodge which opened in 1965 with 14 beds. George operated the lodge with Michael “Baldy” Blackwell as manager. In 1981 he graduated in sport psychology and was invited to become team psychologist for the Australian Winter Olympic team which went to Albertville, France, in 1992. He later owned the Red Onion Chalet. George Shirling passed away on 27th February 2023. He had remained actively involved in Falls Creek and was generous with his time and knowledge, always an amazing supporter of The Falls Creek Museum and Falls Creek Village.This item is significant because it is connected to one of the early ski tows established in Falls Creek.A woven hessian belt with leather and metal buckle. The metal fork enabled the skier to attach to the rope tow. A display card is included. On card: Item No. 115 Nutcracker - Nissen Rope Tow - 1950sgeorge shirling, nissen lodge

Mottled brown cardboard box containing twelve (12) metal needles woven through a metal tray and covered in clear plastic.Handwritten in red ink on front cover of box: ML172hypodermic, needle, syringe, flag brand, england

Mottled brown cardboard box containing twelve (12) metal needles woven through a metal tray and covered in clear plastic.Handwritten in blue ink on front cover of box: ML172hypodermic, needles, flag brand

This coat belonged to Brighton resident Audrey Winifred Pickett (nee Heriot; 1915-2011). The coat is made from the pelts of rakali, also known as the Australian water rat, a native rodent species similar to an otter. Growing up to 35 centimetres in length, rakali typically live in burrows near water, feeding on fish, insects, yabbies and waterbirds. Throughout the early twentieth century, they were widely considered to be a nuisance and were hunted for their soft and waterproof fur. Demand for rakali pelts increased during the 1930s Depression years, when a ban was placed on the import of overseas furs; rakali fur became a popular substitute for the fur of the American muskrat. The species was placed under a protection order in 1938, although periodic culls were allowed until 1957 due to their perceived destruction of irrigation banks and fishing nets. Audrey recalled that the coat was made for her by furrier F. J. Ellemor after a large cull of rakali. The coat was displayed in the window of Ellemor's Block Place store. F. J. Ellemor Pty Ltd was established in 1908 by furrier Francis John Ellemor (1867-1944) and continued into the late twentieth century under the management of his son Wilfred (1801-1972). Francis and his wife Edith lived in Rothesay Avenue, Brighton from the late 1930s.Three-quarter length brown fur coat made of Australian water-rat (rakali) pelts. Wide raised collar and cuffs. Fastens centre front with two large hooks and eyes. Lined with chocolate brown silk satin.Label, woven brown on beige silk, centre back neck: created by / F. J. Ellemor / FURRIERS / MELBOURNEfur coat, rakali, australian water rat, melbourne fashion, audrey winifred heriot, audrey winifred pickett, audrey winifred north, francis john ellemor, f. j. ellemor, furrier

Braid woven in 1977 on an inkle loom.handicrafts, weaving, weaving looms

Mary Owen OAM (1921-2017) purchased this dress in 1975 in Mexico while attending the first World Conference on Women and wore it to the reception there. A dedicated feminist, unionist and activist, she was a vocal campaigner for the empowerment of women, particularly in the fight for equal pay. Mary's involvement in activism began in 1966 when she joined the staff of the Association of Architects, Engineers & Draughtsmen (AAESDA), where she was responsible for advertising, layout and proofreading editorial for its journal 'Blueprint'. Her contact with the union awoke an interest in women's rights in the workplace, and in 1969 after she joined Dr Bertram Wainer's Progressive Reform Party, which advocated for legalised abortion. She joined the Women's Electoral Lobby in 1972 and remained an active member for over forty-three years, representing the WEL on many government committees. She was a founding co-coordinator of the Working Women's Centre Melbourne from 1975 until 1986, a founding member of EMILY's List Australia, an early member of the Melbourne Press Club and an early supporter of the Australian Women's Archives Project. An annual Mary Owen Dinner was held in her honour for twenty years from 1986 until 2007, which brought together hundreds of women each year. Mary was awarded the Queen's Silver Jubilee Medal in 1977 and the Order of Australia Medal in 1984. She was added to the Victorian Honour Roll of Women in 2001.Red, white and black cotton halter neck dress with rows of pin tucking on the bodice and applied horizontal strips of red and black cotton and black lace to the skirt. Label, woven black on white acetate, centre back: Disenado con carino por / GEORGIA CHARUHAS / HECHO / EN MEXICO Label, woven black on white acetate, centre back: Gerorgia's / BOUTIQUE LAS MARIPOSAS / Designer: / Georgia Charuhas / MERIDA YUCATAN, MEXICOmexico, international women's conference, 1970s fashion, georgia charuhas, feminism, mary owen

Clothing. Shaped gathered 'bra-like' bodice, joins a peak midriff panel. 1.3 cm satin ribbon straps over the shoulders. Skirt is permanently pleated nylon with a 10 cm deep woven lace edging, woven into the fabric. A 3 cm wide band of nylon lace insert, outlines the top front of the bodice.costume, female, ladies white nylon nightie

Item relates to H.V.Rooke VX47141. Item most likely a souvenir from the Islands.Cane ornament woven in four colours, green, brown, black and light brown, shape has a base with upright section with open centre.memorabilia, souvenirs, cane ornaments

Item belonged to Edwin James Jones No 3511 AIF. Refer 1367.5 for his service history..1) Pocket knife, fold out with 6 tools. Sides are wood or wood patterned. .2) Woven cloth lanyard attached to knife.pocket knife, personal, jones

A hand-woven rectangular shaped cotton cloth with symmetrical designs. It is white, red, yellow, blue and green and there is a white fringe at each end.handcraft cloth weaving

This belonged to Dr Bill Rawling's and was in a medical bag that he was used in the 1940s and 1950s. It was donated by Dr Geoff Bishop.Spirit burner, metal container with thick woven cotton wick. No fuel present in container. Used by Bill Rawlings in process of testing urine.urine testing

Woven cane sewing basket with lid attached by cord. Green edging and green slats on outside and lined in green studded silk inside.domestic items, sewing

The Australian Paramount Prize Packet available from the Footscray Display.Australian Paramount prize bag for the Royal Show, no content: craft paper bag with loosely woven string handle, and text in black lettering[obverse] The Australian / PARAMOUNT / Royal Show / PRIZE PACKET A Prize in every bag - only obtainable at the / Footscray Display / Stands 347-8, Industrial Hall / [reverse] Webb Printing Co / 226 Nicholson st, Footscray, W11 / or Webb's School Shop, Hyde St, Footscray / Quality paper in our Bigger and Better Books / Robber stamps, Paper Bags, Geneal stationery / School Books / Bought, sold or exchangedindustry, showbag, australian paramount, commercial

Beige silk parasol printed with bold zig-zag design in brown, orange, yellow and turquoise. Metal spokes tipped with white bakelite. Wooden handle decorated with pokerwork design painted red. Wooden ball covered in silk thread and twisted cotton cord hanging from handle.Cast in metal spokes: THE ARMSTRONG REGD BRITISH MAKE Woven label, blue on white cotton attached to spoken: Perfectionparasol, the armstrong, 1920s

This jacket was bought in England for Elsie Law (nee Russell) by her husband James Lindsay Gordon "Lin" Law in 1930. Elsie used it as a bridge jacket. Lin was born in Ballarat 1881, the eighth child of Scottish migrants James Nicol Law and Margaret Law (nee Bartholomew). BHS holds an evening dress belonging to Margaret Law in its collection (see T0006.1). After leaving school at the age of 11, Lin began working as a salesman. In 1906, he and business partner James Kerr Pearson (also a Brighton local, who lived at 12 Moule Avenue) established the shirt manufacturing company Pelaco. In 1922 the company established its factory at 23 Goodwood Street on the top of Richmond Hill; the 4.3 metre high neon 'Pelaco' sign, erected in 1939, is today heritage listed. The company was known for its innovative approach to efficiency and labour relations, discontinuing Saturday morning work in 1908 and appointing an industrial relations officer in 1928. Lin married Elsie Russell on 12 January 1915 at St Mary's Catholic Cathedral in Sydney and they lived most of their life in Brighton. In 1920 they moved into 'Blairgowrie', 306 St Kilda Street, The eldest their four children, Pauline Margaret Law (born 15 December 1915) ultimately purchased the house with her husband Hugh McLean in 1956 and lived there until 1965 when the house was demolished.Cream silk jacket block-printed with art deco style pattern in red, blue, black and mustard colours. Lined with soft apricot-coloured satin. Wide stand collar. Front fastens low on hip with four silk covered buttons. Label, woven brown on cream silk, centre back: Eileen / Mulholland / Ltd. / 43, Wigmore St., / LONDON. W1.elsie russell, james lindsay gordon law, brighton, pelaco, bridge jacket, 1930s fashion, eileen mulholland, art deco

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

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

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

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

Organza is a thin, plain weave, sheer fabric traditionally made from silk. Many modern organzas are woven with synthetic filament fibres such as polyester or nylon. Silk organza is woven by a number of mills along the Yangtze River and in the province of Zhejiang in China. A coarser silk organza is woven in the Bangalore area of India. Deluxe silk organzas are woven in France and Italy. Organza is used for bridal wear and eveningwear. In the interiors market it is used for effects in bedrooms and between rooms. Double-width organzas in viscose and acetate are used as sheer curtains. Nylon organza was very popular as the new fashion material in the 1950’sA lady's collar white embossed nylon organza with machine lace edge. C1950clothing, nylon, organza, dressmaking, moorabbin, bentleigh, cheltenham, fashion

Puttees were long established items of a soldiers kit. Although time consuming items to tie correctly, puttees were a very comfortable and practical method of ensuring that mud and loose debris would not enter the tops of ankle length boots. Short puttees were common during the second world war.A pair of dark khaki woven wool cloth bands that were wound around a soldier's ankle. Each puttee has cotton stitching across one end, with the other end stitched into a triangular shape. Attached to the triangular end is a long khaki woven cotton strap that was used to secure the puttee in place. Cotton stitching is across the end of the cotton strap.V307 1944 D (broad arrow) Dputtees, clothing

The first Warrnambool to Melbourne cycling race was held in October 1895. 24 riders started with only 7 finishing the race. W. Nicol was the winner of the inaugural race. Two months later on 14/12/1895 the race was run in reverse. For the ensuing 43 years it was mainly Melbourne to Warrnambool. Since 1939 it has been run mainly Melbourne to Warrnambool. The 2012 winner of this race was Floris Goesinnen from the Netherlands. He finished in a time of 7 hours and 23 seconds. He retired from cycling in 2014 to pursue further study in the Netherlands.The Melbourne to Warrnambool cycling race remains one of the longest and toughest one day cycling events in Australia. This medal therefore carries with it considerable importance and prestige in the sporting world. This event holds considerable importance for the sporting and social life in Warrnambool.Gold metal oval shaped medal with City of Warrnambool crest in dark blue and red with gold lettering and figures. On black and gold woven ribbon. On front: Road Race time medallion surround oval medallion with Warrnambool City Council Victoria, City Motto “By these we Flourish “in gold on red. On the reverse: Melbourne to Warrnambool Cycling Classic 2012 1st place. Stamped Stokes. warrnambool, melbourne to warrnambool cycling classic, warrnambool cycling race, floris goesinnen, floris goesinnen 2012 cycling

Military isssue as part of kit and equipment. Item in the Malcolm Angus collection Regt No 3112710. Toiletry bag, green colour, fine woven waterproof nylon, opening has a green cord pull through for closing, details in black print.On one side, “(arrow up) Made in Australia C.G.C.F 1968”, on other side in black texta, “ANGUS”.toiletry, bags, military issue

Basket cane round woven with rope reinforcing around lip, under base, and rope handle. Also has metal strap around lip.flagstaff hill, warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, shipwreck-coast, flagstaff-hill-maritime-village, basket, cane basket, storage, luggage, fisheries, equipment