Discusses American technological advancement and American tendency to look forward; Australia is 15 years behind and should be more forward looking; Australian private affluence and public poverty, motor cars, expressways and roads. America is described as looking to a future beyond cars; Boyd proposes that Australia skips expressway building. Discusses tourism, the Australian accent, imagining 2000AD, Archigram's Plug-In City, anti-city, integrate bush into the city - the gumtree aesthetic.Typewritten (c copy), quarto, 29 pages. (Two copies plus one incomplete version with 13p)Incomplete one contains pencil editsfuture, america, henry ford, automobiles, road development, destruction of old buildings, destruction of nature, tourism, great barrier reef, australian accent, globalisation, isolationism, canada, new zealand, archigram, athens, los angeles, suburbia, heidelberg school, diggers, robin boyd, manuscript

Published posthumously in 1972, “The Great Great Australian Dream” was Robin Boyd’s satirical review of Australian culture at the end of the 1960s. Included, for example, were chapters on the peculiarities of the Australian accent, the prevalence of blowflies, and the unrealistic dreams of a fictional post-war architect Gordon Hope.Hardcover w/ Dust JacketWritten by Boyd, with printed inscription "It compensates for half-recognized inadequacies in the sunny, wideawake life."australian satire, national characteristics, humor, walsh st library

Published posthumously in 1972, “The Great Great Australian Dream” was Robin Boyd’s satirical review of Australian culture at the end of the 1960s. Included, for example, were chapters on the peculiarities of the Australian accent, the prevalence of blowflies, and the unrealistic dreams of a fictional post-war architect Gordon Hope.Hardcover with Dust JacketRBF Acquisitionaustralian satire, national characteristics, humor, walsh st library

Published posthumously in 1972, “The Great Great Australian Dream” was Robin Boyd’s satirical review of Australian culture at the end of the 1960s. Included, for example, were chapters on the peculiarities of the Australian accent, the prevalence of blowflies, and the unrealistic dreams of a fictional post-war architect Gordon Hope.Hardcover with Dust JacketRBF Acquisitionaustralian satire, national characteristics, humor, walsh st library

Published posthumously in 1972, “The Great Great Australian Dream” was Robin Boyd’s satirical review of Australian culture at the end of the 1960s. Included, for example, were chapters on the peculiarities of the Australian accent, the prevalence of blowflies, and the unrealistic dreams of a fictional post-war architect Gordon Hope.Hardcover with Dust JacketRBF Acquisitionaustralian satire, national characteristics, humor, walsh st library

Published posthumously in 1972, “The Great Great Australian Dream” was Robin Boyd’s satirical review of Australian culture at the end of the 1960s. Included, for example, were chapters on the peculiarities of the Australian accent, the prevalence of blowflies, and the unrealistic dreams of a fictional post-war architect Gordon Hope.Hardcover with Dust JacketRBF Acquisitionaustralian satire, national characteristics, humor, walsh st library

Published posthumously in 1972, “The Great Great Australian Dream” was Robin Boyd’s satirical review of Australian culture at the end of the 1960s. Included, for example, were chapters on the peculiarities of the Australian accent, the prevalence of blowflies, and the unrealistic dreams of a fictional post-war architect Gordon Hope.Hardcover with Dust JacketRBF Acquisitionaustralian satire, national characteristics, humor, walsh st library

Richard William McGilvery. Enlisted No. 450708 in the RAAF on 20/3/45, age 19 years. Served with BCOF in Japan post War, discharged on 16/10/1948, re enlisted 1950, discharged 30.9.1970 with the rank of Warrant Officer, awarded the "Long Service & Good Conduct Medal.Framed memorabilia, frame brown timber, Memorabilia has blue inset backing, there are 4 inserts. Top insert has, 2 x RAAF shoulder epaulettes, 2. Shoulder patches "British Commonwealth Forces" 3. 2 x badges with lion and horse. 4. 1 x RAAF hat badge. 5. 4 x uniform buttons. 6. 1 x badge "British Commonwealth Forces Association". 7. 1 x brown shoulder wings. 8. 1 x miniature badge "Air Training Corps Australia". 9. Set of medals mounted. (1) Defence medal 1939-45. (2) Australian Service Medal. (3) Australian Defence Medal. (4) Long Service and good conduct medal. 10. Medallion 60 years 1945 - 2005. Photo insert showing portrait of "McGilvery" in Japan. Centre insert: Details re McGilvery with "Long Service & Good conduct Medal". "memorabilia, photographs, bcof

From information book - "Reader's Digest/ Gallipoli/ 25th April 1915 - 9th January 1916/ Centenary Commemorative Prints". Collection of 20 prints. Refer Cat No. 7300.Framed print. Print - colour print on paper. COPY OF AN ORIGINAL PAINTING - TEXTILE, DYE, COLOURED CRAYON ON COATED PAPER. DEPICTS IN DARK BROWN COLOURS WITH SMALL ACCENTS OF PALE BLUE, RED AND YELLOW - BELOW HORSE. VISIBLE IN PAINTING IS A SOLDIER, HORSE AND GUN CARRIAGE. Frame - Black plastic framing with glass front and MDF board backing with adhered black paper.Details on print; "SIDNEY NOLAN (1917 - 1992) Gallipoli soldier, horse and gun carriage 1961". Sidney Nolan - embarked on a series of Gallipoli drawings and paintings which he completed over a 20 year period. 252 drawings and painting.framed accessories, prints, ww1, gallipoli, centenary

Donated by Andrew John BALSILLIE MBE. Refer 118.5 for his service details, RSL, Council history.Hard cover, black colour buckram. Silver colour print on front and spine. Dust cover white print title over black background. red and blue accents. Black print on spine. Black and white photograph design on silver background. Pages 467 cut plain. Illustrated black and white photographs. Colour photographs of paintings.Black and white stamp on front fly lead "Major A. J. BALSILLIE MBE JP" Hand written black ink on second fly lead "Donated by (stamp) 2 -1- 2000"books, history

Montmorillonite is a type of clay composed of aluminium silicate that forms very small particles that are not well-bonded to one another. This is why it is so soft. When in the presence of water, all types of clay swell. Montmorillonite swells even more than most types of clay, which is why it is often chosen over other types of clay in its practical uses. Montmorillonite has many different practical uses, including in the mining industry, as a soil additive, as a sealant, as a desiccant to draw water out of the air, to clean ponds, to make kitty litter and in cosmetics. Montmorillonite is a common mineral and, despite being named after Montmorillon, France, can be found all over the world, including many deposits in Australia. It is not known where this particular specimen originates from. Montmorillonite is an economically and socially significant material with a wide variety of uses. Having samples of common and important minerals allows collections, like the Burke Museum, to have a more complete view of the land on which they are located, and therefore a more complete view of heritage. This specimen is part of a larger collection of geological and mineral specimens collected from around Australia (and some parts of the world) and donated to the Burke Museum between 1868-1880. A large percentage of these specimens were collected in Victoria as part of the Geological Survey of Victoria that begun in 1852 (in response to the Gold Rush) to study and map the geology of Victoria. Collecting geological specimens was an important part of mapping and understanding the scientific makeup of the earth. Many of these specimens were sent to research and collecting organisations across Australia, including the Burke Museum, to educate and encourage further study.A solid tennis-ball sized chunk of aluminium silicate clay. It is primarily white, accented with orange and brown.burke museum, beechworth, geological, geological specimen, clay, montmorillonite

Axedale is a town in Victoria, Australia. It is located on the McIvor Highway, in the City of Greater Bendigo, east of Bendigo. It was surveyed and proclaimed in 1861. (Wikipedia)A thirty-six pages book detailing the history of Axedale. Published by the centenary and back to Axedale committee. Chapters on early settlement, churches, education, police, municipal affairs, commerce, cemeteries, racecourse reserve, the railway, Eppalock weir, the hall, the wars, C.W.A. camp sites, C.F.A. sport. Many photographs throughout. L.J. Ellisonaxedale, history

Print Council of Australia Members' Print Commission, 1983Abstracted views of a desert scene. A central road intersects image at a vertical diagonal. Faint outlines of houses and a WaterTower are scattered throughout the image. To the lefthand side a building can be seen with a veranda and several seating areas. To the righthand side there is another building and the numerals '1983' can be seen to the side of it. A railway crossing sign is positioned lower centre, at beginning of road. Kangaroos and trees can also be seen in the image. Dominant colour is a pinky red, with blue accents and grey shadows. Mounted in grey matt, in wooden frame. Front: Nullarbor (lower left of image) (ink) 35/100 (lower left) Nullarbor 1-1-83 (lower centre) Mary Macqueen 83 (lower right) (pencil) Back: (no inscriptions)nullabor, desert scene, female artists, female artist, abstract

Australia became a Federation on January 1st, 1901, uniting Australia's six British colonies - New South Wales, Victoria, Queensland, South Australia, Western Australia and Tasmania – into States of the Commonwealth of Australia. The Government of Victoria invited 12,000 guests to attend the official celebrations for the Opening of the Federal Parliament by His Royal Highness, the Duke of Cornwall and York (later King George V). The historic occasion was held at noon on May 9th, 1901, at Melbourne's Royal Exhibition Building, the only building large enough for that number of guests. The guests represented all six states of Australia with varied connections and interests, including politics, business and industry, the arts, religion, education, and public service. In Melbourne, the occasion was followed by two weeks of celebrations. The decorative, elaborate design of the certificate-size invitation represents Australia’s colonial history and its transition to the Federated Commonwealth of Australia. The National Gallery of Australia attributes the artwork of this invitation to Australian artists Norman Lindsay (1879–1969) and John Longstaff (1861–1941) and its printing to Sands & McDougall Limited, Melbourne. The invitation has no date or location details. This invitation has the label “Mr. C Swinburne” added over an original, handwritten name. Perhaps it was a spelling correction, or a late change, with Swinburne attending in the place of another citizen. The book “Our Invited Guests An Official Directory, Melbourne, Victoria, 1901” lists all the guests, but not one has the surname SWINBURNE. There are five Warrnambool listings, eight people in all: - - MoCOBMICK, G. D., Esq., P.M., Warrnambool. - O’DOWD, The Ven. Monsignor, Warrnambool. - OPIE, C. N. T., Esq. (and Lady), Warrnambool. - OSBORNE, Hy. Wm., Esq., Shire Secretary (and Lady), Town Hall, Warrnambool. - STEVENS, Mrs. F. P., Mia Mia, Warrnambool. CHARLES GRANT SWINBURNE (1864-1934): - Charles Grant Swinburne, known as Chas.., was a prominent Warrnambool figure: a member of Toc H., the Progress Association and several other local clubs and societies. He purchased Warrnambool’s Tattersall’s Hotel in 1911 and had a booth at the 1914 Warrnambool Show. In 1891, he married Susan Jane Granter (1867-19 June 1935), daughter of Joseph Granter (1832-1879) and Ann (born Holley). Joseph had arrived in Melbourne on the famous tall ship Marco Polo in February 1856. In 1868, he was a shareholder of the Warrnambool Steam Packet Co., trading along the coast of Victoria. His portrait is among those recognised on the historic Warrnambool Pioneers Board. The invitation is nationally significant for its connection with the first Federal Parliament in May 1901, where the first federal parliamentarians were sworn in, and where the Duke and Duchess of Cornwall and York attended, representing the continued link with Britain. The invitation also unites a local Warrnambool businessman, Mr C Swinburne, with the 12,000 guests representing their towns and states that in 1901 became the Commonwealth of Australia. Swinburn was also married to the daughter of Joseph Granter, an early pioneer recognised on Warrnambool’s Pioneer Board. Invitation: certificate size, colour lithograph on cream card with gilt highlights. The Victorian Government invited Mr C Swinburne to celebrate the Opening of Federal Parliament by HRH the Duke of Cornwall and York, held in Melbourne. The invitation has printed drawings of figures, decorations, heraldic symbols, and gilt accents behind the central figure, on the capital letters of the message, and the Advance Australia Arms. Inscribed with a handwritten label that covers handwritten text. [The event was held at Noon, 9th May 1901, Royal Exhibition Building, Melbourne.] Inscription, handwritten on a label: "Mr. C. Swinburne" Left image: [figure of Britannia holding a blue shield with three crossing red bands, standing below an oak tree] Central image, in front of a gilt circle : [symbolic female royal future with Orbe and Sceptre seated on throne, four stars around her] Right image: [young female figure representing Australia holding a scroll, standing below a flowering gum] "THE CONSTITUTION OF THE COMMONWEALTH OF AUSTRALIA" Bottom left: Combined Arms: "[Duke of Cornwall and York, Prince George Frederick Ernest Albert, Princess Alexandra, his Duchess]" Bottom centre: [six symbols representing the Coat of Arms for each state of Australia] Bottom right: Advance Australia Arms "[Shield with six symbols, between Kangaroo and Emu, and below Rising Sun'] ADVANCE AUSTRALIA"flagstaff hill maritime museum and village, flagstaff hill, maritime museum, maritime village, warrnambool, great ocean road, shipwreck coast, invitation, certificate, mr c swinburne, government of victoria, opening of federal parliament, hrh the duke of cornwall and york, c swinburne, susan jane granter, susan jane swinburne, federal parliament, 1901, australian federation, ceremonies, politics, royal exhibition building, invited guest, britannia, orb, sceptre, advance australia arms, constitution of the commonwealth of australia, norman lindsay, john longstaff, sands & mcdougall, federation, british colonies, commonwealth of australia, charles grant swinburne, chas swinburne, c g swinburne, opening of the federal parliament, duke of cornwall and york, may 9th, tattersall’s hotel, marco polo, warrnambool steam packet co, warrnambool pioneers board, joseph granter, ann granter

Alexander Wright was killed whilst performing at the Birmingham Empire as the result of a German air Attack in October 1940. The theatre had a direct hit. The stage name of Alex Wright was 'Navarre' "Prince of Mimics". According to Frank Wright Alex was a great impersonator with a unique range Bass - tenor with many accents (not unlike Peter Dawson) "AUSTRALIAN KILLED An Australian, Alexander Wright, radio variety star, who toured Europe and Australia under the pseudonym of Navarre, was killed during a recent air raid in a Midland . town. His broth-er, Frank Wright, is musical director for the London County council."(Border Morning Mail, 22 Oct 1940) Frank Wright was a renown resident of Smeaton, where he was born. He lived at Laura Villa, and attended Smeaton State School. His father William was a gold miner and his mother's name was Sarah. Their family won many singing and instrumental awards. Frank was tutored by Percy Code and became the Australian Open Cornet Champion by the age of eighteen. Sepia formal photograph of a seated man with two boys, one standing on either side of him. They are posed in front of a backdrop showing one side of a window and its curtain, panelling and a painting. The boys are dressed in shoes, socks, knee pants, vests with a chain, white shirts and a jacket. The man is similarly dressed although with long trousers.frank wright, alex wright, navarre, alexander wright, william wright

Alexander Wright was born on 25 August, 1898 in Smeaton He was the brother of musician Frank Wright. Alex Wright was killed whilst performing at the Birmingham Empire as the result of a German air Attack in October 1940. The theatre had a direct hit. According to Frank Wright Alex was a great impersonator with a unique range Bass - tenor with many accents (not unlike Peter Dawson) "AUSTRALIAN CARUSO Smeaton Boy's Fame Andre Navarre, who left Australia about three years ago to study opera in Europe, bids fair to take a place among the world's great tenors. A few months ago Navarre sang for Melba for the first time, and she immediately acclaimed him to be a finished artist, describing his voice as the nearest approach to the immortal Caruso she had ever heard, writes the Ballarat "Courier." Andre Navarre is, however, only a stage name adopted by Alexander Wright, a son of Mr. and Mrs. William. Wright, of Armstrong street North, Ballarat, and brother of Mr. Frank Wright and Mrs. William Ritchie, of that city. Born at smeaton 31 years ago, in what may be termed a musical atmosphere; Alex. Wright showed a definite desire to sing at a very early age, and in his boyhood figured as soloist at school concerts, etc. His youth was spent around Smeaton, working at home and at various farms in the district until he was about 19 years of age, when he secured a position at the Dunlop rubber works, Melbourne. Up to this period Wright had no vocal training whatever, but being the possessor of a good resonant baritone voice, was persuaded by some of his friends to "have a go at the stage.'' Securing a position in the chorus of "Maid of the Mountains," which was at that time showing at the Theatre Royal, he soon made his voice heard to advantage, and also commenced to take lessons from Signor Robottaro. It was about this time that Wright was invited by a fellow musician to a musical evening at which a member of Rigo's grand opera company, then performing at " The Playhouse," was also present. Hearing Wright sing, the musician immediately said : ' You're a fool to waste your time in a chorus with that voice. Rigo is looking for a singer like you for the role of 'Figaro' in 'Barber of Seville'." Alex, however, did not take the remark seriously, and it was only after the numerous persuasions of friends who obviously knew the real value of his voice that the modest young man was eventually induced to meet Rigo. The Italian maestro was so delighted with the voice that without hesitation he was given the principle role of "The Barber" to study. Many singers having previously been tried and rejected for the part, Wright was astonished at his success in being chosen, and awakened suddenly to the fact by the maestro that a world voice, if properly trained, would surely develop in the young artist, Alex at once settled down to study, and all day long in his boarding house at St. Kilda could be heard rehearsing his new role. In less than a month he had completely mastered the part, and on the opening night, in the exacting role of "The Barber," he was an outstanding success. Later, he toured Australia with many leading artists, including Elsa Stralia and Harry Lauder, and spent his last two years in Sydney, where he was engaged as soloist in the biggest picture house. Realising that a training in Italy and on the Continent was essential for a successful operatic singer, the young artist decided to go overseas to continue his studies. He did not leave Australia, however, before he gratuitously gave a concert in his little home town to the obvious delight of all his old friends, who flocked from all parts of the district to hear him. The hall was packed to overflowing , and so pleased was Alex with the tumultuous reception he received that he sang fewer than 20 songs. Once in Italy, he lost no time in placing himself under the tuition of Cottone, and it was at the studio of this maestro that he met Toti dal Monte, a former protege of the same master. Two years were spent in Italy, when "Navarre" learned to speak the Italian language fluently, and acquired a wide knowledge of the operas. He sang in Milan about a year ago, and was paid some glowing tributes by the Italian Press critics, who likened his voice to that of Caruso. From Italy he went to Paris, where he met John Brownlee and many other famous singers. The critics on the Continent are unanimous that Andre Navarre-the unassuming Smeaton boy, whom his schoolmates still affectionately call "Hock"--is destined to become one of the luminaries in music history. It is interesting to recall some facts concerning the remarkable family from which this artist springs. Four other members have won championship honors in the musical world. Mr. Frank Wright has the Australasian cornet championship to his credit ; Mr. Norman Wright, of Sydney, has won a tenor championship of New Zealand, and has recorded for the Columbia Gramophone Company ; Mrs. Wm. Ritchie ( formerly Miss Laura Wright) won the A.N.A. contralto championship in Melbourne; whilst the oldest member, Lydia (Mrs. C. Cane, now in N.Z.) won the violin championship at South Street when 17 years of age. Last year Mrs. and Mr. Wright celebrated their golden wedding. Both of the old folk are intensely musical, and it has been said that the voice of the mother, although entirely untrained, showed in her earlier days glimpses of the beautiful quality which made Melba famous. Andre Navarre does not propose leaving the Continent for some time. Recently he was offered a 12 months' contract to sing in London for £2500 but on the advice of Melba and his coach, it was refused on the grounds that yet another 12 months' French study was necessary to ensure absolute perfection. That "Alex " has lost none of his school-boy wit is evinced by his own jocular remark that he has "a top C sharp that will crack every window in the Sydney Town Hall!" (Horsham Times, 20 February 1931) "AUSTRALIAN KILLED An Australian, Alexander Wright, radio variety star, who toured Europe and Australia under the pseudonym of Navarre, was killed during a recent air raid in a Midland . town. His broth-er, Frank Wright, is musical director for the London County council."(Border Morning Mail, 22 Oct 1940) Black and white image of Smeaton born Alexander Wright whose professional name was Navarre "Prince of Mimics". alexander wright, alec wright, navarre

The Victorian School for Deaf Children continued an interest in the latest research and information on the education of deaf children. Various reports from the 1969 to 1974 relating to the education of deaf children. Black hard cover magazine cover containing various reports separately bound. 1. Reynolds report 1969 - Observations of Educational programs for hearing impaired children in the U.S.A., England & Russia. 2. Houston report 1970 - Report on Review of Fundraising and Public Relations Activities by Henry Houston, Fund raising consultant. 3. Dawson report 1972 - 'Let the Accent be on Ability' by Shirley Dawson. 4. Rawlings report 1974 - 'The Decade in Review' - the VSDC and the PEKD by Brenda W. Rawlings. Inside front cover: "REYNOLDS REPORT…1969/HOUSTON REPORT…1970/DAWSON REPORT…1972/RAWLINGS REPORT…1974" deaf children australia, dca, victorian school for deaf children, vsdc, deaf education, henry houston, shirley dawson, brenda w. rawlings

The pupils of Falconer Street Central School No.3918 in North Fitzroy rehearse with conductress Miss Ida Park for their performance at the Temperance Hall, Russell Street Melbourne with proceeds going to the Lord Mayor’s Fund. The house on the right of the photograph is Jubilee House, 126 Michael Street North Fitzroy and is extant. Photographer notations on slide: Choir At Fitzroy State School 1933 B5 While this photograph appears not to have been published, a photograph taken from a different angle of the same event was published in The Age 21 July 1933. SCHOOL CHILDREN SING IN THE OPEN AIR. “A choir of children at North Fitzroy practise their songs for a Pantomime, to be given in the Temperance Hall for the Lord Mayor's Fund on Wednesday next. On the extreme left is the conductress of the Choir (Miss Ida Park).” Reference: http://nla.gov.au/nla.news-article204368572 Research by project volunteer, Fiona Collyer: Children of The Falconer Street Central School Choral Society, trained by conductress Miss Ida Park, along with dance and gymnastics pupils of Misses Dorothy Gibb and Inez Ellis, performed in the “Cinderella” pantomime at the Temperance Hall in Russell Street, Melbourne on 26 July, 1933. The proceeds went to the Lord Mayor’s Fund. Conductress Miss Ida Park (1904- 1952) lived in the North Fitzroy and Clifton Hill area all her life. She was immersed in the music world of Melbourne and was a member of the Musical Society of Victoria. Ida graduated from Melbourne University Conservatorium with a Bachelor of Music degree in 1929 before departing for London where she studied piano and organ at the Royal Academy of Music. Ida returned to Melbourne in 1931, and billed as “The Gifted Young Australian Pianist”, held pianoforte recitals of classical music at Assembly Hall, Collins Street. She also played the organ for services at St Paul’s Independent Church in Delbridge Street, North Fitzroy and later St Luke’s, North Fitzroy. Ida conducted the children of the Falconer Street Central School Choral Society as they competed in the State School Choral Championships and the 85 children of the Fitzroy City Centenary Choir who sang at Melbourne’s Centenary celebrations of 1934/35. In 1945, Ida married Charles Hazeldine, a tenor and returned digger who had served in two world wars. The pair performed together in many concerts over the years. Tragically, both Ida and Charles were badly injured when struck by a car while crossing Queens Parade Clifton Hill in June 1952, with Ida dying from head injuries at St Vincent’s Hospital soon after. She was 48 years old. Charles wrote on Ida’s death notice - “Called home.” The choir were pupils of Falconer Street Central School No. 3918 in North Fitzroy which was built in 1915 to provide upper primary education for grades 5 to 8 for the area. In 1957 it became Fitzroy High School. In 1992, the Kennett Government swept to power, embarking on a program of fiscal austerity and privatisation of government services. 390 government schools were closed, with the land proposed to be sold to developers. 7000 teachers were sacked: 10% of Victoria’s public school teachers. Auxiliary school staff also lost their jobs. Amongst the first to close was Fitzroy High School. Fearful that the land would be sold, hundreds of students, parents, teachers and local residents occupied the building around-the-clock in four hour shifts and overnight for 14 months, sleeping on gym mats in the principal’s office and administrators’ wing. The blockade was lifted when a arrangement was reached to allow Kangan Batman TAFE to use the school from 1993 until 1998. With the election of the Bracks Government in 1999, and construction of new buildings, Fitzroy High School was reopened in 2004 after a 12 year battle. Temperance Hall, at 172 Russell Street, where the children performed “Cinderella”, was built in 1872 by the Melbourne Total Abstinence Society as a venue for lectures, meetings and alcohol-free community concerts and events. From 1934, Temperance Hall was fitted out as a cinema and renamed the Imperial Theatre, showing popular Hollywood films, before closing in 1939 for renovations and reopening as the Savoy Theatre, Melbourne’s first “Continental” talkies cinema. At this time, Australian cinema programming was dominated by American and British films. The lessees, Continental Film Art Theatre began negotiating for theatre properties in Melbourne, Sydney, Adelaide, Brisbane, Perth and Auckland to screen foreign language films, hoping to present the finest productions from France, Germany, Holland and Italy. At the cost of £6000, the theatre was fitted with the latest Mirrophonic sound and projection system and enlarged to seat 800 patrons with luxurious, ultra modern fittings and furnishings in a colour palette of rust and beige. Instead of usherettes, General Manager Peter Dawson, hoping to bring a sophisticated European atmosphere to the theatre, employed attractive, multilingual “Continental hostesses” to assist guests (not patrons) and answer queries relating to the films. Collectively the hostesses spoke English, French, Dutch, German, Russian and Italian. The Age 20 May 1939- “Atmosphere is a very important part of the theatre's scheme. Ushers in the ordinary sense will not be employed; hostesses will look upon patrons as guests. They will be dressed in full evening dress, and the only indication that they are not guests is the little medallion pinned to their evening dress, on which their names are inscribed.” The hostesses were dressed in evening gowns of olive-green velvet, the full skirts embroidered with gold loops, wine velvet bolero jackets and long white kid gloves with silvery tiaras in their hair. For guests worried that they may not understand the plot, the management assured patrons that- “By means of superimposed English translations on the bottom of the screen, the dialogue is perfectly understandable and the whole witty story can be followed with ease.” The Gala opening of the Savoy Theatre, on 31 May 1939 was attended by a “who’s who” of Melbourne Society, the women wearing beautiful gowns, headdresses and furs. Amongst the guests were former premier Sir Stanley Argyle and Lady Argyle, former Lord Mayor Sir Harold Gengoult-Smith and his wife Cynthia, Field Marshall Thomas Blamey and Lady Blamey and Miss Jessie Brookes. The Vice Consul for France, Monsieur Frank Puaux and his wife attended, Madame Puaux dressed in a black satin gown and a musquash fur cape. She was presented with a beautiful bouquet of scarlet carnations and lily of the valley tied with the tricolour of France. In his speech Monsieur Puaux stated that “from the cultural, linguistic and artistic points of view it was excellent that the Australian public should have an opportunity to see foreign film in the original language.” “Letty” writing in Table Talk magazine described the atmosphere of “Continental” gaiety that had permeated Melbourne - “The Letters of Letty”, Table Talk 8 June 1939 “The “foreign influence” is definitely obtruding itself into the even tenor of Melbourne life these days…. but in the pleasantest manner possible! Included in the great number of Continental people who have recently made their homes here, we have stars of the Russian ballet settling in our midst…. and now… we have been presented with our own Continental picture theatre in the attractive shape of The Savoy, which opened its doors on Wednesday night for the exclusive release of foreign films. One could hardly recognise the old Temperance Hall in its adaptation to the smart, comfortable and thoroughly-intriguing Savoy Theatre. Where once this rather draughty old building stood in Russell Street there now greets us an unmistakable “Continental” edifice, living up to its exterior by sustaining within its walls its overseas’ atmosphere. Indeed, one feels as though one has crossed the threshold into a European city, stepping out of the unmistakably Australian street that is Russell into The Savoy lounge to be greeted by polite “messieurs” from the attractive, Continental-looking usherettes and to gaze upon a film as delightfully French in story and presentation as “La Kermesse Heroique.” But successful though “La Kermesse Heroique” proved on its initial presentation inside the theatre, the debut was no more triumphal than that made by the winning and pretty little French lass who had charge of the booking office outside in the foyer. With her attractive accent and Continental flair for making one “feel at home” she was undoubtedly one of the hits of the night-especially with the susceptible males, who spent very much longer in the lounge than is customary, racking their brains for excuses for making conversation with the attractive Parisienne! Those French girls certainly have a way with them!” The opening film, the 1935 French comedy “La Kermesse Heroique”, (The Heroic Sex) starring Francoise Rosay and Jean Murat (film now called “Carnival in Flanders”) was the winner of the Grand Prix du Cinema Francais as the finest picture of 1936 and described in the advertisement as “The Gay French Comedy of Laughter and Romance” The film is set during the 17th century Spanish occupation of Flanders in the Flemish town of Boom at the time of their annual festival. Hearing news of a pending visit to Boom by the commander, the Duke of Olivares and his army, and fearing rape and pillage, the boorish burgomaster feigns his own death, hoping the Spaniards will bypass the grieving town out of respect. The army arrives and the cowardly men of the town flee. The womenfolk decide on a different approach. Lead by the burgomaster’s beautiful wife Cornelia, they set out to to preserve the peace with grace and hospitality only to find the Spaniards attractive and virile, unlike their own husbands. The Sun newspaper described the film as “Mellow as a Stilton cheese, and as ripely suited to adult taste.” Preceding “La Kermesse Heroique” was a Gaumont British newsreel of King George VI and Queen Elizabeth departing for a tour of Canada and the Soviet documentary “Nine Months on a Drifting Ice Floe” During the war “Continental” films became difficult to source, so the Savoy screened Hollywood movies and held fund raisers for the war effort. After World War Two, the Savoy continued to screen “Continental” films, catering to post-war immigrants from Europe and bohemian Melburnians. In 1953, the Savoy had a wildly popular season with queues winding around the block to see Swedish summer romance “One Summer of Happiness” (Hon dansade en sommar) with its nude swimming scenes. The Chief Commonwealth Censor declined to cut the film on the grounds that although it displayed nudity, it was genuinely artistic. According to Wikipedia, film director Fred Schepisi was first exposed to European films such as “Bicycle Thieves”, “Rocco and His Brothers” and “The Wages of Fear” at the Savoy as a teenager, leading to his long career in filmmaking. In 1955, in response to the massive rise in car ownership, the Melbourne City Council recommended that parking stations be built on every block. The Savoy Theatre and adjacent buildings, which included the Golden Fleece Hotel were demolished in 1963 and replaced with Total House, a Brutalist commercial building consisting of a seven storey car park crowned by a four storey office block, shops at street level, and a basement theatre which housed the Lido Theatre Restaurant-Cabaret from 1965. The building was designed by architectural firm Bogle & Banfield Associates and named for the original tenant of the offices, French oil company, Total Oil Products P/L. The Lido Theatre Restaurant was managed by former Tivoli dancer and promoter David Hamilton McIlwraith, presenting dinner and a glamorous cabaret floor show of showgirls, (some topless) to accompany variety acts by local and international actors, singers, comedians and magicians. The interior of the Lido was opulently decorated in deep, lush green with old world gold trim and chandeliers. Handily, patrons could enter and leave via an elevator, straight from the building’s own car park! A four course gourmet dinner with show and dancing cost $8.00 in 1968. The Lido advertised in 1966 that “Every visitor to Melbourne soon discovers the brightest entertainment spot in the Southern Hemisphere with its million dollar decor, dining delights and spectacular stage productions.” Australian Jewish News - 21 April 1967 - “Superb decor and atmosphere, cuisine and service have been readily recognised as the contributing factors to the excellence of stage presentations, staging, costumes, decor and, of course, the actual choice of artists.” The bedazzling ensemble of 40 high-kicking, feathered and sequinned showgirls were advertised as the “Fabulous Lido girls and the controversial Baretop Lido Goddesses” who were described as “Statuesque Beauty as Nature intended” and “…a host of glamorous gals whose favourite shade is flesh pink.” Some of the acts who performed at the Lido were- -Broken Hill’s own - opera singer June Bronhill -1967. -Versatile singer Lovelace Watkins known as “Black Sinatra - 1967. -“Queen of the five-fingered boogie", honky-tonk and rollicking rag-time pianist, Winifred Atwell - 1967. -New Zealand pop duo, Bill and Boyd -1968. -American actress and soprano Kathryn Grayson -1968. -Denise Drysdale in “Say It With Music” -1968. -“Catwoman” Eartha Kitt -1969. -Internationally recognised female impersonator, Sydneysider Tracey Lee, (Maxwell Richie) billed as "controversial impressionist and singing personality from the famous Carousel Nightspot in Paris". -Frances Faye, American comedienne and show-tune singer and pianist-1969. -“Cry Guy” histrionic singer Johnnie Ray -1970. -Risqué revue “Oh Calcutta!” with some segments and the “four letter” words removed-1970. In 1970, under new management, the Lido was renovated with claret and gold wallpaper, midnight blue ceiling and a computerised fountain with fairy lights and relaunched by “The Tigress from Tiger Bay”, Shirley Bassey. The relaunch was short lived however, as later that year the venue became El Toro Espana, a Spanish restaurant and nightclub offering a four course meal for $4.50 while you watched the floorshow. The venue then briefly became the Red Garter Music Hall Theatre from 1972, then in 1974 the site became the 600 seat Total Theatre comprising of a cinema with a stage for live acts. There were also three bars to choose from - the Crush Bar, the Bleachers and the Snake Pit. Total Theatre had the unusual concept of a live music act, or plays, musicals and magicians followed by a film. In 1975 soprano Suzanne Steele featured, followed by the film “The Voyage” starring Sophia Loren and Richard Burton. In 1975, the Total held a rock film festival showing a Jimi Hendrix documentary, “Monterey Pop Festival”, “Pink Floyd in Pompeii” and more. In 1976, 17 year old Chrissy Amphlett, later of rock band Divinyls, played the role of Linda Lips for nine months in the Australian stage production of R-rated “sexual musical”, “Let My People Come” at the Total Theatre. The Total Theatre closed in 1979 and from 1980 to 2014 the venue became Billboard Nightclub, hosting local and international acts, including INXS, Tina Turner and John Farnham, and in 2009, 18 year old Taylor Swift. The venue is now called 170 Russell and presents hundreds of live local and international acts every year. In 2014, after being under threat of demolition, Total House was listed on the Victorian Heritage Register as “a landmark of post-World War II modernist design and…one of the earliest and best expressions of Brutalist architecture in Victoria”. References: RICHARD CROOKS ARRIVES SCHOOL AGAIN VENUE OF ROYAL VISIT (1939, May 31). The Age (Melbourne, Vic. : 1854 - 1954), p. 17. Retrieved November 21, 2025, from http://nla.gov.au/nla.news-article205629696 AMUSEMENTS. (1933, July 27). The Age (Melbourne, Vic. : 1854 - 1954), p. 12. Retrieved September 19, 2025, from http://nla.gov.au/nla.news-article204378853 https://larzra.wordpress.com/origins/ CONTINENTAL HOSTESSES, (1939, May 31). The Sun News-Pictorial (Melbourne, Vic. : 1922 - 1954; 1956), p. 27. Retrieved November 21, 2025, from http://nla.gov.au/nla.news-article278189387 The Letters of Letty (1939, June 8). Table Talk (Melbourne, Vic. : 1885 - 1939), p. 12. Retrieved October 29, 2025, from http://nla.gov.au/nla.news-article149320966 SAVOY THEATRE (1939, June 1). The Age (Melbourne, Vic. : 1854 - 1954), p. 7. Retrieved September 19, 2025, from http://nla.gov.au/nla.news-article205639035 NEW THEATRE OPENED (1939, June 1). The Argus (Melbourne, Vic. : 1848 - 1957), p. 8. Retrieved September 21, 2025, from http://nla.gov.au/nla.news-article12134234 https://en.wikipedia.org/wiki/Total_House Page [?] TOUCH OF SPAIN (1970, December 18). The Australian Jewish News (Melbourne, Vic. : 1935 - 1999), p. 35. Retrieved September 23, 2025, from http://nla.gov.au/nla.news-article262493757 No title (1935, June 11). The Herald (Melbourne, Vic. : 1861 - 1954), p. 27. Retrieved September 29, 2025, from http://nla.gov.au/nla.news-article244840169 Dine, wine, and watch a stage show (1966, November 16). The Australian Women's Weekly (1933 - 1982), p. 6. Retrieved November 9, 2025, from http://nla.gov.au/nla.news-article44025050 http://jonathanbollen.net/2011/02/26/tracey-lee/ LIDO ‘ART’ (1967, April 21). The Australian Jewish News (Melbourne, Vic. : 1935 - 1999), p. 8. Retrieved November 9, 2025, from http://nla.gov.au/nla.news-article263003136 THE FABULOUS LIDO (1965, October 22). The Australian Jewish News (Melbourne, Vic. : 1935 - 1999), p. 17. Retrieved November 9, 2025, from http://nla.gov.au/nla.news-article262983995 No title (1939, May 31). The Argus (Melbourne, Vic. : 1848 - 1957), p. 6. Retrieved November 21, 2025, from http://nla.gov.au/nla.news-article12134144 #NEW THEATRE OPENED (1939, June 1). The Argus (Melbourne, Vic. : 1848 - 1957), p. 8. Retrieved September 29, 2025, from http://nla.gov.au/nla.news-article12134234 https://en.wikipedia.org/wiki/Tracey_Lee_(female_impersonator) https://citycollection.melbourne.vic.gov.au/35b-40h-image-of-a-model-for-the-total-house-offices-and-car-park-on-russell-street/ https://www.theage.com.au/national/victoria/from-the-archives-1990-s-hundreds-of-school-closures-hit-victoria-20190801-p52cwj.html http://jonathanbollen.net/2011/05/29/the-lido-melbourne/Photographer notations on slide: primary schools, schools, music, education, choirs, fitzroy, cars, theatre restaurants, venues, films

Princess Juliana and Prince Bernard married in 1937 prior to the Princess becoming Queen in 1948.The fact that this item was brought to Australia with a migrant family indicates the affection in which the Royal Family was held by many Dutch people.Rectangular tile depicting a leafy tree loaded with oranges. Under it are four young people - two male and two female. The main colours are green on a greyish background. Orange accents appear throughout the clothing. An orange banner reads 1937-1962. Below the illustration is the motto: "Doen kunnen we alles maar dan ook alleen allen samen." (We can do everything but only together). On the back are various imprints relating to the maker Mosa Holland.

Collector says: I can still recall one of my earliest childhood memories, of my nana's bright aqua shoes against the checks of our family travel rug on summer picnics.Note from collector- "For more than 100 years blankets were made all over Australia in over 100 woollen mills. My aim, is to preserve 100 examples of these wonderful pieces of history. Ten years ago I started collecting the iconic Onkaparinga travel rugs, so that on movie nights at home there would be plenty to go around. Everyone had their favourite; even the cat had his own – a small red tartan one. Keeping an eye out for those travel rugs at op-shops and markets, collectable stores and bazaars, led to noticing vintage blankets. I'd never really thought about them before or paid much attention though of course I had grown up with them at my grandmother's. When I discovered my first Laconia cream blanket with blue stripes, my eyes just went gaga. Well that was it, I was hooked and since then over 500 blankets have passed through my hands. These common, everyday items, found in all households for so many decades, were traditional engagement gifts. Pairs were prized wedding presents turning into family heirlooms. They were fashionable dressers of beds, givers of warmth, bestowers of security and reliability. The comfort found in these objects resonates with almost all of us; we grew up with them ourselves or fondly recall them in a grandparent’s home. There is no modern replacement with the integrity of these old blankets, many of them now older than most of us. They are romantic, sensible, special, familiar, nostalgic and nothing else feels so appropriate in so many situations. No offense to the great Aussie doona, but from hippie to hipster, at a music festival, picnic, campsite or couch, a vintage blanket is something coveted by all. This industry that employed tens of thousands and must have been such a huge contributor to the economy is almost completely lost now. Blanket Fever is an ode to everything that came before: the land, the sheep, the shearers, the hands, the mills, the weavers, the designers, the distributors, the department stores. To the grandparents that gave them, the people that received them, the families that kept them; thank you. I’m passionate about my collection of Australian blankets manufactured in mostly Victoria, South Australia and Tasmania from the 1930s to the end of the 1960s. The collection has blankets from each of these four decades representing the styles and fashions of their time and includes dated advertisements which help determine the eras the blankets are from." Standard sized fringed plaid blanket in red and blue with black and yellow accentsMothproofed/Godfrey Hirst/100% Pure Wool Rugwool, blanket fever, travel rug, godfrey hirst, geelong

David STRACHAN (1919–1970) Born 25 June 1919 at Salisbury, Wiltshire, England Arrived 1920 Adelaide, Australia: 1921 Creswick, Victoria David Strachan attended Creswick State School and Geelong Church of England Grammar school. By the age of 16 he wanted to be an artist. Accompanying his mother to London in 1936, he enrolled at the Slade School of Fine Art, where he met Godfrey Miller. In 1937 he attended the Académie de la Grande Chaumière, Paris, and painted at Cassis on the Mediterranean Sea. He returned to Australia in April 1938 and studied at the George Bell School, Melbourne. He had a growing interest in classicism blended with a fascination for the dream-state which was reinforced in his work after he moved to Sydney in 1941. There he was befriended by Jean Bellette and her husband Paul Haefliger, who were to be driving forces behind the Sydney Art Group (founded 1945). He lived on the top floor of the Haefligers' house at Double Bay, and together the three artists drew from models whom the Haefligers hired. In this period Strachan painted and exhibited some of his most poetic works—mainly figurative and landscape subjects, and still-lifes of haunting beauty. His flowers, bowls of fruit, birds, and angelic figures glimmered out of the darkness as things not of this world, evoked faintly, like mythological personages in a gently spoken narrative. He 'spent an erratic war' painting camouflage at Bankstown aerodrome with other artists, among them (Sir) William Dobell, and dancing minor roles with Hélène Kirsova's ballet company. In 1948 Strachan settled in Paris. His paintings, included by Peter Bellew in an exhibition at the Musée National d'Art Moderne, had been well-received by French critics two years earlier. In 1950 he began tentative experiments in etching. These led to the formation of the Stramur-Presse, a business venture which published etchings and lithographs of leading French and English artists. His most important project was a series of twenty-two colour etchings illustrating Alister Kershaw's book of poems, Accent & Hazard (Paris, 1951). Strachan continued to exhibit in Australia and maintained a lively social life with Australian friends. From Paris, he went for weekend painting trips with Moya Dyring in her car and, after 1957, visited the Haefligers on Majorca. He lived in London in 1955-57. His paintings became progressively less soft in effect, his palette brightened, and his forms, especially the still-lifes, became spikier. In the late 1950s his attention drifted towards the study of Hindu philosophers and Jungian psychology. For most of 1957-58 he was enrolled at the C. G. Jung-Institut, Zürich, Switzerland. In 1959 he worked in Silvio Daneo's silkworm factory at Bricherasio, Italy. In May 1960 Strachan returned to Sydney. He lived at Woolloomooloo before buying a house at Paddington in 1963. Over the ensuing years he involved himself energetically with the art scene, exhibiting, teaching (1960-65) at East Sydney Technical College, fund-raising for memorials for Thea Proctor and Dyring, and as the last president (1965) of the Society of Artists. His paintings were out of harmony with the prevailing fashion for abstraction, but he won the Wynne prize for landscape painting in 1961 and 1964 (shared). Perhaps the most moving works of Strachan's last ten years were the mining landscapes, including those he painted near Hill End, leading up to his vast canvas, 'Lewers Freehold Mine'. This was a history picture, depicting the mine as it might have appeared in 1874. He presented it to the Creswick Historical Museum in 1970 in memory of his father. (Barry Pearce, 'Strachan, David Edgar (1919–1970)', Australian Dictionary of Biography, National Centre of Biography, Australian National University, http://adb.anu.edu.au/biography/strachan-david-edgar-11786/text21083, published first in hardcopy 2002, accessed online 6 January 2016.) This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.Framed still lifefeaturing fruit and flowers.art, artwork, strachan, david strachan, still life, flowers, flora, available

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

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

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

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”. 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.A strip of three medium format colour transparencies. Images are from of a promotional shoot for Kathryn knitwear and feature two children wearing patterned jumpers with an orange and pink kite. Figure on left wears a red turtleneck jumper with a geometric Nordic pattern of diamonds, primarily in white with a dark accent colour. Figure on right wears a cardigan with a shirt-style collar, which is predominantly navy and has a white yoke and geometric Nordic print in red, navy and white. There is a staple in the bottom left-hand corner, and damage along the bottom edge where a staple was removed.business, business history, manufacturing, knitting machine, fashion textile production, business archives, manufacturing documents, textile industry - history wool marketing, wool marketing fashion textile industry, children's knitwear, children's clothing, knitwear marketing

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 and white photograph of two children wearing geometric-print jumpers, walking arm-in-arm and holding soft-drink bottles with straws. The figure on left has long dark hair and a fringe, and wears a turtleneck jumper with a geometric Nordic pattern of diamonds, with a pale ground colour and darker accent colours, with checked trousers and white boots. The figure on the right has short dark hair and wears a jumper with a dark body and turtleneck collar and a pale yoke with contrasting geometric zig-zag patterns, as well as tartan trousers and shiny dark oxford shoes.[reverse] COPYRIGHT HERALD-SUN PHOTOGRAPH SUPPLIED BY FEATURE SERVICES THE HERALD & WEEKLY TIMES LTD. MELBOURNE AUSTRALIAbusiness, business history, manufacturing, knitting machine, fashion textile production, business archives, manufacturing documents, textile industry - history wool marketing, wool marketing fashion textile industry, children's knitwear, children's clothing, knitwear marketing

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. The decoration on this garment was embroidered by hand by a skilled worker at the Kathryn Knitwear factory 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 short-sleeved polo jumper with patch pocket on left side of chest. Features a navy hand embroidered anchor motif on the patch pocket and navy accents on top edge of pocket and edge of collar. Style 853/P. .2 Cream paper tag with handwritten red text and printed blue text..2) [sample label] [OBVERSE] S/8 853/P – PULLOVER – ORLON – HAND EMBROIDER POCKET. 24” 26” 28” 30” 32” 34” 26/- 29/- 32/- 35/- 39/- 43/6 WHITE/NAVY. NAVY/WHITEchildren's knitwear, knitwear, clothing, children's clothing, cardigan, manufacturing, fashion textile production, machine knitting, embroidery, embroiderer, anchor, anchor motif, nautical, nautical fashion