A photograph of Melynda Hardie, Club Champion from 1975 to 1978, highlights a period of excellence for Broadmeadows Amateur Swimming Club. Her consecutive wins reflect the club's strong competitive spirit and dedication to nurturing local talent.A photograph of Melynda Hardie, Club Champion from 1975 to 1978, is significant as it captures a period of exceptional achievement for Broadmeadows Amateur Swimming Club. Her consecutive victories underscore the club's dedication to fostering local talent and highlight a legacy of competitive excellence and community pride.A colour portrait of club champion Melynda Hardie (1975-78) on glossy card stock, featuring a black border and white writing.broadmeadows amateur swimming, broadmeadows amateur swimming and life club, club champion, melynda hardie, 1975 to 1978

A photograph of Kayleen Roberts, Club Champion from 1971 to 1974 for Broadmeadows Amateur Swimming and Lifesaving Club.This photograph is significant as it features Kayleen Roberts, who was honoured as the Club Champion of the Broadmeadows Amateur Swimming and Lifesaving Club for four consecutive years, from 1971 to 1974. This achievement highlights her exceptional dedication and performance in the sport during that period.A black and white photograph of Kayleen Roberts with a Black border and a glossy finish.broadmeadows amateur swimming, club champion, kayleen roberts, 1971 to 1974, broadmeadows amateur swimming & lifesaving club

A photograph of Jodi Zajac, Club Champion from 1984 to 1987 for Broadmeadows Amateur Swimming & Lifesaving Club.This photograph captures Jodi Zajac, who achieved the remarkable feat of being the Club Champion for the Broadmeadows Amateur Swimming & Lifesaving Club for four consecutive years, from 1984 to 1987.A colour portrait of club champion Jodi Zajac (1984-87) on glossy photo stock. broadmeadows amateur swimming, club champion, 1984-87, jodi zajac, broadmeadows amateur swimming & lifesaving club

A photograph of Vanessa Moyes, club champion from 1988-89 for Broadmeadows Amateur Swimming and Lifesaving Club.This photograph captures Vanessa Moyes, who achieved the remarkable feat of being the Club Champion for the Broadmeadows Amateur Swimming and Lifesaving Club for two consecutive years, from 1988 to 1989.A colour portrait of the club champion, Vanessa Moyes with black border and white writing, printed on glossy paper.broadmeadows amateur swimming, club champion, vanessa moyes, 1988-89, broadmeadows amateur swimming & lifesaving club

Black and white photographic image of Broadmeadows Military Camp during World War One. Numerous tents are surrounded by soldiers and horses and carts.world war one, broadmeadows military camp, tents, australian imperial force, camp

West Melbourne : City of Broadmeadows in conjunction with Hargreen, 1982 xiv, 257 p. : ill., facsims., maps, ports. ; 25 cm. non-fictionbroadmeadows (vic.) -- history., broadmeadows (vic.). council

Limited edition Anzac Biscuit in 1915 - 2015. Tin, with images of World War 1 personnel imprinted on side. The Anzac biscuit story is told on the back of the tin, and the source of the images shown on the front described - Australian War Memorial colleciton. Short story about RSL also given. Tin is black with sepia trim, red and white writing, all images in black and white.Modern Baking Pty Ltd, 140 Northcorp Boulevard, Broadmeadows, Vic.military, world war 1, biscuit tin

Reflects formal civic relationships between the municipalities of Nunawading and Broadmeadows during the mid twentieth century and illustrates the social role of municipal leadership in Victoria during the 1960s.This invitation provides documentary evidence of inter municipal civic culture and social practices in suburban Melbourne during the 1960s, highlighting the ceremonial functions of mayors and the importance of formal municipal events.Single square cornered printed invitation card with black ink on cream paper. Recto contains municipal coat of arms and formal script text. Verso is blank apart from an adhered later collection label.Recto, printed:“The Mayor & Mayoress of Nunawading/(Cr. & Mrs O. G. Goldsbrough)/request the pleasure of the company of/The Mayor and Mayoress of Broadmeadows/at a Ball to be held/in the Town Hall, Box Hill, on/Thursday, 30th April, 1964, at 8.30 p.m./The favour of a reply addressed to the Town Clerk, Nunawading, is desired/not later than Thursday, 16th April, 1964./On receipt of acceptance, entree cards will be forwarded.” Back (verso, adhesive label): “WI 4055” local government, municipal ceremonies, civic hospitality, city of nunawading (vic.), city of broadmeadows (vic.), box hill town hall

The invitation documents the opening of Rowntree & Co. (Australia)’s Campbellfield factory in 1964, officiated by the Premier of Victoria. It demonstrates post‑war industrial expansion in Melbourne’s northern suburbs and highlights civic–corporate relationships through the invitation of the local Mayoress.This item has local historic significance for Broadmeadows and Campbellfield, providing primary evidence of major industrial development and civic engagement in Victoria during the 1960s.Rectangular printed card with rounded corners. Cream/light buff cardstock. Recto printed in gold and black ink; verso blank except for later applied catalogue label.Recto (centre): “THE CHAIRMAN AND DIRECTORS OF / ROWNTREE & CO (AUSTRALIA) PROPRIETARY LIMITED / cordially invite / Miss K. Fletcher, Mayoress of Broadmeadows / To the opening of the / new Rowntree factory, Hume Highway, Campbellfield / by the Premier of Victoria / THE HONORABLE H. E. BOLTE, M.L.A. / at 11.15 a.m. Tuesday, May 12, 1964. / BUFFET LUNCHEON” (lower margin): “R.S.V.P. Monday, April 27, Mrs. D. Youel, Rowntree & Co. (Aust) Pty. Ltd., Hume Highway, Campbellfield. / This Invitation is your Entree Card. Would you kindly present it on arrival.” Recto (right): Gold star motif Verso (upper right): “WI 4054” (typed label)industrial development, campbellfield (vic.), broadmeadows (vic.), corporate events, manufacturing history, local government representation

This item relates to the civic and social life of the City of Broadmeadows during the early 1960s, a period marked by rapid population growth and municipal consolidation. The invitation documents a formal civic ball organised by the municipality and held at Essendon Town Hall prior to Broadmeadows having its own dedicated civic facilities. The event reflects the role of ceremonial and social functions in reinforcing civic identity, municipal authority, and community cohesion during a formative period in Broadmeadows’ development.This invitation is significant as a representative example of mid‑twentieth‑century municipal ceremonial ephemera that documents the civic and social activities of the City of Broadmeadows in 1962. It demonstrates how local government used formal social events to foster community identity, reinforce civic authority, and maintain social networks during a period of post‑war expansion. The item has strong provenance and interpretive value for understanding municipal culture and civic life prior to the opening of the Broadmeadows Town Hall.Rectangular printed invitation card on cream card stock with rounded corners. Text printed in black formal script. Coloured City of Broadmeadows municipal seal printed at head.Recto: The Mayor and Mayoress of Broadmeadows/request the pleasure of the company of/......../at a Ball/in the Essendon Town Hall/on Tuesday, 5th June, 1962, at 8.30 p. m./THE FAVOUR OF A REPLY ADDRESSED TO THE TOWN CLERK, BROADMEADOWS, IS DESIRED/NOT LATER THAN FRIDAY, 25TH MAY, 1962./ON RECEIPT OF ACCEPTANCE ENTREE CARDS WILL BE FORWARDED. Verso: Accession label “WI 4258” (upper right) city of broadmeadows, civic ceremonies, municipal government, social events, essendon town hall

Invitation to the 1982 Mayoral Charity Ball held at City Hall, Broadmeadows, under the patronage of Mayor Cr. P. T. Bryant J.P. and Mrs B. Bryant. Represents civic ceremonial and fundraising activities of the City of Broadmeadows during the early 1980s.Locally significant as evidence of municipal social and charitable practices and official event protocols in Broadmeadows during the 1980s.Folded paper invitation card printed in blue ink. Outer panel features City of Broadmeadows crest and event details; inner panel lists reception arrangements.Outer: 'Official Entree Card / Mayoral Charity Ball / Under the patronage of CR. P. T. BRYANT J.P. and Mrs B. Bryant / City Hall, Broadmeadows / Saturday 27th November, 1982'. Inner: 'Reception Arrangements/Please enter at the main entrance of the/City Hall and proceed to the Main Hall by/means of the staircase./Official guests will be received by the/Mayor and Mayoress upon entering the/Main Hall./It is to be noted that robes will not be/worn but Mayors may wear their badge of/office if desired./The Mayor and Mayoress take this oppor-/tunity of wishing their guests an enjoyable/evening./Official cars may be parked in the area/reserved immediately in front of City Hall./Bruce D. McGregor, Town Clerk'. Small adhesive label 'WI-4282' upper left interior.local government, civic events, charity balls, broadmeadows, entrée card, 1982

This invitation reflects formal civic culture and municipal ceremonial practices in Broadmeadows during the early 1960s. It documents the tenure of Councillor R. W. Wallace as Mayor and highlights the use of Essendon Town Hall for regional civic events prior to Broadmeadows having its own large formal venues.The invitation is a representative example of mid 20th century municipal ceremonial practices in Broadmeadows, illustrating formal civic hospitality, design conventions, and local governance history.A cream coloured printed invitation card with rounded corners. Black printed script and serif text with City of Broadmeadows crest at top centre. Recto printed; verso blank except for adhered reference label.Recto, printed text: “CITY OF BROADMEADOWS”/“The Mayor and Mayoress of Broadmeadows/(Cr. and Mrs R. W. Wallace)/request the pleasure of the company of/……………/at a Mayoral Ball/in the Essendon Town Hall/on Tuesday 4th June, 1963 at 8.30 p.m./THE FAVOR OF A REPLY ADDRESSED TO THE TOWN CLERK, BROADMEADOWS, IS DESIRED/NOT LATER THAN FRIDAY, 27TH MAY, 1963/ON RECEIPT OF ACCEPTANCE ENTREE CARDS WILL BE FORWARDED.” Verso, adhered label: “WI 4343” local government, civic ceremonies, social events, broadmeadows history, mayoral office, 1960s australia, essendon town hall, city of broadmeadows

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.Business card for Robert B. Blake on cream cardstock. Name and contact information is printed in blue ink, and the Kathryn knitwear logo is stamped in golden metallic foil[obverse] KATHRYN Robert B. Blake ROBERT BLAKE PTY. LTD. 26-32 KING WILLIAM STREET BROADMEADOWS, VIC., 3047 TELEPHONE: 309 1333business, business history, manufacturing, knitting machine, fashion textile production, business archives, manufacturing documents, children's knitwear, children's clothing

Private George Alfred Williams Service number 70 Final Rank Private Unit 13 Fld.Amb. Conflict/Operation First World War, 1914-1918 Rolls First World War Nominal Roll: Unit 13 Fld.Amb. Conflict First World War, 1914-1918 Rank Private Timeline Date of enlistment 22 September 1914 Date of fate 17 September 1918 Father W.A. Williams of Belle Vue, Eltham Promoted to Corporal 15 March 1916 and transferred to 6th Field Ambulance Transferred to 13th Field Ambulance 9.2.17 Made temporary Sergeant from 27 April to 26 May 1918 whilst his unit awaited a replacement Sergeant at which point he reverted to Corporal. Died of shrapnel wounds to his left side and face received in action with the 4th Australian Field Ambulance in France, 17 Sep. 1918 His mother, Mary Ann Williams (nee Kidd) gave written permission for him to enlist In his Will he left all his effects to his mother.. Williams George Alfred : SERN 70 : POB Heidleberg VIC : POE Broadmeadows VIC : NOK F Williams W A https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/DetailsReports/ItemDetail.aspx?Barcode=1807628&isAv=Nmarg ball collection, 1914, george alfred williams, tesla studios photographer 244 chapel st prahran

Private George Alfred Williams Service number 70 Final Rank Private Unit 13 Fld.Amb. Conflict/Operation First World War, 1914-1918 Rolls First World War Nominal Roll: Unit 13 Fld.Amb. Conflict First World War, 1914-1918 Rank Private Timeline Date of enlistment 22 September 1914 Date of fate 17 September 1918 Father W.A. Williams of Belle Vue, Eltham Promoted to Corporal 15 March 1916 and transferred to 6th Field Ambulance Transferred to 13th Field Ambulance 9.2.17 Made temporary Sergeant from 27 April to 26 May 1918 whilst his unit awaited a replacement Sergeant at which point he reverted to Corporal. Died of shrapnel wounds to his left side and face received in action with the 4th Australian Field Ambulance in France, 17 Sep. 1918 His mother, Mary Ann Williams (nee Kidd) gave written permission for him to enlist In his Will he left all his effects to his mother.. Williams George Alfred : SERN 70 : POB Heidleberg VIC : POE Broadmeadows VIC : NOK F Williams W A https://recordsearch.naa.gov.au/SearchNRetrieve/Interface/DetailsReports/ItemDetail.aspx?Barcode=1807628&isAv=Nmarg ball collection, george alfred williams, 1918, aif, first world war, honour roll

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.Copy of Series I, Volume 4 of the magazine of the Consumer Benefits Association ‘the Australian Consumer’, dated 1972. Page 12 features a full-page advertisement for both the collegewear and children’s Kathryn Knitwear lines. The outfit in the top right image is similar to NWM-08913 Photos on the bottom are from the same photoshoot, photo on left is same model as NWM-09029, NWM-09031, NWM-09037. Photo on right is same model as NWM-09032 On the opposite page is an article discussing the ‘school uniform scandal’ that argues that problems are caused by an inefficient ordering and supply system, and proposes a system that it claims will reduce costs for both manufacturer and parents, while still allowing schools to specify uniform requirements.[obverse] THE AUSTRALIAN CONSUMER SERIES I, VOL. 4 Official voice of CBA [internal, page 12] Childrens Knitwear of Quality KATHRYN and Collegewear MANUFACTURED IN AUSTRALIA BY ROBERT BLAKE PTY. LTD. 26-32 KING WILLIAM STREET, BROADMEADOWS 3049 VIC PHONE 309 1333 [internal page 13] ANSWER TO SCHOOL UNIFORM SCANDALbusiness, business history, manufacturing, knitting machine, fashion textile production, business archives, manufacturing documents, consumer affairs, school uniform, advertising

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.Letter from E. B. Anderson from P. Rowe International Pty. Ltd. On behalf of DuPont International to Robert Blake, owner of Kathryn Knitwear. The letter confirms the tentative selection of a Kathryn Knitwear Orlon garment to be published in ‘Fashion Week’ as advertising for both Kathryn knitwear and DuPont’s Orlon fibre. The Advertisement can be found under the accession number NWM-09065.[obverse] P. ROWE INTERNATIONAL PTY. LTD. 12 Claremont Street South Yarra, Victoria 3141 Australia – Telephone 24 6561 - Telegrams ‘Chemfibre’ Me[unintelligible] Distributors for Australia and New Zealand Textile Fibers department Du Pont de Nemours International SA EBA: mes October 6, 1969. Robert Blake Pty. Ltd., 26 King William Street, BROADMEADOWS, Vic. 3047 Attention Mr. R. Blake Dear Mr Blake, We are enclosing a print of one of your Autumn/ Winter 1970 styles in ORLON*. This garment has been tentatively selected by ‘Fashion Week’ for publication in their magazine over the next few weeks. All garments submitted will be returned to you this week – thanks for your co-operation. Yours faithfully, P. ROWE INTERNATIONAL PTY. LTD. [signature] E. B. Anderson. Encl. *Du Pont’s registered trademark for its acrylic fibre.business, business history, manufacturing, knitting machine, fashion textile production, business archives, manufacturing documents

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.Letter from Myer (Melbourne) Limited to William Blake. The letter confirms and details of a meeting held to discuss business arrangements between Kathryn Knitwear and Myer. Due to the lack of signatory, it is likely there was originally additional pages that have been lost. It is typewritten in blue ink on white paper, with smudges and pen marks evident.MYER (MELBOURNE) LIMITED. 314-336 Bourke Street, Melbourne C.1. 66 111 July 10, 1967 Mr. William Blake Kathryn Knitwear. P.O. Box 49. BROADMEADOWS Vic. Dear Mr. Blake. This is to confirm and itemize details of the discussion held in my office on Monday, July 10, at which time the following points were discussed: - 1. Action to be taken on:- (a) Regular Kathryn range. (b) Special lines to be developed under the Kathryn label confined to Myers stores. These to fit into the regular Kathryn price fields. (c) Special price lines to be developed exclusively for Myers stores, also that for these price lines the regular Kathryn quality to be maintained. With regard to Items A and B of the above, it was decided that purchases were to be taken out by departments on regular Kathryn merchandise for the financial year August 1, 1966 to July 31, 1967, and targets were to be set for each department for the same period for 1967-1968. 2. Specific items were to be nominated that are to be made under Item 1(b), eg: angoras, knits, dresses, etc. these items to be quickly collated by Mr C. Rivers.business, business history, manufacturing, knitting machine, fashion textile production, business archives, manufacturing documents, myer, myer emporium, myer (melbourne)

Tpr Bartlett was the first casualty of the 4th Light Horse Regiment at Gallipoli. Tpr Bartlett enlisted on 18 August 1914 at Broadmeadows Vic and was posted to A Squadron 4th Australian Light Horse Regiment. He embarked for Egypt on HMAT Wiltshire on 19 Oct 1914 then going ashore on Gallipoli on 21 May 1915. At 8:00 pm Trooper Bartlett was struck in the stomach by either shrapnel or gunfire. His wounds were dressed and he was evacuated. He died of wounds and was buried at sea on 24 May 1915. The 4th Australian Light Horse Regiment is an ancestor unit of the modern day 4th/19th Prince of Wales's Light Horse Regiment. The Unit History Room is the custodian of its history. This memento of the first casualty of the 4th Light Horse Regiment at Gallipoli is both significant and poignantFramed portrait photo of No 72 Tpr Norman James Bartlett, 4th Australian Light Horse Regiment. In glass fronted wooden frame No 72 Trooper Norman James Bartlett, 4th Australian Light Horse Regiment Donated by Frankston RSL Sub-Branch 2016framed portrait photo of no 72 tpr norman james bartlett, 4th australian light horse regiment. in glass fronted wooden frame