MIL-A834068B (USAF) Lite Industries Inc. F41608-85-D-0222

MIL-A-43406B Lite Industries Inc. Medium Long 8475-00-550-7394

This light woollen evening dress is made from Peppinella, a new fabric Norma Tullo introduced into her range in 1973. The fabric was used exclusively by Tullo, and came from the wool of Peppin Merino (first introduced into Australia in 1858 by the Peppin brothers). According to the papers of the day Tullo’s 1973 winter collection featured ‘St. Trinian’s styles to garments dripping lace, in bold plain colours to floral prints.” Shirley Lyle designed the floral fabric. Norma Tullo (1935-2019) was one of the leading fashion designers of her time, establishing her label in 1956. After establishing a business the Old Metropole Arcade in Melbourne in 1956, with three sewing machines, Tullo's ready to wear fashions for young women became sought after, and her business flourished. In 1966 the Japanese department store chain Isetan Co Ltd began to mass-produce her garments for their stores across Japan. Tullo closed her label in 1977, and later worked for Fletcher Jones. Ann Carew, 2020The dress is historically significant as a dress designed by Norma Tullo, a leading fashion designer of the 1960s and 1970s. During this period the Australian Wool Industry strove to promote wool, and to develop light woollen fabrics to compete with new synthetic fibres such as rayon. The garment is historically significant for the use of a merino wool showcasing its versatility for dress fabrics. Full length woman's dress with full skirt and long sleeves, collared with open neck and pleat work on bodice. Material is predominately red with a repeated pattern featuring posie of blue and mauve flowers.Inscribed, black label on back neck left of zip, 'TULLO/IN/PEPPINELLA/AUSTRALIA MERINO WOOL'; Inscribed, white satin label on back neck right of zip, 'DRY CLEAN ONLY'; Inscribed, white satin label underneath above label, 'SIZE 12/To Fit Bust 34"/To Fit Waistwool, rmit design archives, rmit university, woman's dress, textile design, australian fashion

MIL-A-25892C(USAF) H.I.Garment Co. DSA 100-1734 U.S Large Regular Stature 67.07-71.24 Weight 191-220 S/N 8475-559-5347 Marking of W/C Knudsen inscribed on label.

part of a three item pantaloon set of a child at different ages of development. As no manufacturing details are affixed to the garment and taking into account of the relative isolation when the garnet was made it is reasonably to make an assumption that it was made by a local seemstress or by the motherHistorical significance of the type of garment places it Circa 1930s to 1940s and is fairly rare to find the garment as part of three detailing the physical growth and development of a young child cross reference to KVHS 0248 and KVHS 0240Garment has sleeveless top with 8mm straps.The top is attached at the waist to the pantaloons. Pantaloons are crutchless extending down the inside of each leg to 17cm from the bottom.The back of the top is fastened by three plastic(not original) buttons. "Ric Rack" has been hand stitched onto the bottom of each leg. The rest of the garment has been machine stitchedNo manufacturer's details are on the garment vest, undergarment, underwear, lingerie child

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.White short-sleeved jumper with all-over pattern of aqua blue diamonds. Blue floated threads slightly show through white on main body, leading to an overall pale blue effect on body, with white collar and cuffs. Closes with three pearlescent plastic buttons at back neck. .2 is a retail tag marked with the style code, and includes generic information on care for garments of different material composition..1) [label stitched into back neck of garment] KATHRYN REGD CREATED BY ROBERT BLAKE .2) [retail tag, intended to be folded in three, printed on both sides] [OBVERSE] KATHRYN Children’s Knitwear STYLE: [blue pen] S/35B SIZE: PRICE: / KATHRYN Garments are… • PRE-SHRUNK • STANDARD MEASUREMENTS • FIT EXACTLY • LAUNDER PERFECTLY / NOW .. KATHRYN GOES TO . . SCHOOL Ask your retailer for SCHOOL PULLOVERS by KATHRYN [REVERSE] WASHING INSTRUCTIONS WOOL Wash frequently to AVOID HEAVY SOILING Wash garment BY HAND, in lukewarm Velvet Soap suds. ON NO ACCOUNT RUB SOAP ON GARMENT. Squeeze suds gently through garment but DO NOT RUB. Rubbing will cause garment to thicken. RINSE AT LEAST TWICE IN CLEAN WATER TO REMOVE ALL SOAP. TO dry, roll garment in a towel to remove excess moisture, turn garment inside out and pull it lengthwise, DRY IN SHADE… AVOID SUNLIGHT. When dry, place brown paper or pressing cloth over garment and press with iron at correct heat. ORLON Wash as wool Lay flat to dry but DO NOT IRON. To keep brushed suits like new, brush frequently with nylon brush supplied. COTTON Wash by hand for preference in Velvet Soap suds. Rinse thoroughly in cold water and remove all excess water before drying on line. Please do not use any harsh detergent or bleach. Designed and manufactured by ROBERT BLAKE Pty. Ltd., MELB. (handwritten in pencil) S35 (untintelligible)/5 / NOW KATHRYN GOES TO SCHOOL Ask your retailer for SCHOOL PULLOVERS by KATHRYNknitwear, children's knitwear, clothing, children's clothing, jumper, manufacturing, fashion textile production, machine knitting, colourwork

Kathryn Knitwear, founded by Robert Blake, manufactured high quality children’s knitwear in Melbourne from the 1940s – 1980s. Robert Blake began manufacturing children’s knitwear in his bedroom in Strathmore using a hand powered machine in the late 1940s. The operation moved to Ascot Vale and Essendon, before eventually establishing a factory in Moonee Ponds in the early 1950s. The business continued to expand, necessitating a move to a new factory in Broadmeadows. By 1962, the Broadmeadows factory was producing an average of 20,000 garments per month, which increased to 24,000 by 1964. Robert Blake’s Son, Brendan recalls that “The Kathryn brand was famous around Australia, anywhere children needed to keep warm and dress smartly. It also won a number of wool fashion awards”, including the 1969 Wool Awards, which was held by the Australian Wool Bureau and published in Women’s Weekly. The Kathryn range was designed for durability, comfort and care, without sacrificing style. They used patterning techniques that increase stretchiness, comfort and fit, as well as integrating decorative elements into the fabric to prevent them from being bulky, uncomfortable or tight. Making longevity of style a priority, Brendan Blake remembers that “there was one particular garment that was in the range for at least thirty years”. He also recalls “In the past, when women have found out that I was associated with Kathryn Knitwear, they would often relate to me the story of a garment they had purchased or received as a gift and, when their child had grown out of it, they would hand it on to another child. Several ladies have told me of purchasing garments for their daughters’ glory box, or saving a particular garment after their daughter had grown out of it. Brendan Blake: “At the peak of their operation they employed approximately two hundred people, mainly women and girls. A family would often seek to send their daughter to work in this company because they knew they would be looked after and safe. One lady wrote to me telling me that working at the Moonee Ponds Factory prior to getting married was the happiest time of her life.” In 1963, workers at the Kathryn factory earned £13 per week, which was 8 shillings and 8 pence higher than the minimum weekly wage for female workers in the textile manufacturing industry (£12 11s 4d). By 1970, the Kathryn Knitwear brand expanded from children’s knitwear into womenswear under the brand name ‘Lady Kathryn’, and for boys and men under ‘Robert Blake’. Continuing to diversify their distribution, they also began exporting ‘Kathryn’ garments to New Zealand, the Pacific Islands, and Japan. ‘Kathryn Knitwear’ was well-known for their early adoption of modern materials and techniques that had broad appeal to their customer base. This is shown in their early use of the acrylic fibre ‘Orlon’ in the 50s and 60s and ‘Superwash’ wool in the 1970s. Many of Kathryn Knitwear’s styles, particularly those that were long running staples of the brand, were available in both wool and Orlon to suit the consumer’s preference. Orlon was developed by DuPont in the 1940s and became the first commercially successful acrylic fibre in the 1950s and 1960s. The development of Orlon coincided with an increase in availability of washing machines in everyday Australian homes. The great appeal of Orlon was that while wool garments still had to be hand-washed, Orlon’s shrink-resistant nature made it machine washable and dryable. This was a very appealing prospect, especially for the seemingly unending task of cleaning active children’s clothing. Machine washable wool would not be available until the development of the ‘Superwash’ treatment by the Australian Wool Board and CSIRO in 1970. Far from the humble origins of one man in his bedroom with a hand-cranked machine; at its closure in 1980, the Broadmeadows factory of ‘Kathryn’ housed more than 100 machines, including 53 sewing machines and 45 knitting machines. Robert Blake was “a passionate advocate for wool and Australian Made” throughout his whole life. A strong thread that ties through the lifespan of Robert Blake and Kathryn Knitwear is a balance between adopting new innovations without sacrificing the core values of durability, comfort, care and style that had made the brand so well known. Their legacy forms an integral part of both Australian social and manufacturing history.White lacework baby romper suit with long sleeves and legs, and enclosed feet. Closes at centre back with two plastic buttons. Zips open around leg inseam. Size 00 .2 is a retail tag marked with the price and size, and refers to the label sewn into the garment for washing instructions..2 [Retail Swing Tag] [Obverse] KATHRYN Children’s Knitwear STYLE PRICE [handwritten] $18 SIZE [handwritten] 00 [Reverse] WASHING INSTRUCTIONS Refer to label sewn in Garment Designed and manufactured by ROBERT BLAKE PTY. LTD., Melb., Aust.children's knitwear, children's clothing, baby clothing, baby knitwear, clothing, knitwear, romper, jumpsuit, manufacturing, fashion textile production, machine knitting, machine lace, baby clothes

This opera coat was made for Louisa Jane Cam, nee Rust, born 24/6/1873. Her parents were John Rust born in Hamburg, Germany and Jane Mc Meekin from Port Patrick, Scotland. In 1892 Louisa married John Cam the director of the Hawthorn Brick Company. It is understood Louisa wore the coat to the opening of the first Federal Parliament in the Exhibition Buildings in Melbourne in 1901.This item being an early nineteenth century opera coat has aesthetic interest. It is also important because of its provenance being worn by Louisa Cam at a significant event in Australia's history.A three quarter length Mandarin styled gold threaded brocade, lined coat dress with long sleeves. The fabric is black with gold patterns of leaves and circles. Large circles feature gold, red, yellow, pale and dark blue flower like images surrounded by gold fringes. The yolk section finishes with a small pleat over the flared bottom section. Edging around the neck is black lace. It is understood a fur collar was previously in place. The cuffs of the sleeves are pleated and have a wide frill above the pleating. The lining is pale blue silk . At the end of the sleeves the lining has hand ruched binding. Nil

Each year a new Student Senate is elected. Members of the Senate are given a T-Shirt indicating they are a Student Representative.Blue short sleeve shirt with white writingOn back: "STUDENT SENATE REP" On front: "Federation" STUDENT SENATE - YOUR VOICE" student senate, student representative, elected, t-shirt

This Chancellor's academic gown was worn by Emeritus Professor Robert H T Smith AM during his time as the University of Ballarat's Chancellor from 2005 -2012. He studied at the University of New England, then went on to complete a Master's Degree at Northwestern University of Evanston, Illinois and a received a PhD from ANU in 1962. He spent much of his career in Canada and upon returning to Australia had posts of Vice-Chancellor at The Universities of Western Australia & New England. Academic gowns distinguish between the University's senior office holders and our graduates. Federation University's Chancellor wears a blue robe that is trimmed with gold and features a gold embroidered frog at the shoulder and gold oak-leaf braid below the arm hole. The Deputy Chancellor and the Vice-Chancellor also wear blue robes, with gold trims and different designs inclorporating the gold oak-leaf braid, ord or tassels. The members of the university Council wear black robes with a sole of gold. Our graduates wear black robes, with either a black trancher cap or bonnet (for professional octorate) with stoles, linings or trims in the colour of their discipline. The Chancellor's academic gown is of royal blue light weight woollen cloth trimmed with gold oak-leaf braid on the facings, yoke and bottom hem; and sleeves with one gold embroided frog at the shoulder and four chevrons of gold oak-leaf braid below the arm hole. A gold embroided button and gold tassel are centred on each chevron.Makers embroidered patch - R.W. Bredin & Son, Academic, Legal Civic & Clerical Robe Makers, Melbourne, Australia federation university, university of ballarat, chancellor's academic gown, emeritus robert h t smith

Panel worn on a man's back, tied round neck to denote family and rank. Made by Laotian refugees.Red cotton fabric predominately with black white and green strips. Blue grey centres. Red straps to tie round neck.applique, reverse applique, laos, thailand, patchwork, 1960-80

White cotton combinations, decorated with hand sewn white embroidery around neck, arm holes and legs of the panties. There are eyelets at the neck to enable ribbon to be threaded through. It has buttons down the front and pin-tucks at the waist to drawn it in.embroidery, garments, 1900-20, white work

Part of the Running Stitch collection, possibly made in BallaratDomestic wagga, unfilled, consisting of two machine sewn layers of woollen garment pieces both knitted and woven. The front pieces are predominantly red, blue and yellow, the back is mostly brown red and blue.WAGGA/ Maker unknown 154cm long X 90cm wide/ Made of parts of wool garments, knitted and woven.....handicrafts quilting quilting - history, running stitch collection, running stitch group, handicrafts, quilting, quilting - history

Lee Palfrey collection. Refer Cat No 10263. These under garments were for fragmentation protection. This apparel issued to L.Palfrey during Op Catalyst - Iraq. Aug 2005 - Feb 2006.Black garment - under wear, elastic waist, elastic legs at end.Makers printing: “Unisex Pelvic Protective, Anti-microbial Drawers. Main material: 95% Polyester 5% Elastane. Reinforcements 100% silk. Country of Origin: China” “PO No: 05242” Supplier ID No.: J20.lee palfrey, clothing, under garment, protection

This knitting pattern leaflet was published by Patons and Baldwins and contains knitting patterns for womens garments.PATONS / AND / BALDWINS' / TEN / ULTRA-SMART / GARMENTS / PRICE / 6D. / "Maberley" / "Judith" / No. 33 / SPECIALTY / Knitting Bookknitting handicrafts - history, patons and baldwins (australia) ltd, knitting, handicrafts - history

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced by Styleknit in c.1947 and contains knitting patterns for womens garments.Series 47-2 / STYLEKNIT / Price: Sixpence / 7 Garments Knitted in Wool or Cottonknitting handicrafts - history, styleknit, knitting, handicrafts - history

The donor's father saved the life of a Belgium soldier during WWI. (Father - Ferdinand Collins, 5th Battalion AIF). In thanks the soldier gave Mr Collins this circle of lace.The circle of lace which could be used with the flounce on a garment or the edge of a cloth. It is made up of tiers of tape lace and crochet.garment, capes, lace, bobbin lace, crochet, belgium 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. 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 printed advertisement showing a small child wearing a pale v neck cardigan with scalloped border at the neck and embroidered floral motif holding a white rose. Text advertises Kathryn knitwear garment made with Orlon acrylic fibre by DuPont. Communication regarding this advertisement can be found under NWM-09063[obverse] IT’S GOOD TO GROW UP IN SOFT AND GENTLE Orlon* ACRYLIC FIBRE THIS ONE CREATED BY KATHRYN REGD * DU PONT’S REGISTERED TRADEMARK FOR ITS ACRYLIC FIBRE. DU PONT MAKES FIBRES NOT THE GARMENT SHOWN HERE. SOLE REPRESENTATIVES IN AUSTRALIA AND NEW ZEALAND – P ROWE INTERNATIONAL, PTY. LIMITEDbusiness, 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

2005 knitted woman's garments Skidmore Collection: Hanro (Australia) Knitting Mills Limited, colour photographs of a display of Handro women's garments on sale in July 2005 in the Wintergarden Building, Brisbane hanro, 2005 knit garments

The knitter was Vera Neale,1901 - 1990. Married with three children, Vera knitted with one and two ply wool, often using piano wire or bicycle spokes as needles, entering the garments in agricultural shows. This is one of 23 garments donated by her granddaugher, Mrs Glenda Ilsley.The knitter was Vera Neale,1901 - 1990. Married with three children, Vera knitted with one and two ply wool, often using piano wire or bicycle spokes as needles, entering the garments in agricultural shows. This is one of 23 garments donated by her granddaugher, Mrs Glenda Ilsley. The knitter was Vera Neale,1901 - 1990. knitting handicrafts, neale, mrs vera, knitting, handicrafts

Windcheater presented to Rosie Bray by classmates at Watsonia High, 1989 Australian History class. Students have painted their names on the garment and included an unofficial 'class photo' with the windcheater. Rosie was a mature age student in this class.A token of friendship from Rosie's classmates at Watsonia High.Blue windcheater, size M, accompanied by photograph of students.Painted in white letters on front of windcheater 'Australian History '89'. Scattered on garment are the names of class members.rosalie bray, watsonia high school

This type of chemise/camisole is believed to be early 19th century. Its original owner is unknown, but it was purchased in the late 1990s by the donor who later moved to Emerald but, at the time, had a 2nd hand decoration shop in Camberwell when she purchased this as part of a group of garments which included bloomers, lace collars and cuffs, camisoles etc - all of which have been donated to the Museum. The donor was informed at the time of purchase that the garments were over 100 years old.This lovely hand-made cotton and lace camisole is typical of a type of undergarment worn by women inside the home in the early 19th century. Hand sewn, sleeveless fine woven cotton, loose-fitting garment detailed with deep cream coloured ribbon lace on armholes. The neckline is square-shaped and has a broad band of ribbon filled beneath lace detailing. The garment has 2 pearl coloured buttons on-top of the shoulders as openings.female, point d'esprit, lynne findlay collection, camisole

This knitting pattern book dates from about the 1940s. Garments made with a Fair Isle pattern, especially sleeveless vests for men, were popular at that time. In the early to mid 20th century in Australia many of the woollen garments worn were handmade. Today this is not the case and hand-knitted garments are rare. Miss McClure had a lingerie and babywear shop at 114 Liebig Street before the building was demolished in 1953. This book is of minor interest as an example of a 1940s knitting pattern book and as a memento of Miss McClure’s shop in Liebig Street at that time. This is a booklet of 16 pages. It has a white cover with a red edging and black and white photographs and black printing on the front and back cover. The pages contain instructions for knitting six garments.Fair Isles For the Family Miss McClure Liebig Streetmiss mcclure, liebig street, history of warrnambool, knitting pattern books

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

This book was owned by the late Dr Elizabeth Kerr and was donated to the Museum by the executor of her estate, Margaret Cameron. It was produced by Patons and Baldwins and contains knitting patterns for womens garments.PATONS / AND / BALDWINS' / 10 / CHARMING / GARMENTS / PRICE / 6D. / No. 15 / SPECIALTY / Knitting Book / P&B / The Latest / Designs / from / London / and / Parisknitting handicrafts - history, patons and baldwins (australia) ltd, knitting, handicrafts - history

This knitting pattern book was published by the Alexandria Mills, Sydney and contains knitting patterns for womens garments.Knitting pattern book, 24pp. Cover is printed in black and white with a photograph of a woman wearing a knitted short sleeved dress with patterned panels. Contains photos and patterns for womens knitted garments.Sun-glo / Knitting Book / Series 90 / 1'3knitting handicrafts - history, alexandria spinning mills pty ltd, knitting, handicrafts - history

This dress was created by Jean Inglis for a competition of garments hosted by the Geelong Handweavers and Spinners Guild at a ski weekend in 1979. It was entered in the ‘evening wear’ category of hand spun and knitted garments. The Warp was commercially brought 2/24 wool. The Weft was hand spun black Corriedale wool. This wool was brought at a sale in Geelong and was hand dyed and spun by Jean. The patter is a ‘Ripple’ variation of a ‘Crackle’ weave completed on Jean’s own Dobby Loom (pictured). Long black dress stretching from the feet, reaching up to a hood at the neckline and down to the hands in the sleeve. The dress is black with a glossy silver pattern in the form of a band around the hood, hands and feet of the garment. In these bands is a wavy pattern of silver and black lines. There are multiple thick and thin lines of both the silver and black colours mirroring each other as the pattern stretches around the garment. wool, weaving, hand spun, corriedale