Michel lipsticks were created by an American company led by Georgette Michel which regularly advertised their products in women's magazines in the 1940s and 1950s. The lipsticks were manufactured [under licence?] by DHA Laboratories (Drug Houses Australia) Pty Ltd which had been established In 1930, as a holding company combining Bickford's with a number of similar Australian companies representing all states except Tasmania. Most items produced by DHA Laboratories were pharmaceuticals. It is not known whether the holding company manufactured other cosmetics apart from the Michel line.Intact, and unused packet of Australian produced lipsticks produced in the 1940s or 1950sPack of Michel lipsticks, containing 10 of the 12 original lipsticks. The colour is cyclamen. Exterior of packet: "Michel Lipstick / Stays on longer / Manufactured by D.H.A. Laboratories Pty Ltd, Melbourne | Regd Users of Trademark / One dozen Popular size"cosmetics, lipsticks, michel - dha laboratories pty ltd

The small tubes were used to hold lipstick which could be carried in the handbag or small evening bag.A small grey and silver lipstick container. The grey cover slips over the silver base. There is a small lever at the side of the base which released the lipstick up the tube.PAUL / DUVALcosmetics, make-up, paul duval, duval, paul, personal effects, george evans collection

This was a gift to Mrs Irene Standfield during the 1950's and has had little useCigarette case, lighter and lipstick holder in original box. All pieces are in blue green enamel with gold coloured trim. Box is artificial brown leather and lined in cream satinRONSON By Appointment to HRH The Duke of Edinburgh Suppliers of Electrical Shavers. Ronson Products Ltdpersonal effects, smoking accessories

These items do not necessarily form a set. Several of the items are of miniature size and may have been samples for commercial travellers or shop displays or possibly used by women travelling. All of the items have their modern-day equivalents though hand fans are not widely used today.These items are retained as examples of women’s accessories as used in past years. The sample-size items have a particular appeal to us today.This is a collection of women’s accessories and make-up items with most of the items being of miniature or sample size. .1 Green bakelite fan with a white ribbon insert and fretwork at the top curved end of the fan. .2 Three lipsticks with red lids and black and gold metal inserts. .3 One lipstick with a pink lid and a silver and red metal insert. .4 Two lipsticks with gold lids and gold metal inserts. .5 Green tin of talcum powder with a white lid .6 Manicure set in a green bakelite container with four metal manicure items with green handles and an emery board. This set holder also contains a 5d. tramway ticket from Melbourne. These items above are in an old metal chocolate tin but this is not the container that would have housed the items originally. ‘Michel’ ‘Anne Page’ ‘Starlet’ ‘Judith Aden’ ‘Cashmere Bouquet Colgate’ ‘Pascall Claremont Tasmania’ vintage women’s accessories, history of warrnambool

A metal cosmetics compact on a chain, lid decorated with silhouette-style graphic of a tennis player, and embedded with coloured cut glass pieces. Contains a mirror, retractable lipstick and eye crayon, and two powder pads. Materials: Silver/Metal, Cotton, Pigmenttennis

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.Kathryn Knitwear Colour swatch booklet from 1961. Booklet has navy text printed on a grey background, and opens to reveal two vertical swatch cards made of white card, one on each side of the fold line. Swatch cards have headings printed in capitals in red ink denoting the fibre and series of the below samples. Each swatch card has 15 samples of yarn wrapped around it, and each shade labelled in black ink in capital letters. There is an additional knitted swatch stapled to the top right corner labelled ‘Arctic White’.[Obverse] Robert Blake Pty. Ltd. KATHRYN Shades 1961 [Internal] KATHRYN Shades 1961 ARCTIC WHITE [Left side] WOOL Standard Shades WHITE PINK LEMON BLUE LIPSTICK EMERALD ROSE PINK AQUA ROYAL RED CELTIC TAN KASHA BROWN GREY [Right side] WOOL Fashion Shades MINT WILD RICE GERANIUM PINK LONDON BLUE TREE FERN ANCIENT GOLD ORLON WHITE PINK LEMON BLUE OATMEAL EUCALYPTUS CABER TAN YACHT BLUE REDfabric sample, textile sample, fabric swatch, textile swatch, fashion textile production, textile manufacturing

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