A "Plain Sewing Sampler" or "Darning Sampler" was intended to showcase the wide range of sewing techniques and skills a girl or woman had. These skills might include hand sewing techniques such as darning, patching, hemming, mending, structural sewing (making pleats, inserting gussets, joining fabric with seams) making buttonholes and embroidery. Samplers could also be intended for practicing a particular technique. There were several articles printed in Australian newspapers around 1889 referring to the "Plain Sewing Movement". In 1889 a Melbourne branch of the "London Institute for the Advancement of Plain Needlework" was formed by a group of ladies led by Lady Loch and Lady Clarke with the purpose of teaching "plain needlework' to women and girls. "Plain Sewing" included fundamental stitches and techniques that were essential for practical clothing construction and maintenance. Several years later in 1891, another meeting was held at Clivedon (the residence of Lady Clarke) to look into the possibility of improving the teaching of sewing in the state schools. This meeting was attended by several school inspectors and the committee of "the Melbourne Institute for the Advancement of Plain Needlework". This "Plain Sewing Sampler" was donated from the estate of Susan Henry OAM nee Vedmore (1944 - 2021). Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community. It has not been possible to identify the lady (with the initials L. L.) who made this item in 1897 but it was thought to possibly be a female relation in her maternal (or possibly, paternal) grandmother's family. It has many of the same elements and techniques that were taught by the "Plain Sewing Movement" that originated in England at the end of the nineteenth century.This item is a rare example of the handcraft skills learnt by women and girls in the late 1890's to construct and maintain practical clothing for their families.A cream cotton sampler made from three smaller rectangular shapes, displaying a wide variety of plain sewing techniques including hand stitched seams (french, bound and herringboned), inserted patch, buttonhole, button, gathering, a gusset, frills, pintucks, a placket, cross stitch initials and date (L L and 1897) and decorative embroidery.L L/1897flagstaff hill maritime museum and village, warrnambool, shipwreck coast, needlework, textiles, plain sewing sampler, darning sampler, handwork, sewing, great ocean road, susan henry oam, vedmore trust, hand sewing, sewing techniques

A "Plain Sewing Sampler" or "Darning Sampler" was intended to showcase the wide range of sewing techniques and skills a girl or woman had. These skills might include hand sewing techniques such as darning, patching, hemming, mending, structural sewing (making pleats, inserting gussets, joining fabric with seams) making buttonholes and embroidery. Samplers could also be intended for practicing a particular technique. There were several articles printed in Australian newspapers around 1889 referring to the "Plain Sewing Movement". In 1889 a Melbourne branch of the "London Institute for the Advancement of Plain Needlework" was formed by a group of ladies led by Lady Loch and Lady Clarke with the purpose of teaching "plain needlework' to women and girls. "Plain Sewing" included fundamental stitches and techniques that were essential for practical clothing construction and maintenance. Several years later in 1891, another meeting was held at Clivedon (the residence of Lady Clarke) to look into the possibility of improving the teaching of sewing in the state schools. This meeting was attended by several school inspectors and the committee of "the Melbourne Institute for the Advancement of Plain Needlework". This "Plain Sewing Sampler" was donated from the estate of Susan Henry nee Vedmore (1944 - 2021). Susan's family (Harold and Gladys Vedmore) immigrated to Australia from Wales in 1955 and settled in Warrnambool. Susan was well known in the Warrnambool community for her work supporting children and families across the district - particular those with disabilities, or those who were homeless, unemployed or isolated. Susan was the founding trustee of the "Vedmore Foundation" - a Warrnambool philanthropic trust set up to support a range of charitable and not-for-profit causes by providing grant assistance. In 2021, she was awarded a Medal of the Order of Australia for services to the community. It has not been possible to identify the lady (with the initials L. L.) who made this item in 1897 but it was thought to possibly be a female relation in her maternal (or possibly, paternal) grandmother's family. It has many of the same elements and techniques that were taught by the "Plain Sewing Movement" that originated in England at the end of the nineteenth century.This item is a rare example of the handcraft skills needed by women and girls in the late 1890's to construct and maintain practical clothing for their families.A cream flannel sampler made from three smaller rectangular shapes, displaying a wide variety of plain sewing techniques including hand stitched seams (french, bound and herringboned), darned patches, inserted patches, pleats, buttonholes, buttons, a gusset, pintucks, a placket, cross stitch initials and date (L L and 1897) and decorative embroidery.L.L. / ?? Yr 1897flagstaff hill maritime museum and village, great ocean road, warrnambool, sewing, plain sewing, sewing sampler, plain sewing sampler, darning sampler, hand sewing, textiles, susan henry oam, vedmore foundation, sewing techniques

Exercise book used by Robyn Thomson in Needlework class at Williamstown High School in the 1960s. Book contains material and wool samples of knitting and sewing techniques (see page above).williamstown high school, 1960s, robyn thomson, needlework, exercise book

9 page article from Issue No. 155. Textile Fibre Forumnon-fictionAn article about Annemieke Mein OAMmein annemieke, textile art

These items were made as samplers either at school or most likely college. They are samples of embroidery stitches, seam types and sewing and knitting techniques.Nos 1-16 are group of samplers made from cotton lawn, cotton with sateen weave and flannel and made by Ruth McGannon. No 17 is a pair of gloves made by Margaret Russell. .1) A small square of yellow lawn with three horizontal rows in blue thread and three vertical rows in red thread of running stitch each 3.5 centimeters apart. The edges are frayed to 1.2 centimeters. .2) A larger rectangle of yellow lawn with three horizontal rows 7.8 centimeters apart and three vertical rows 10 centimeters apart of long stitch, stitched in blue thread. The edges are frayed to 2 centimeters. .3) A small square of yellow lawn with three horizontal rows and three vertical rows of blue thread of running stitch, each 1.9 centimeters apart. The edges are frayed to 1.5 centimeters. .4) A larger rectangle of yellow lawn with three horizontal rows 9 centimeters apart and three vertical rows 11.2 centimeters apart of running stitch, stitched in red thread. The edges are hemmed with two rows of long stitch .5 centimeter apart with a loose blue thread of laced running stitch weaving in and out of the red long stitch. .5) A rectangle of hemmed yellow lawn with a pocket formed at each end. Two rows of long stitch in red thread hem the edges with a blue thread stitched between each red stitch. The pockets are formed by turning back the edges and stitching them down in brown thread. R.M. is embroidered in brown chain stitch on the right side. .6) A rectangle of hemmed blue lawn the same as the previous piece but with five rows of back stitch in yellow and orange thread creating a pattern. .7) A rectangle of blue lawn with the top and bottom edges hemmed with two rows of long stitch close together in yellow and orange. The other two edge are frayed to 2.5 centimeters and has four rows of long stitch .7 centimeter apart in yellow and orange thread. .8) A blue lawn bag with two packets was made by hemming a rectangle of fabric on three sides in long stitch with orange thread, then yellow thread between the stitches. The fourth side is hemmed in hemming stitch in yellow thread with blanket stitch in yellow thread along the edge. This edge is folded up by one third to create a pocket. The edges on either side are stitched together. A row of chain stitch in orange thread is stitched down the middle to create two pockets. A tape is stitched to either side at the top and this is folded over the pocket. .9) A cream cotton with sateen weave rectangle is hemmed with a double row of orange thread in long stitch. On both sides is embroidery in orange and yellow thread. .10) A yellow cotton with sateen weave baby's bib is made from a rectangle of fabric with a semi circle cut out of the top. The edges are turned and hemmed with a narrower turning on the neck. A tape is stitched at either side of the neck. On the front is embroidered a train in blue and yellow threads. .11) A yellow lawn embroidery sampler using blue and brown thread shows long stitch, stem stitch, herringbone stitch, chain stitch, fly stitch, lazy daisy stitch, cross stitch and satin stitch. It is hemmed using drawn thread work and the bottom is scalloped and finished in blanket stitch. .12) A pink lawn embroidery sampler with green thread shows herringbone stitch, stem stitch, running stitch, chain stitch, cross stitch, lazy daisy stitch, fly stitch, feather stitch, satin stitch and back stitch. The bottom is scalloped and finished in buttonhole stitched. The other three edges are hemmed using drawn thread work. .13) A small cream flannel square with two smaller squares are stitched together down the middle in decreasing sizes using chain stitch. The largest piece is hemmed using both herringbone and a decorative blanket stitch. It also has a run and fell seam on the opposite side using both running and herringbone stitches. A row of feather stitch is on either side of the seam. The two smaller squares are frayed on the edges. .14) A cream rectangular flannel sampler has two seams along the length. One is a run and fell seam using running and herringbone stitches and the other is an open seam using running stitch and both edges are stitched down with herringbone stitch. The two shorter edges are bound and the longer edges have a tape which is stitched down to neaten the edges. On the right side are two rows of feather stitch. .15) This blue lawn apron has a rectangular gathered skirt which is attached to a waistband and in turn attached to a bib front which goes over the head. The bib and skirt sides are hemmed using decorative blanket stitch in pink and dark blue thread. The skirt hem and both sides of the waistband are stitched in two rows of herringbone in pink and dark blue thread. .16) This pale pink lawn child's shirt has french seam side seams, a waist band to which the shirt is attached using slight gathering. The sleeves have cuffs. There is a front facing and a collar and there is a small pocket in the left hand breast. .17) These yellow knitted gloves are made using plain stitch for the hand and rib for the wrist.Written on paper and stitched on to a couple of items - Ruth McGannon V.3 - 312 Written on paper and stitched to the gloves - Margaret Russell x No2embroidery, sampler, gloves, stitches, sewing, knitting, apron, costume, needlework, dressmaking, textiles

This dress was made for the Melbourne Show in 1993 and won 3rd prize. It was designed by Jean Inglis who was inspired by the Blue Triangle Butterfly (Scientific name: Graphium sarpedon choredon). The Warp was 2/24 commercially brought black wool with a “tie down” thread of black polyester and Weft of the same 2/24 wool 2 ply. Jean utilised a twill technique devised by Theo Morgan in creating the dress. The dress was handwoven by Jean Inglis with the help of Ruth Rondell with some of the pattern and final sewing. Black dress stretching from below the knees, reaching up to the neckline and down to the hands in the sleeve. The dress has three butterflies attached to the front approximately 50mm in diameter going from right knee to left hip in a nonvisible diagonal line. Lower half of dress has ten thin blue & green lines of varying lengths, reaching a max height of the hip. The neck of dress has four frills of blue and green colour. The longest two frills are in the centre pointing diagonally outwards towards the hands. The second layer of frills is shorter and further around the neckline towards the shoulders. The dress is completed with a cape of blue and green colour with a thick black seam separating each segment of colour. The cape sits on the shoulders and droops to a height of the hips. At the rear, the cape reaches the height of the rump. The cape has two draw strings for tying to the shoulders. wool, butterflies, melbourne show, butterfly

This jacket is by the prolific spinner and weaver Jean Inglis. It has been woven with a warp of commercially brought wool & a weft of hand spun Corriedale. It is completed in a Swedish lace style of weaving. The highlight of the jacket is the blue section of fabric on the top left shoulder of the wearer, which works down to the bottom right hip. This pattern looks like long thin individual separate sections of fabric stitched to the jacket; however, only one section of fabric has been added. A dying technique has been utilised to give the appearance of multiple sections. This Japanese dyeing technique is called Shibori, “to wring, squeeze or press". It is a manual tie-dyeing technique, which produces several different patterns on fabric. The specific pattern on this fabric is known as Kumo Shibori. It utilises bound resistance. This technique involves folding sections of the cloth very finely and evenly. Then the cloth is bound in very close sections. The result is a very specific spider-like design. This design requires very precise technique. Specific to this jacket, the fabric for the dyed section was made with the same fabric as the rest of the jacket. A section of the excess fabric was concertina wrapped around a 100mm pipe and tied up before dying. This gives the consistent straight blue lines, with no bleed from the dye. The sections were then sewed into the jacket with the occasional sequin added for additional decoration and glamour. The jacket won 1st prize at the 1988 Geelong Show. Jean was assisted by the dress maker Ruth Randell with some of the design and sewing. Jean always found sewing “a bit of a bore”. The jacket also has an attached swing tag. It was added to provide information to the judges at the Melbourne Show on how the jacket was created. It comes complete with Jean’s self-proclaimed terrible handwriting. It was donated to the National Wool Museum in 2021.Cream singled breasted jacket with no overlap. The jacket has no column of buttons for fastening, or lapels. It is designed to be plain, to not draw attention. The jacket is highlighted by the Shibori dyed waves on the top left shoulder of the wearer, which works down to the bottom right hip. This blue dyed section of fabric is dotted with the occasional blue sequin. Internally, the jacket features a white silk lining for comfort. The jacket ends in a straight cut hem, including at the cuffs. The jacket has an attached swing tag. The swing tag is cream with a printed thin black boarder. Within the boarder, handwriting in black ink is found. It has a hole punch in the top left corner of the swing tag for attaching to the jacket.hand spun, hand weaving, textile design, textile production, shibori, kumo shibori

The Wodonga Historical Society collection comprises manuscripts, personal artefacts used by the Haeusler family on their farm in Wodonga, and a set of glass negatives which offer a unique visual snapshot of the domestic and social lives of the Haeusler family and local Wodonga community. The Haeusler family migrated from Prussia (Germany) to South Australia in the 1840s and 1850s, before purchasing 100 acres of Crown Land made available under the Victorian Lands Act 1862 (also known as ‘Duffy’s Land Act’) in 1866 in what is now Wodonga West. The Haeusler family were one of several German families to migrate from South Australia to Wodonga in the 1860s. The textiles in the Haeusler collection belonged to Ilma Margaret Ernestine Haeusler (née Tasker), born in 1900 in Tallangatta. These textiles were handmade by Ilma between 1919 and 1928 for use in the family home during her marriage to Louis Alfred Haeusler (b.1878). Ilma died in childbirth in 1928, leaving one surviving son, John Alfred Lyell (b.1922). This doily is one of several domestic objects in the Haeusler Collection that represent family and home life in early twentieth century Wodonga. It was made using the broderie anglaise needlework technique that incorporates embroidery, cutwork and needle lace. This technique originated in sixteenth century Europe and became popular in England in the nineteenth century. In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women. The item is handmade and unique, with well documented provenance. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of domestic and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history, and women’s history.A handmade white broderie anglaise doily c.1920sneedlework, textiles, sewing, handiwork, women's history, domestic, craft, family

The Hamilton-Smith collection was donated by the children of Grace Mary Hamilton-Smith nee Ellwood (1911-2004) and John Hamilton-Smith (1909-1984) who settled in Wodonga in the 1940s. The Ellwood family had lived in north-east Victoria since the late 1800s. Grace’s mother, Rosina Ellwood nee Smale, was the first teacher at Baranduda in 1888, and a foundation member of the C.W.A. Rosina and her husband Mark retired to Wodonga in 1934. Grace and John married at St. David’s Church, Albury in 1941. John was a grazier, and actively involved in Agricultural Societies. The collection contains significant items which reflect the local history of Wodonga, including handmade needlework, books, photographs, a wedding dress, maps, and material relating to the world wars. This collar was made using the broderie anglaise needlework technique that incorporates embroidery, cutwork and needle lace. This technique originated in sixteenth century Europe and became popular in England in the nineteenth century. In the nineteenth and early twentieth century prior to the mass production of clothing and textiles, needlework, alongside motherhood, was the defining work of women. Hand sewing and embroidery was central in the everyday lives and domestic roles of women.This item is unique, handmade and has a known owner. It forms part of a significant and representative historical collection which reflects the local history of Wodonga. It contributes to our understanding of social and family life in early twentieth century Wodonga, as well as providing interpretative capacity for themes including local history, social history and women’s history.A white cotton collar from the Edwardian period with broderie anglaise embroidery. hamilton-smith, hamilton-smith collection, needlework, clothing, sewing, embroidery, women, domestic, edwardian

Sample pages from "Semco smocking instruction book". An example of 1950s advertising through sewing and homemaker books. In this book, instructions are given for smocking of garments. Smocking is an embroidery technique used to gather fabric. An example of mid 20th century advertising through 'how-to' books.Digital copy of ample pages from a bookhistoric advertisements, smocking, embroidery, hand sewing, semco

Sample page from "Smocking Simplified", showing a line drawing of two small girls wearing smocked dresses. An example of 1940s advertising through sewing and homemaker books. In this book, instructions are given for smocking of garments. Smocking is an embroidery technique used to gather fabric. An example of mid 20th century advertising through 'how-to' books.Digital copy of sample page from a bookhistoric advertisements, smocking, embroidery, hand sewing, paragon art needlecraft

Front and back covers of "Smocking Simplified". An example of 1940s advertising through sewing and homemaker books. In this book, instructions are given for smocking of garments. Smocking is an embroidery technique used to gather fabric. An example of mid 20th century advertising through 'how-to' books.Digital copy of front and back covers of a bookhistoric advertisements, smocking, embroidery, hand sewing, paragon art needlecraft

Front cover of "Semco smocking instruction book". An example of 1950s advertising through sewing and homemaker books. In this book, instructions are given for smocking of garments. Smocking is an embroidery technique used to gather fabric. An example of mid 20th century advertising through 'how-to' books.Digital copy of front cover of a bookhistoric advertisements, smocking, embroidery, hand sewing, semco

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

Sample of Kathryn Knitwear Collection. This brush was included with a brushed wool leginette suit (NWM-08916), in order to maintain the fluffy finish of the garment after wear and washing. 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.Transleucent nylon brush with rows of thin bristles mounted in an offset pattern[Printed on plastic packaging] CARE OF BRUSHED FABRICS To obtain original condition brush garment frequently between wearing and after washing. Follow laundering instructions on swing ticket.brush, garment brush, brushed wool, laundry, garment care, nylon brush, accessory

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.Measuring instrument with five circular white layers and one long transparent plastic ruler on top. Transparent layer is now yellowed, was likely originally clear. All of the layers connected with a metal rivet at the centre, allowing the discs and line indicator to move in relation to each other. Discs are labelled (inside – outside) Cost per Thousand Overall Unit Hour U/S [units] produced in 1000s No. of persons Bonus Percentage 9017.2 Black leather case with white block letter printing [9017.3 - 9017.5] Inside case are three notes (one printed, two handwritten) that provide instructions for using the calculator[label on obverse of case] THE AUSTRAL UNIT CALCULATOR ISSUED BY INDUSTRIAL CONSULTANTS, MELB MADE BY MELB >W&G< AUST.business, business history, manufacturing history, calculator, textile fibres textile history

Kathryn Knitwear Collection A Psychrometer is an instrument used to measure humidity using two thermometers, one of which is wet and one is dry. A similar example is housed at laboratoire d'histoire des sciences et des techniques (LHST). Inventory number 603.0509 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 metal measuring instrument with clear window to view gauge for displaying humidity. Reference table listing values for different fibres is printed in red and white on a black metal plate that is screwed onto the front of the psychrometer. The instrument is housed in brown leather case with zip. It includes a printed paper instruction book with black text and greyscale figures.psychrometer, measuring instrument, humidity, textile manufacturing, fashion textile production

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.Strip of knitted fabric samples showing the nine wool colour options for the boys line of Robert Blake/Kathryn knitwear in the winter season of 1980. Label printed in pale blue paper lists season and colour names and is attached to sample strip with two metal staplesBOYS WOOL WINTER 1980 COLOR SWATCH RED BURGUNDY BROWN RYE PEBBLE OYSTER NAVY BLUE SHADOW DENIM GRANITE GREYfabric sample, textile sample, fabric swatch, textile swatch, fashion textile production, textile manufacturing

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.Strip of knitted fabric samples showing the nine wool colour options for Kathryn knitwear for the winter season of 1980. Label printed in pale blue paper lists season and colour names and is attached to sample strip with two metal staplesKATHRYN WOOL WINTER 1980 COLOUR SWATCH RED BROWN RUST DEEP RED GREEN NAVY BLUE SHADOW SKY BLUE MAGNOLIAfabric sample, textile sample, fabric swatch, textile swatch, fashion textile production, textile manufacturing

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.Strip of knitted fabric samples showing the 14 wool colour options for the ladies' line of Kathryn knitwear for the winter season of 1980. Label printed in pale blue paper lists season and colour names and is attached to sample strip with two metal staplesLADIES WOOL COLOR SWATCH WINTER 1980 RED BLACK MAGNOLIA OYSTER SILVER BLUE SHADOW NAVY TEAL GREEN BRACKEN RYE BROWN BURGUNDY DEEP REDfabric sample, textile sample, fabric swatch, textile swatch, fashion textile production, textile manufacturing

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. The ‘Embassy’ brand was a house brand of Coles stores from 1929-1994, and manufactured a wide variety of household goods. The manufacture of this specific style of notebook can be dated to between 1947 and 1953.Notebook with handwritten instructions, formulas and sketches detailing patterns for samples. ‘Embassy’ exercise book cover is printed with a blue checked pattern on a background that was originally likely white, but appears cream due to discolouration. The centre of the front cover has a trapezoidal label that provides space for handwritten labels, and features a map of Australia inside a red circle, as well as the manufacturers branding. The 64 internal pages are printed with blue lines as a writing guide.[Obverse] Embassy EXERCISE BOOK NAME [handwritten] Mrs Maley GRADE [handwritten] Sample Book SCHOOL 64 PAGES BEST QUALITY PAPER BLUE RULED – 26 LINES TO PAGE [sample of internal pages] [left page] Notes: 34” = 3 garments out of 40” Length 32” = 3 “ “ “ 38 “ “ 30” = 28” = Cut together (26” = 4 garments “ “ 33” “ (24 = 4 garments “ “ 33” length Blue 36” Red 36 ½“ Green 36” Royal 35 ½” [right page] Design Esquire (Width 35 ½ - 36) Size 34” Width Yardage Size 32” Width Yardage Sample cotton 90 ribs for 28” Size 28” (sample size) Width cut to 20 ½ (double) Yardage 34 ½“ for 2 garm. Size 26” Width Yardage Size 24” Width Yardagebusiness, business history, manufacturing, knitting machine, fashion textile production, business archives, manufacturing documents, embassy brand, coles