Sample of woollen fabric, with tag, produced at the Valley Worsted Mills, Geelong.9080.1 - piece of grey woollen fabric 9080.2 - paper label with printed and handwritten text, with metal eyelet at the topfront of label: [printed] VALLEY / GUARANTEED / PURE / AUSTRALIAN / WOOL back of label: [printed] VALLEY WORSTED MILLS LTD. / GEELONG / Piece No. / Quality / Yards / Strings back of label: [handwritten] 3.7 mts / 2 1/2 YRDSvalley worsted mills, geelong, wool, textiles, woollen fabric sample, fabric tag, production tag, wool mill, textile industry

Part of a collection of books, fabric samples and documents from the working life of Ray Smith. Ray began his career at the age of 15, working at the Albion Woollen Mills in Geelong in 1953. Over the next five decades, Ray furthered his education in textile design, weaving design, knitting and later computer aided design, including qualifications from Gordon Textile College, City and Guilds of London Institute, The Textile Institute, Melbourne Institute of Textiles and Royal Melbourne Institute of Technology (RMIT). After ten years at Albion Woollen Mills, Ray went on to hold fabric design positions at Prestige Fabrics and Yarra Falls, working up to management roles in both the Weaving and Fabric Design Divisions, and then as Product Development Manager at Yarra Falls until 2000. Ray shares some career highlights below: In 1977 and 1978 I won the Wool Corporation’s Celsius 30 Awards as Yarra Falls Designer. (See photos attached.) These awards came with study trips to the major Textile Centres and Trade Fairs around the world. This was proven to be beneficial and Yarra Falls sent me overseas every year for the next 22 years. On stopovers in Hong Kong we appointed an agent and took part in Textile Trade Fairs at Interstoff Asia and exhibited designs in 1991, 92, 93, 94. I created a pattern book for a chain of shops called “Kwun KeeTailors” for their customers to select our fabrics to be made up into suits for the tourists. I also had several trips to New York to try to export to America with some success. I was commissioned by the Melbourne College of Textiles to write a Woven Textile Design Course to be taught under the outreach program. This was eventually translated into Spanish to be used by developing textile industries in South America.A collection of fabric samples from Yarra Falls, including twenty three sets of woollen fabric samples on black backing card, three sets of woollen fabric samples on white backing card and one Yarra Falls fabric label.PURE NEW WOOL / Yarra Falls / MELBOURNE AUSTRALIAray smith, yarra falls, mills, textile design, fabric design, geelong, geelong advertiser, fabric samples

This book dates from the 1940s and was part of the Running Stitch collection of quilts, probably because it was common for women to acquire these books from travelling salesmen. This sample book is an example of the type made by textile mills and given to tailors to sell fabric for made to measure suits. With little money to spare during the austere years of the war, women often acquired these books from tailors when the fabrics were no longer available. They made use of the fabric sample pieces to make quilts. The Australian Woollen Mills was an example of a woollen mill which went into worsted production making good quality English-type suiting. They were very successful until the 1960's when the oversupply of worsted fabrics from Europe and Asia led to the decline of the industry in this country. This book was displayed in the Running Stitch exhibition "Wool Quilts Old and New" of 1985 where it was catalogue entry number 40.Australian Woollen Mills Crusader fabric sample book, c.1940sKnight / QUALITY SELECTED / SUITINGS / of / Crusader / CLOTH / NEVER SOLD OUT Crusader / CLOTH / Makes the best suits "Crusader" / WORSTEDaustralian woollen mills pty ltd running stitch group, cloth - worsted, running stitch collection

The samples are examples of products made at the Returned Sailors and Soldiers Mill in Geelong but discontinued before 1960. They were used to show shops what materials were available. The samples were given to Mr Robert Anderson, an apprentice fitter and turner at the mill between 1960-1965. His mother, Mrs Lucy Anderson, sewed the samples into quilts in the early 1960s. This is one quilt of three.A quilt made of rectangular woven samples of polychrome woollen fabric. The samples are machine sewn together. It has a blue, red and yellow pieced backing which is loosely handsewn onto the quilt.Back: [handwritten] A Andersonhandicrafts, returned soldiers and sailors mill, wagga, samples, anderson, mr robert anderson, mrs lucy, geelong, victoria

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Quilt featuring block pieces in tones of grey, blue, tan and brown, graduating in light to dark tones from top to bottom. The top third features a house with a verandah.quilt, wagga, home, house, housing affordability, design

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Folio page depicting three items attached to a black card background. One item is a title written in black ink on white background, another is a photograph of a quilt, the third shows a hand drawn sketch of a house with a verandah.Front: [handwritten] 95 / Judy Turner / The fading dream of / Australian Home Ownership. / Initial sketch while / deciding how to depict / the Fading Dream of / Australian Home Ownership.quilt, wagga, home, house, housing affordability, design

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Folio page depicting three items attached to a black card background. One item is a red, blue, black and white textile sample, another is a hand drawn sketch of a house, the third shows hand written text on lined paper in black ink.Front: [handwritten] Final / design / for housequilt, wagga, home, house, housing affordability, design

‘The Fading Dream of Australian Home Ownership’ was made by Judy Turner in 1989 for her son Nicholas (then 14 years) after a family discussion about mortgages and rising interest rates (17% at the time), out of concern for his generation. “Perhaps this will keep my son warm when he can’t afford a house”, wrote Judy at the time. As a quilting teacher for over thirty years, Judy was well aware of the ‘wagga’ tradition of making do with what you have and reusing resources to make something useful. The quilt was made using approximately 270 different men’s woollen suiting samples. The fabrics in the quilt were a gift from Micheal Haze who was a travelling men’s ware salesman and friend of the artist’s late husband. The suiting samples were used just as they were, without cutting, and are stacked liked house bricks. The pieces have been machine pieced and tied. The quilt has woollen backing, with no batting. Judy’s son Nicholas, always interested in drawing, and keen to see what his mother was making, helped with the drawing and design of the house. The quilt has been exhibited in Canberra, Armidale and Sydney and featured in publications in Australian and Japan. Judy’s work has been exhibited Nationally and Internationally, including in Japan, Korea, Germany, Switzerland and the United States of America. Judy’s work has featured extensively in publications around the world, and has received many awards. Her work is held in public and private collections across Australia and the USA. As well as a successful career as an artist, Judy spent three decades imparting skills to the next generation as a patient and skilled teacher. ARTIST STATEMENT The medium of my artistic practice is quilt making and my focus is the use of colour and speedy, accurate and efficient methods of making successful quilts. In 1995 I developed an original technique of applying woollen yarn to a woollen background, focusing on the subtle blending of colour to express an idea. Author of Awash With Colour (1997) and co-author with Margaret Rolfe of Successful Scrap Quilts (2002).Two typed letters held together with a staple. The first letter has a grey printed letter head which includes a logo of a person with wings holding a heart.[printed] PATCHWORK QUILT TSUSHINquilt, wagga, home, house, housing affordability, design

Sample swatch book,100% merino extafine Zegna Baruffa fabrictextile industry weaving, zegna baruffa, cloth - woollen, textile industry, weaving

Sample swatch book,100% merino extrafine Zegna Baruffa fabric.textile industry weaving, zegna baruffa, cloth - woollen, textile industry, weaving

Sample swatch book,100% merino extrafine Zegna Baruffa fabric.textile industry merino sheep weaving, zegna baruffa, cloth - woollen, textile industry, merino sheep, weaving

Jersey colour sample book, Zegna Baruffa primavera estate, 1990.Grey cardboard folder containing forty eight jersey textile colour samples. Baruffa/ MADE IN ITALY / PRIMAVERA ESTATE/1990/ CASHWOOL / COLORI MELANGEStextile industry merino sheep weaving, zegna baruffa, cloth - woollen, textile industry, merino sheep, weaving, italy, jersey fabric

Weaving sample folder: "RANGE 2 WOOLLEN UPHOLSTERY FABRICS", "C. URQUHART". Booklets contains the following 2 paged inserts: "WEAVE REPEAT AND PATTERNING FOR PATTERN 1" sheet with orange patterned cloth; "WEAVE REPEAT AND PATTERNING FOR PATTERN 2" sheet with brown patterned cloth; "WEAVE REPEAT AND PATTERNING FOR PATTERN 1" sheet with yellow/green patterned cloth.RANGE 2 WOOLLEN UPHOLSTERY FABRICS C. URQUHART WEAVE REPEAT AND PATTERNING FOR PATTERN 1 WEAVE REPEAT AND PATTERNING FOR PATTERN 2 WEAVE REPEAT AND PATTERNING FOR PATTERN 3textile production weaving, textile production, weaving

Weaving samples folder: 3 "FANCY WOOLLEN COATING FABRIC" patterns with 3 patterned cloth samplesW.H. Clamp (ink) FANCY WOOLLEN COATING FABRICweaving textile industry textile design, weaving, textile industry, textile design

Weaving samples folder: 3 "FANCY WOOLLEN (MENS SUITING RANGE)" patterns with 3 black/grey cloth samples5651 (ink) FANCY WOOLLEN COATING FABRICweaving textile industry textile design, weaving, textile industry, textile design

The Returned Soldiers and Sailors Mills was located near the Barwon river on Pakington Street, Geelong, where its building still stands. The mill was established in October 1922 with capital acquired from War Gratuity Bonds. The mill produced fine grade woollen products with its speciality being ‘Retsol’ travelling rugs.31 page red book bound with metal pins containing fabric samples glued onto paper, with some printed text.cover: [printed] A FORECAST OF TEXTILE VOGUES / FOR THE COMING SEASON / FROM / R. S. & S. Woollen Mill. / Geelongr. s. & s mill, soldiers, sailors, geelong, war, wool, mill

The Returned Soldiers and Sailors Mills was located near the Barwon river on Pakington Street, Geelong, where its building still stands. The mill was established in October 1922 with capital acquired from War Gratuity Bonds. The mill produced fine grade woollen products with its speciality being ‘Retsol’ travelling rugs.25 page red book bound with metal pins containing fabric samples glued onto paper, with some printed text.cover: [printed] A FORECAST OF TEXTILE VOGUES / FOR THE COMING SEASON / FROM / R. S. & S. Woollen Mill. / Geelongr. s. & s mill, soldiers, sailors, geelong, war, wool, mill

Fold out card brochure containing blanket fabric samples in a range of colours.front: [printed] Eagley / LUXURY / BLANKETS / FASHION / PIECEGOODS / PIECEGOODS front: [handwritten] Range / 1670eagley woollen mills, samples, fabric, brochure

Fold out card brochure containing blanket fabric samples in a range of colours.front: [printed] Eagley / LUXURY / BLANKETS / FASHION / PIECEGOODS / PIECEGOODS front: [handwritten] Range / 1523eagley woollen mills, samples, fabric, brochure

Folded card brochure with printed blue text on the back and front. Fabric samples attached with hand written text on the inside.front: [printed] ALBANY / FASHION SUITINGSsamples, fabric, brochure, albany woollen mills, school uniforms

Folded card brochure with printed blue text on the back and front. Fabric samples attached with hand written text on the inside.front: [printed] ALBANY / FASHION SUITINGSsamples, fabric, brochure, albany woollen mills, school uniforms

Folded card brochure with printed blue text on the back and front. Fabric samples attached with hand written text on the inside.front: [printed] ALBANY / FASHION SUITINGSsamples, fabric, brochure, albany woollen mills, school uniforms

Card with fabric samples affixed with staples. Card has some hand written text and two holes punched in spine.front: [handwritten] Albion Mills Geelong / 627 20/4samples, fabric, brochure, school uniforms, albion woollen mills co. pty ltd

From Rosemary Cameron - This quilt has been made in 100% wool to celebrate the diversity, durability and beauty of pure wool, especially the lightweight cool wools. The woollen patches were kindly donated by Mr. David Jones, managing Director of Fletcher Jones and Staff which were pre-cut samples of European Fabrics in various weights, textures and colours. I had the task of creating a design around the fabrics available, some of which I only had to sample. I chose to surround my design with dark shades to encompass at the top of the quilt, the lightness of the sky and the trees, in the middle the warmth of summer, the dryness of central Australia and at the bottom the rick tones of Opals, our mineral wealth and the internal heart of earth. To add excitement and texture to this design I chose 31 Australian Wildflowers including all the Australian Floral Emblems, some unusual wildflowers and favourite small wildflowers. Twice life size, these flowers have been made of silk wool and cotton, embroidered, painted and beaded by our creative and talented Hamilton Quilters, their results are fantastic! The brilliance and timeless quality of these Australian Wildflowers intensify and complement the colours of the Wool Quilt. The Quilt was hand pieced and hand quilted at quilting bees. It has a woollen batting, binding and backing which was a delight to work with and very easy to quilt. The flowers were assembled and attached in small working bees. To the fifty-two Hamilton Quilters who have worked on this quilt for six months thank you for you hard work and creativity especially Joan H. Lyons for her time, enthusiasm and knowledge when difficulties arose. Joan M. Lyons has worked with me on various stages of this Quilt, her help and support has been tremendous. To my family who have tolerated scraps of wool and silk, photographs, wildflower books and specimens and drawings which have at times almost taken over our house, a year from ideas to completion, thank you for your support and help in many ways.Multi coloured patchwork quilt with native flowers protruding from centre in a diamond shape.Embroidered on back - "The Celebration Quilt" Made in 1990 by The Hamilton Quilters, Designed by Rosemary A.O. Cameron. Made of Pure Wool. Beryl Anderson, Joan Askew, Bett Basham, Marilyn Baulch, Rau Blaby, Pauline Boyd, Aileen Beckwith, Dorothy Beveridge, Ros Brommell, Rosemary Cameron, Gwen Cook, Anne Cordner, Kaylene Cowland, Elaine Denby, Barbara Dolman, Rosalie Duffield, Helen Fry, Glennys Gardner, Nola Gunning, Margaret Irvine, Bev Jeffrey, Emma Jensen, Betty Lacy, Helen Lampard, Joan H. Lyons, Joan M. Lyons, Elaine McDonald, Carole McEwan, Joy McLeod, Joyce McLeod, Mary May, Joan Mallinson, Susan Mason, Anne Menzel, Val Mills, Betty O’Brien, Di Pettigrew, Therese Read, Sherry Robertson, Lee Rowland, Irene Saddler, Nanette Templeton, Glenys Tindall, Liz Wallis, Ruth Walter, Marion Warburton. Alison Waterman, Pat Wilmot, Nola Malcolm, Ann Nicholls, Margaret Rowe, Jill Hillier.celebration, flowers, hamilton quilters, quilt, native flowers

Part of a collection of books, fabric samples and documents from the working life of Ray Smith. Ray began his career at the age of 15, working at the Albion Woollen Mills in Geelong in 1953. Over the next five decades, Ray furthered his education in textile design, weaving design, knitting and later computer aided design, including qualifications from Gordon Textile College, City and Guilds of London Institute, The Textile Institute, Melbourne Institute of Textiles and Royal Melbourne Institute of Technology (RMIT). After ten years at Albion Woollen Mills, Ray went on to hold fabric design positions at Prestige Fabrics and Yarra Falls, working up to management roles in both the Weaving and Fabric Design Divisions, and then as Product Development Manager at Yarra Falls until 2000. Ray shares some career highlights below: In 1977 and 1978 I won the Wool Corporation’s Celsius 30 Awards as Yarra Falls Designer. (See photos attached.) These awards came with study trips to the major Textile Centres and Trade Fairs around the world. This was proven to be beneficial and Yarra Falls sent me overseas every year for the next 22 years. On stopovers in Hong Kong we appointed an agent and took part in Textile Trade Fairs at Interstoff Asia and exhibited designs in 1991, 92, 93, 94. I created a pattern book for a chain of shops called “Kwun KeeTailors” for their customers to select our fabrics to be made up into suits for the tourists. I also had several trips to New York to try to export to America with some success. I was commissioned by the Melbourne College of Textiles to write a Woven Textile Design Course to be taught under the outreach program. This was eventually translated into Spanish to be used by developing textile industries in South America.Black two armed binder folder with over one hundred pages of typed paper in plastic sleeves. Documents contain details of sixty eight topics for Woven Textile Design Course. The folder has a label attached across the top edge, and a business card attached with tape to the front.Front [printed label]: WOVEN TEXTILE DESIGN COURSE WRITTEN FOR THE MELBOURNE COLLEGE OF TEXTILES BY RAY SMITHray smith, yarra falls, mills, textile design, fabric design, product development, wool corporation, textile design course, coursework, melbourne college of textiles, study, students

Part of a collection of books, fabric samples and documents from the working life of Ray Smith. Ray began his career at the age of 15, working at the Albion Woollen Mills in Geelong in 1953. Over the next five decades, Ray furthered his education in textile design, weaving design, knitting and later computer aided design, including qualifications from Gordon Textile College, City and Guilds of London Institute, The Textile Institute, Melbourne Institute of Textiles and Royal Melbourne Institute of Technology (RMIT). After ten years at Albion Woollen Mills, Ray went on to hold fabric design positions at Prestige Fabrics and Yarra Falls, working up to management roles in both the Weaving and Fabric Design Divisions, and then as Product Development Manager at Yarra Falls until 2000. Ray shares some career highlights below: In 1977 and 1978 I won the Wool Corporation’s Celsius 30 Awards as Yarra Falls Designer. (See photos attached.) These awards came with study trips to the major Textile Centres and Trade Fairs around the world. This was proven to be beneficial and Yarra Falls sent me overseas every year for the next 22 years. On stopovers in Hong Kong we appointed an agent and took part in Textile Trade Fairs at Interstoff Asia and exhibited designs in 1991, 92, 93, 94. I created a pattern book for a chain of shops called “Kwun KeeTailors” for their customers to select our fabrics to be made up into suits for the tourists. I also had several trips to New York to try to export to America with some success. I was commissioned by the Melbourne College of Textiles to write a Woven Textile Design Course to be taught under the outreach program. This was eventually translated into Spanish to be used by developing textile industries in South America.Card folder featuring pale blue and white clouds and sky motifs, with a thermometer on the cover. Folder holds eleven circular black cards, eight have wool fabric samples attached.Front [printed]: Celsius 30 / SPRING SUMMER / 74 / SPRING SUMMER / A Woolblendmark fabric developed especially for summer.ray smith, yarra falls, mills, textile design, fabric design, product development, wool corporation, fabric samples, 1970s fashion

Part of a collection of books, fabric samples and documents from the working life of Ray Smith. Ray began his career at the age of 15, working at the Albion Woollen Mills in Geelong in 1953. Over the next five decades, Ray furthered his education in textile design, weaving design, knitting and later computer aided design, including qualifications from Gordon Textile College, City and Guilds of London Institute, The Textile Institute, Melbourne Institute of Textiles and Royal Melbourne Institute of Technology (RMIT). After ten years at Albion Woollen Mills, Ray went on to hold fabric design positions at Prestige Fabrics and Yarra Falls, working up to management roles in both the Weaving and Fabric Design Divisions, and then as Product Development Manager at Yarra Falls until 2000. Ray shares some career highlights below: In 1977 and 1978 I won the Wool Corporation’s Celsius 30 Awards as Yarra Falls Designer. (See photos attached.) These awards came with study trips to the major Textile Centres and Trade Fairs around the world. This was proven to be beneficial and Yarra Falls sent me overseas every year for the next 22 years. On stopovers in Hong Kong we appointed an agent and took part in Textile Trade Fairs at Interstoff Asia and exhibited designs in 1991, 92, 93, 94. I created a pattern book for a chain of shops called “Kwun KeeTailors” for their customers to select our fabrics to be made up into suits for the tourists. I also had several trips to New York to try to export to America with some success. I was commissioned by the Melbourne College of Textiles to write a Woven Textile Design Course to be taught under the outreach program. This was eventually translated into Spanish to be used by developing textile industries in South America.Folded map attached inside a card folder, featuring a map of Scotland with tartan design and red and black text on the cover.Front [printed]: BARTHOLOMEW / the tartan map / with list of septs of the clansray smith, yarra falls, mills, textile design, fabric design, product development, wool corporation, map, tartan, scotland

Part of a collection of books, fabric samples and documents from the working life of Ray Smith. Ray began his career at the age of 15, working at the Albion Woollen Mills in Geelong in 1953. Over the next five decades, Ray furthered his education in textile design, weaving design, knitting and later computer aided design, including qualifications from Gordon Textile College, City and Guilds of London Institute, The Textile Institute, Melbourne Institute of Textiles and Royal Melbourne Institute of Technology (RMIT). After ten years at Albion Woollen Mills, Ray went on to hold fabric design positions at Prestige Fabrics and Yarra Falls, working up to management roles in both the Weaving and Fabric Design Divisions, and then as Product Development Manager at Yarra Falls until 2000. Ray shares some career highlights below: In 1977 and 1978 I won the Wool Corporation’s Celsius 30 Awards as Yarra Falls Designer. (See photos attached.) These awards came with study trips to the major Textile Centres and Trade Fairs around the world. This was proven to be beneficial and Yarra Falls sent me overseas every year for the next 22 years. On stopovers in Hong Kong we appointed an agent and took part in Textile Trade Fairs at Interstoff Asia and exhibited designs in 1991, 92, 93, 94. I created a pattern book for a chain of shops called “Kwun KeeTailors” for their customers to select our fabrics to be made up into suits for the tourists. I also had several trips to New York to try to export to America with some success. I was commissioned by the Melbourne College of Textiles to write a Woven Textile Design Course to be taught under the outreach program. This was eventually translated into Spanish to be used by developing textile industries in South America.Fifty two page hard cover book featuring yellow and brown images and text on the front and back cover showing scenes from Geelong. The book features sepia toned printed photographs and brown text.Front [printed]: EARLY GEELONG / DO YOU REMEMBER?ray smith, yarra falls, mills, textile design, fabric design, geelong, geelong advertiser

The samples are examples of products made at the Returned Sailors and Soldiers Mill in Geelong but discontinued before 1960. They were used to show shops what materials were available. The samples were given to Mr Robert Anderson, an apprentice fitter and turner at the mill between 1960-1965. His mother, Mrs Lucy Anderson, sewed the samples into quilts in the early 1960s. This is one quilt of three.A quilt made from woven samples of woollen fabric with herringbone and checked designs, mostly in brown, green, blue and red. The samples are machine sewn together. It has a cream backing which is machine sewn onto the quilt.handicrafts, returned soldiers and sailors mill, wagga, anderson, mr robert anderson, mrs lucy, geelong, victoria, quilts, necessity