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Beyond the Bale : Oct 07 - Nov 07
4MERINO 200 BEYOND THE BALE endorsement of wool, and of travelling through the US to convince film stars to become ambassadors for wool. But perhaps the most enduring images from Joy's era with the Wool Board were the photos created for the advertising campaigns, booklets and calendars. Helmut Newton and Henry Talbot both went on to become world famous photographers, but they started with the Wool Board using models such as Maggie Tabberer and Maggie Hibble. "I won't say Shoestring is a warts-and-all book, but I didn't hold back," says Joy, who has also chronicled her early life in Sydney, her modelling career and the challenges of a working life for a mother in the 1960s. "I feel proud that we made wool king around the world in the 1960s." Joy was also proud to attend the opening night of the M200 exhibition wearing a 50-year-old red-wool coat, which cost her £80, "a fortune back then". But she adds: "It's only been dry cleaned once: it's worth its weight in gold." She is still selling her favourite fibre. ú More information: Shoestring: a memoir, Flock Publications, 02 9130 2002; www.joyjobbins.com.au Woolgrowers complained of money spent on champagne and movie stars, but it made wool a fashionable fibre GLAMOUR DAYS RECALLED IN MEMOIR By Kellie Penfold It was serendipitous that Joy Jobbins decided to pen her autobiography, Shoestring: a memoir, in the year the wool industry celebrates 200 years of the Merino wool trade. "Purely coincidental," says the former advertising director who helped to create wool's fashion image during its heyday. Joy's name may not be immediately recognised by Australian woolgrowers, but the fruits of her creative talent are. She was one of a team responsible for the majority of Australian Wool Board promotions from 1959 until 1972. The images she helped create to sell wool around the world are now fashion icons. "I had piles of things I had saved from my days working for the Wool Board and I thought I'd donate them to the Powerhouse," she says from her charming early Sydney cottage, a stone's throw from Hyde Park. "They said it was extremely fortuitous, as the M200 exhibition was in the planning." Joy, who during this stage of her career was also bringing up five young children, came to the world of wool after she and Ralph Blunden at Carden Advertising, in Melbourne, had successfully launched Terylene as the 'new miracle fibre'. Bill Gunn (later Sir William), newly elected chairman of the Australian Wool Board, wanted the same team to re-establish wool as the premier fibre. Nan Sanders, ICI's product manager for Terylene, who had an in-depth knowledge of the local textile industry, was invited to join the Australian Wool Board as director of promotion. Joy says her introduction to wool was in 1959 when KELLIE PENFOLD she suddenly had to produce six television advertisements to support a televised performance of The Royal Ballet that the Wool Board was sponsoring: "I had no idea where to start and then I saw Sir Robert Helpmann's wool leg warmers and we were off: wool warmed you up and cooled you down." Another fond memory was organising a fashion parade for the 5000-strong International Country Women's Convention. The only venue large enough to seat that many delegates under cover was the recently constructed Melbourne Olympic swimming pool, which had been emptied for the winter. Although the pool could be filled in time for the parade, the water would be muddy, so Joy chose to have the models ferried across the pool in small boats. Using bike pumps, a team of workers took four days to blow up enough balloons to cover the water. On the night, the effect of the aqua water shining through the balloons was sensational. While a band struck up a song, Olympian Dawn Fraser swam through the balloons. The spectacular event attracted international media coverage. "Of course, woolgrowers used to grumble we were spending their money on champagne and movie stars, so we spent a lot of time explaining to growers how it worked. Many of our campaigns were aimed at the dyers, spinners, weavers, manufacturers and retailers to encourage them to include more wool in their ranges. They were not necessarily aimed at the woolgrower." Joy also writes of meeting with leading international designers Pierre Cardin and Oleg Cassini to seek their Looking back on her years influencing wool's image is Joy Jobbins, wearing a 100 per cent wool coat she bought 50 years ago for £80. Artwork by Des O'Brien for a 1959 campaign. Alec Stitt's cover for the successful wool 'comic book' for children. Joy Jobbins and her boss, Ralph Blunden of Blunden Advertising, selling a wool campaign.
Aug 07 - Sep 07 Supplement
Dec - Jan 08