Singer is a household name, synonymous with home economics. Singer is reputed for quality and this year the brand celebrates 171 years.

Isaac Merritt Singer founded the company in New York, USA, in 1851 with the release of the No 1 model. This little sewing machine is a Singer 20 (2021/12/4a-b).

The Singer 20 was the most popular toy sewing machine, and although competitors mimicked the design, they could not deliver a better product.

The Singer 20 was in production from 1910 until 1975, and more than 20 variations were created.

This machine was made in England in the late 1950s and belonged to local resident Leonie Morris née Purdon, who donated it to the museum last year.

The toy sewing machine has a hand crank on the right which motions the needle over the fabric – it produces a beautiful chain stitch. The stitch length can be altered by moving one of the levers.

The early Singer 20 was cast iron, but this later version is made from lighter aluminium.

Another key development was the introduction of stamped thread numbers on the machine to aid users – this feature was introduced in 1926.

Our donation came with the original instruction manual. This instruction manual is a visual explanation of the machine – how to thread, sew and care for it.

The manual is designed for young people, and cutesy animal cartoons frame the instructive images. The cartoons are of Japanese influence from kawaii culture, which emphasises cuteness.

On the cover of the manual, many ethnicities are represented. Singer is a brand that is marketed internationally. This user manual may have been an attempt at creating one product for all markets.

The machines were intended for young girls, aged 4 and up. Singer aimed to make a machine that was safe but practical. The Singer 20 was marketed as “practical and instructive” and “useful and amusing”.

Young girls were encouraged to make dolls’ clothes with their toy machines. One of the branding messages states, “as the twig is bent, the tree’s inclined”, meaning that early experiences have a permanent effect.

In essence, this proverbial saying implies that by introducing girls to sewing at a young age, they will fulfil their expected role of housewife and mother.

This belief is of its time, but I am relieved that girls are no longer moulded into restrictive roles. It is exciting to see more women entering and succeeding in STEM (science, technology, engineering, mathematics), the increasing professionalisation and coverage of women’s sports, and the proliferation of programmes supporting gender equality like Girls with High Vis, Women in Space, Wāhine on Water and Women in STEM.

It is interesting to reflect on the marketing of these sewing machines as they reveal the different values and beliefs that have shaped our society.