(Margaret Atwood: “The Road to Ustopia”, The Guardian, 15.10. 2011)
In 2011, to celebrate the 160 years of the company’s commercial success, Singer launched the 160™ Limited Edition Machine. The design reflects back on the years of the brand’s worldwide growth and if unaware of the image source, some of us might suspect this machine belongs among the last creations by “Jake” von Slatt of steampunkworkshop.com. Thus, a temptation arises to ask: What is Singer® trying to communicate by this Victorian retro design? And why right now – with its 160th anniversary? Wouldn’t such a nostalgic look back on the company’s famous history have been more appropriate for say the 150th anniversary?
Without a doubt, over the years of its existence, Singer® has become synonymous with home sewing,
self-sufficiency and individual creative expression. Singer machines have from the time of the patent issue for the first Singer brand machine in 1851 enabled many a woman around the world to make her fashion dreams come true for an affordable price. “Singers” have also been helping families to get by on limited resources, and, very often too, a home sewing machine would have been a source of some extra income for those able to offer their sewing skills to repair, alter or even make clothes locally.
Coming from a post-communist country, I remember how these skills were still essential for households there thirty years ago. I learned how to make my own clothes for the simple reason that to make one’s own was much cheaper than to buy them from a shop. Also, not less importantly, what was actually available from shops, would hardly ever please anyone’s eyes… With all this in mind I then recollect a story of a friend, who shortly after the fall of the communist regime, went to visit her family in the United States. At one point of her stay, she asked her hosts to advice where to buy a nice fabric that she wanted to bring back home to make a skirt. They seemed rather puzzled by her enquiry and asked with a great surprise: Why would you bother with making a skirt if you can get one for $15?
This story certainly isn’t meant to glamorize the make-do attitude rather unfortunately imposed on people by the communist regimes. Yet, I believe, it points to one of the crucial roles craft has to play in re-thinking the contemporary textile industry. No one who has ever tried to find and buy the material, made or copied the pattern for and sew a skirt, would ever expect it to cost $15.
In this sense, our lost skills make us unaware of the real cost of things and enable the ever expanding textile industry to produce garments sold at $15 whilst polluting lands and waters worldwide and employing very problematic work policies in countries like Bangladesh, Indonesia, China or India (and many others).
Here, Singer® comes in again. The economic report of Singer India Ltd from early 2004 announced:
New Delhi: Singer India Ltd is restructuring its business operations which would see it generating more revenues from its non-care area of consumer durables in future. As the domestic sewing machine market is stagnating due to changed consumer aspirations, Singer is now focusing on home appliances and consumer electronics while entering the industrial sewing machines business, which is expected to boom in the coming years due to the Indian garment sector…
(Economic Times, January 16, 2004)
At the same time, during the last couple of years, Singer domestic machines market in the US or the UK has been gradually growing. Craft writer Cat Rossi in her thought provoking post ‘All Sewn Up: Antique Singers and (De) Industrial Aesthetics at All Saints’ (29.1.2012) draws attention to the UK clothing brand All Saints that uses displays of vintage Singer sewing machines (mostly imported from India) across its shops as a branding signature. Rossi proposes that the philosophy of this branding strategy might aim to ‘to show off the fact that in an increasingly intangible world and service-led economy, All Saints actually make stuff, that they rely on craftsmanship and old fashioned quality manufacture.’ This then serves to ‘suggest a redundancy of the mass, industrial production in which these machines were complicit and the oft-cited advent of a new, localised, small-scale manufacture system.’
Is it possible that there was a very similar rationale behind the Singer®’s launch of the retro Singer 160™ Limited Edition Machine on the occasion of the company’s 160 years anniversary in 2011? And if so, what does this [so far] wishful trend for a shift from quantity to quality mean for the future of the textile industry?
In fact, can we really look forward to better quality clothing and more sustainable textile industry when most of us desperately lack the practical experience that would help us distinguish between the well and the poorly made and between good and poor quality material? Most importantly still: Are we ready to pay for clothes the price they are really worth? Or would we still rather own pairs and pairs of ill-fitting $15 mixed fiber jeans instead of a pair of real denim pants famous for their comfort and durability?
The decision is ours to take. Denim jeans might then once again become a symbol of freedom and revolt against the status quo.