We have added a new article to the museum. Previously, with the help of Barbara Mansfield we looked at the processes in creating Sindy’s fashions. Our new article looks at the other side of production which defined Sindy and that is her realistic scenesetters.
For this article we have turned to Tom Harper who worked for nearly 20 years in Pedigree’s factory at Canterbury. He was a designer, an engineer, and a modeller.
Sindy’s scenesetters are really very special. Although not collected by everybody, there has been a resurgence in their popularity in recent years in order to use them for dioramas on social media platforms such as Instagram. Sometimes in their original form, others customised, and often very stylishly shown with the old mixed with the new.
The scenesetters were very authentic compared to other fashion dolls’ furniture. They were realistic, used the current decorating trends, and followed the latest ‘must have’ household items. Many had moving parts and some of them were very complex indeed. Pedigree thought about the play element of these toys; doors and drawers opened, kitchen units came with right kitchen accessories, showers really worked, horses had the right tack. There was consideration and care in their design.
It is very hard to ask anybody. What exactly was your job? Especially when they have been working for an organisation for a number of years. Tom is all about the detail, and he has carefully written down how a scenesetter was produced from the idea to the product.
From the outset, he was very clear that he would like to pay tribute to his section in R&D, and wherever he could, name the person and remember something they made. Just like us, he didn’t want it all to be forgotten with time.
When Tom first told me about CDT, I really couldn’t get my head around it. I couldn’t understand why Pedigree would design for companies outside of themselves. I had to go back to basics and have a really good look at Dunbee-Combex-Marx (DCM) who bought Pedigree at the beginning of the 1970s. DCM was a leviathan, its chairman Mr Beecham openly stated that his own personal agenda was to establish or acquire further businesses across the world. He believed in maintaining a lean operation, and he gave the managing directors of each subsidiary company a high level of autonomy, so long as they made a profit. Today, we take it for granted that within our organisations, certain specialist functions or services have been consolidated and/or centralised. Pedigree was ahead of the game; they were thinking in a way that most companies wouldn’t consider for another decade. I think this goes to show the confidence Pedigree had in its R&D, and how forward thinking their MD Mr Ken Edey and their management were.
The new article has some nice stories and photographs of original prototypes, drawings and Polaroids of products that had been designed. It’s amazing they still exist. It tells the personal story of an employee in a company at its peak and then its closing which is quite moving. The showcase photo for this post are two Sindys using the 1978 ‘Winter Sports’ skis and sledge designed and tested by Tom. Those pesky little wheels still work beautifully even though the toy is 44 years old. My photographic table has developed a slope over the years and if you touched one of the ladies or knocked the table, they would scoot away. Never work with animals, children or Sindys on wheels!
Setting the Scene with Tom Harper
Two separate collectors who coincidentally are both called Karen asked about Sindy’s black armchair. We always think about any questions asked on how we can improve the museum. The armchair sits under the ‘Hearts Delight’ Lovely Lively Sindy on the 1972 Sindy Outfits and Separates page. Our bad, it never occurred to us to show it separately. Scott has kindly shared his armchair for a new photo which we now show separately on the page, and to make it easier to find, we have added it to the Scenesetters Gallery also.
1972 Sindy Outfits and Separates
Now when I was talking to Lynn about the 1981 US Wesco ‘Trailblazer’, we got talking about packaging and the boxes. Lynn said that she felt her 1973 ‘Fun Buggy’ box was particularly nice, we agreed and asked if we may add it to the Museum.
Then she wrote and said would we like her 1971 ‘Miss Sindy’ boxed doll variation dress? Now, we knew about this variation, but we have never seen one close up and never really had the opportunity to ask about it. It’s really lovely, so that had to go in the museum too!
1971 Sindy Outfits and Separates
Lastly for this update, Starla got in touch and asked did we know about the 1983 ‘Party Time’ boxed doll variation? That was very simple, didn’t even know one existed. Now, spotting variations is a very special skill, and it’s one that Kathy has, and which Starla, who is very artistic, also has. This variation is all about the stripes. Once you see it, you know it. But if you don’t know it, you might never see it. So that definitely had to go in the museum.
1983 Sindy Outfits and Separates
With huge thanks to Tom for all the effort you put into our new article and for answering all my questions and in helping me to understand, so that your section, your colleagues and your work are remembered.
Thank you to the Karens who have helped improve the museum with their same question, and to Scott for finding his armchair. Thanks also to Lynn for the Fun Buggy box and her lovely variation, and to Starla for her very clever variation find.
We wonder what else is out there…
