1960s
The fashion of the UK in the 1960s is really a story of two halves. It was a decade of cultural and social change, and over the years the formal fashions carried over from the 1950s were replaced by new youthful fashion, reflecting younger people’s increasing confidence in their own identity and self-expression. Contemporary designers in the fashion industry responded to this trend, creating clothes which reflected these new interests and values with more casual and fun styles. Young people’s increasing purchasing power enabled the rise of small fashion boutiques such as Mary Quant’s Bazaar and Biba offering affordable fashions and a more relaxed shopping experience. In turn, these trends fed back into the garment and retail industry, and clothes generally became more informal and less accessorised. Sindy’s 1960s fashions clearly capture this shift in tradition which made the 1960s so significant.
The 1970s saw the rise of ready-to-wear, high-street fashion and with the introduction of a greater range of synthetic fabrics, fashions became bolder, brighter and more exuberant. Experimentation was the order of the day with a range of fashions which looked back to historical styles, across the world as overseas travel became more accessible, and where a myriad of trends flourished including hippy chic, peasant styles, disco and punk. More women were entering the workplace, and they were catered for with stylish workwear, including trouser suits. Evening wear was glamorous and thoroughly modern. Hot pants, maxi skirts, lacy nighties and negligees, trendy gingham lingerie, smocks, gypsy dresses, dungarees, denims, bell bottoms and halter necks, Sindy had it all.
1980s
The early 1980s saw a change in fashion, clothing became simpler and easier to wear with less accessories. There were interesting trends such as the fitness craze which gathered momentum with more stylish lady’s track suits, with leotards, leg warmers and headbands making an appearance. Formal fashions with a nod to vintage designs reappeared for special occasions, often accessorised with big jewellery, gloves and stoles, although these were no longer obligatory. And, as more young women entered and stayed in the workplace, no longer giving up work when they got married or had babies, there was the rise of professional fashions and ‘power dressing’. Clothes became brighter as the decade progressed and silhouettes were popular with garments such as overshirts, belts, puff sleeves, drop waists, long shorts, Y-shaped dresses and suits, boob tubes and oversized jackets all making an appearance. And where the fashions went, so did Sindy.
Paul
In 1965 Sindy got a boyfriend called Paul. According to the Style Guide they met at a dance and Sindy was immediately attracted to his pleasant, shy personality. The leaflet says “She noticed what a well-dressed young man he is (and you know how important clothes are to her!)”. He was described as “Like Sindy, he likes a good time and his clothes are designed for a free-wheeling life.”
Patch was introduced in 1966 and she was Sindy’s naughty little sister. She was 9 inches tall, with short choppy haircut, freckles and a cheeky face sculpted by Eric Griffiths. Although often shown as a tomboy, she had a lovely wardrobe of outfits and when dressed up she could look as sweet as angel. She was named Patch by Derek Bibby who was Pedigree Dolls Limited Managing Director.
The Mam’selle “Gear Get Up” range of fashion doll outfits were made in Lines Brother’s Richmond factory in the mid 1960s. For a number of years, Mam’selle had been a subsiduary of Lines Brothers Ltd producing clothes, bedding and accessories for baby dolls, girl dolls of various sizes, and teddy bears (‘Teddy Wear’). They also made dressing-up outfits for boys and girls. These products were branded as Triang. On 1st of January 1966, Mam’selle became a sub-division of Pedigree and they further captalized on the enormous popularity of Sindy, Paul and Patch, and the influx of cheaper clone fashion dolls, by adding to the “Gear Get Up” range of Mam’selle branded clothes for 10 to 12 inch teenage dolls, and introducing the Paul and Patch 8 inch doll sized outfits. Stickers referring to Sindy, Patch and Paul were added to the Mam’selle boxes and a few referred to Sindy directly. They cost less than the official Sindy merchandise, and whilst this did not detract from the quality of their design; the cheaper manufacturing and materials used sometimes did.
Glamorous Mitzi from France and sweet little Betsy from the USA were introduced in the Autumn of 1967. They were quickly followed by bubbly Brit Vicki and Patch’s new pal Poppet in 1968. But by the end of 1971 they had all been discontinued, however they still remain very with popular with collectors.
In 1971 Sindy was given a new friend, June. This doll could only be obtained by collecting heart tokens from Sindy boxes. There were three editions of June until she too was discontinued in 1976.
Scenesetters
The name “Scenesetters” was first used in Sindy’s 1969 Style Leaflet. This name was suggested by David Fear, Pedigree’s Product Manager in the 1960s. Pedigree’s scaled accessories for Sindy were extensive and they proved to be very popular and profitable. Over the years Pedigree refined and added to the range. As the times changed, so did Sindy’s Scenesetters, her furniture followed the trends of the day and she had accessories for every latest leisure activity and trend.
A section to show all the special Sindy doll spin-offs and specially dressed Sindys we have found.
Walt Disney’s famous Mary Poppins film was based on the novels of Australian-British writer P.L. Travers and was a mixture of live action and animation. It was released in 1964 and it was a huge success. Merchandising was extensive and included four 12 inch dolls, two of them Sindy, sold in Australia, Canada, New Zealand and the USA. This page showcases all four Marys.
Margaret Elizabeth Dernocour Bing (1931-1982) was a very talented artist with an aptitude for needlework. She used her interests in history and costume to create four unique collections of Sindy dolls dressed in historic and national costumes. Two of her collections are documented in the Museum and the others will follow.
Margaret Elizabeth Dernocour Bing (1931-1982) was a very talented artist with an aptitude for needlework. She used her interests in history and costume to create four unique collections of Sindy dolls dressed in historic and national costumes. Two of her collections are documented in the Museum and the others will follow.
Featuring the little known 1960s collapsible sun lounger known as Sindy’s deck chair by collectors, which was made by Good-Wood Toys (Lavant) Ltd.
The story behind Good-Wood Toys (Lavant) Ltd and its founder Walter Lines, who made Sindy’s beautiful wooden four-poster bed which was sold in Hamleys from 1965 to 1972.
Canterbury’s Pedigree Factory
These pages are a history of the Pedigree Factory in Market Way, Canterbury, Kent from the 1960s to the 1980s using brochures and personal recollections from Pedigree employees
Sindy Articles
These pages gather together additional information such as stories and articles about Sindy and her world.
- Behind the Scenes with Teenage Fashion Dolls and their Clothes – some Observations and Reminiscences by BillyBoy*
- The world of 1963
- 1964 Sindy advertises…
- 1965 Sindy and her MGB
- 1974 The Kellogg’s Competition
- A Museum for a Day 2011
- Haslemere Museum Sindy Exhibition 2011
- A Museum for a Day 2012
- 2024 Sindy’s 60th Anniversary Exhibition